Mariposa
On my way to Yosemite I stopped for a couple of hours in Mariposa, a foothill, gold country town that serves as the “Gateway” to Yosemite via Highway 140, the all-weather highway. In one way Mariposa reminded me of the towns in the Sacramento Valley: Christianity was pretty much the only religious choice. In another way it was radically different. Whereas in the valley art on public display was hard to find, it was all over Mariposa.
The reason is not hard to find. One of nature’s monumental places is just up the road, and art and nature have been American partners since the Hudson River School. A few blogs back I dove into the pool of “nature and religion in America,” using John Muir as a springboard. Mariposa says, “Dive deeper,” down where the currents of nature, religion and art converge.
With rare exceptions the paintings and photographs hanging on the walls of Mariposa’s galleries are not obviously religious. But neither, by and large, are the paintings of the Hudson River School or the American Luminists. It’s how Yosemite monuments are painted, the style. In fact, the names Americans bestowed on some of those places pretty well make the case on their own. El Capitan is a god, a set of big rocks is a Cathedral, and trees plus islands plus cascades equal Happy Isles.
Artists of the American landscape have revised the standard version of Muir. The tertium quid between humans in a fallen world seeking redemption is not Nature alone, in and of itself, it’s Imagination at play with Nature.
The Yosemite Renaissance 2009 show is Exhibit A.