Author Archive

Iowa State University Heating Plant + Marion Gunderson = Georgia O’Keeffe-like Watercolor

June 2, 2010

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Mother (Marion Gunderson) used to store her watercolors in two ways at Gunderland. She had approximately seventy of her watercolors stored loose in portfolios under the basement steps. Another fifteen-or-so of her paintings were framed and displayed around the perimeter of the basement.

A portion of Marion Gunderson’s ISU Heating Plant watercolor, 1951. (Click photo to enlarge.)

It must have been after Mother passed away in 2004 that one of those paintings hanging in the basement caught my attention. I had no idea what building/location was in the painting. I just knew that the Georgia O’Keeffe-like gentle-curvy lines and rich colors that Mother used prompted me to ask to have this particular painting.

Not realizing that the painting included mounds of black coal, I thought that perhaps the painting was of another ag-related building. My dad (Deane Gunderson) and my husband (Bill Shimon) didn’t know the exact location of the building in the painting; because of the coal in the painting, they believed the painting might have been of something factory-related.

Mother’s, Clara’s (my oldest sister) and Marti’s (one of my middle siblings) work helped with my investigation. Several years ago at Mother’s request, Marti took inventory snapshots of as many of Mother’s watercolors as could be located. Mother then put those snapshots in an album. Along with the snapshots, Mother provided corresponding documentary notes for most of her paintings that were in those snapshots. Since before Mother passed away in 2004, Clara has been our family’s keeper and continuing recorder of documentation about Mother’s watercolors.

Back to the above-mentioned painting…I hung on to the painting for another couple of years before asking Clara if she had any idea of the identity of the building in the painting. Clara looked in Mother’s notes and found that about this particular painting, Mother had noted, “ISU Heat Plant, Ames, Iowa. From charcoal sketch done while at ISU.”

Bingo! Identity known!

Alongside Mother’s signature on the painting she included the year “1951.” Mother attended Iowa State College (now Iowa State University) from 1937-1941. We assume that she created a charcoal sketch of the heating plant sometime between 1937 and 1941, and later, with the charcoal sketch as her reference, in 1951 painted her watercolor of the same heating plant.

Because the heating plant in the watercolor looks nothing like the present Iowa State University power plant, I was confused about what Mother’s vantage point might have been when she painted the heating plant. I recently contacted Jeffrey Witt, ISU’s Assistant Director of Utilities, to learn more about the history of Iowa State’s heating plant. More specifically, I wondered if he could shed some light on where Mother’s vantage point as she painted might have been, in relation to the current power plant at Iowa State.

In the next post I’ll include the connect-the-dots information Jeff provided in regard to history of Iowa State’s heating/power plant and Mother’s 1951 watercolor of the older plant.

(Click here to go to Louise Shimon’s blog’s home page.)

Memorial Day in Rolfe, Iowa

May 31, 2010

Looking west/northwest toward Rolfe. Click on the photo to see that on the shaded (east) side of the large memorial stone it says, “In Memory of the Army Nurses.”

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Looking east. (Click photo to enlarge.)

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During today’s service. (Click photo twice to enlarge.)

All three photos were taken of Rolfe’s Clinton-Garfield Cemetery. For information about Rolfe’s cemeteries, click here.

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Tomorrow I’ll begin posting information about Mother’s association with the Iowa State University power plant.

(Click here to go to Louise Shimon’s blog’s home page.)

Iowa State University Power Plant + Marion Gunderson = ?

May 24, 2010

Iowa State University Power Plant, viewed from the northeast, spring 2010. (Click photo to enlarge.)

What does the green shed in this photo have to do with my mother, Marion Gunderson? My intent is to fill you in over the course of the next two or three posts beginning mid- or late-this week.

The interpretation of the previous sentence is…I don’t have the next posts written yet, but barring any changes with my dad, I’ll post again later this week. For those of you who have asked, and for anyone else, my 91-year-old dad has bounced back from his fall with determination and is doing well. He’s not as “good” as before, but he’s in very good spirits and walking quite a bit.

(Click here to go to Louise Shimon’s blog’s home page.)

“Fluff” Until Things Get Settled

May 17, 2010

We adopted Sammy from a family member of one of Katie's Drake University softball teammates. (Click photo to enlarge.)

I don’t get too excited when I read other people’s happenings-of-the-day chit-chat blog posts, so I don’t expect you to, either. However, this post will need to suffice as a filler until we get my dad squared away after his fall almost two weeks ago. He didn’t fracture/break any bones but he’s not ready to live by himself yet. (He would want to disagree with that statement.) I’ll be going to and from Rolfe quite a bit as he gets stronger.

L to R: Sammy and Miss Kitty. Miss Kitty was rescued one bitterly cold winter by our veterinarian's wife. (Click photo to check out Miss Kitty's tongue-to-nose detail.)

In the meantime, here’s a fluff post of photos of Bill’s and my two cats. Miss Kitty is the black and white cat. She used one of her nine lives a year ago when she bit Bill. I keep trying to convince Bill that Miss Kitty really is a sweetheart, although her unladylike meows do sound just like Marge on the Simpsons.

I’ve got new prints to post about. I’ve also got an audio interview about Rolfe that I’ll post within the next month or so. For the next week or two my posts might be “fluff,” or…let’s just call them “smelling the roses.”

(Click here to go to Louise Shimon’s blog’s home page.)

Double Vision (Or, our tax dollars at work?)

May 15, 2010

I’m still traveling to and from Rolfe quite a bit to be with my dad while he is recovering from his spill. Within a week or two I should be back to posting more regularly. For now…the signage in these photos isn’t exactly newsworthy, but just struck me as odd and ridiculous (and a teeny bit humorous).

Looking south toward Lohrville, Iowa. The exact location is the intersection of 230th St. and Sigourney Ave., just north of what will be the extension of Highway 20. (Click photo to enlarge.)

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On the other side of the highway, looking north toward Manson, Iowa. (Click photo to enlarge.)

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Service Signing, L.C. and Iowa Plains Signing, Inc. are the two companies providing this "double vision" signage. (Click photo to enlarge.)

(Click here to go to Louise Shimon’s blog’s home page.)

Gifts: Crawler Tractor, Bonding, Walking

May 7, 2010

Jackson and Great-Grandpa Deane with the John Deere 40 crawler tractor. (Click photo to enlarge.)

Monday of this week was Jackson’s fourth birthday. Jackson and I had a fabulous day with Great-Grandpa Deane (my father). Grandpa Deane’s wrapped gift to Jackson was a John Deere 40 crawler tractor — $27.00. The gift of the rest of the day — priceless.

Great-Grandpa Deane and Jackson outside of Farm & Home in Pocahontas, Iowa. (Click here to enlarge.)

Jackson and I went back to Rolfe Monday evening. Late in the day on Tuesday, Grandpa Deane took a spill. Fortunately he has no broken bones, and was back to walking (albeit very gingerly) and joking yesterday. He does have a very sore rump and is receiving lots of TLC.

On Wednesday I dashed up to Rolfe to be with my dad and other family members; I arrived home today. I’ll go back next week. Needless to say, I’m a little pooped but also want to keep current with blog posts. If I don’t post often and/or thoroughly for a while, you’ll know why.

Within the next month or two I hope to post about Bill’s and my refinishing our basement using wood from the home place barn that was built in 1904.

(Click here to go to Louise Shimon’s blog’s home page.)

Picture Framing Materials: Know Your Stuff (if you don’t already) — Part III

May 3, 2010

After Part I and Part II, this is the last post for a while about mats and glass. Even for me, three posts about mats and glass is a bit much.

For a quick read of helpful facts about kinds of glass, mats and other considerations within the context of framing artwork, check out Mona Majorowicz’s “Picture Framing Materials Guide for Artwork” Squidoo lens. If you read it and find it helpful, if you’d scroll to the end of the lens and leave a comment for Mona, even if brief, it would boost the lens’ Squidoo ranking.

The following photo is of two mats and the corner of a picture. They were framed together in the ’90s, but are pulled apart in this photo to illustrate the fading effects from not using acid-free mats and not using conservation clear glass. Admittedly, the text on the photo takes some muddling through.

(Click photo to enlarge.)

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Today I’m with my 4-year-old grandson celebrating his birthday. The mid-week is full. Unless I surprise myself, I’ll wait until the end of the week to post again.

(Click here to go to Louise Shimon’s blog’s home page.)

Picture Framing Materials: Know Your Stuff (if you don’t already) — Part II

April 30, 2010

(Click here to go to this blog’s home page. If you haven’t already, for optimum understanding, read Part I before you read this Part II post.)

 

This original watercolor by Mother (Marion Gunderson) is now protected by museum glass* which blocks 98% of UV rays. Notice that the glare is very minimal. Before this week, the glass used here was just regular clear, which blocks only about 47% of UV rays. With regular glass previously on this painting at this particular location, the glare prohibited anyone from seeing the detail of the painting unless the viewer was very close to the painting. Even with just a single mat, I didn't want to use regular non-glare glass (which also blocks 47% of UV rays) because I wanted brilliant color and crisp detail. Even with just one mat, that brilliance and clarity would not be as likely with the filmy look of non-glare glass in combination with a mat. The reason for that is when there is any distance between artwork and the glass, even if it is just the thickness of a mat, some of the brilliance and clarity is lost. This is even more true when a double or triple mat is involved. (Click photo to enlarge.)

 

Maybe two or three framers in central-Iowa just figured I already knew all about conservation clear glass and therefore never felt the need to tell me about conservation clear glass. That is understandable. But, I was a little miffed recently when I, in the spirit of shopping locally, took the original of Angel in Wine and Blue to be framed at a central-Iowa frame shop. At the same time, I asked that central-Iowa frame shop owner about museum glass for another painting. The owner pointed to a box of conservation clear glass and said that, yes, the shop carried conservation clear and that it is the same thing as museum glass.

Because of Mona Majorowicz at Wild Faces Gallery educating me, I knew this was not true. I said something else to the owner about museum glass. The owner then repeated that conservation clear is the same as museum glass.

WHEHLLL! Knowing that this was not true, I said that I wanted the UV protection benefit of conservation clear, but that I also wanted the minimal glare that is possible with museum glass. (Museum glass also provides protection against 98% of UV rays.) I got a “look” from the shop owner. She then proceeded to tell me that museum glass is so expensive (which it is) and that it would not be cost-effective to purchase it for the shop because of the expense.

Ok, so why didn’t she just tell me that in the first place? Instead, she knowingly tried to pass off the conservation clear glass that she had in stock for museum grade glass.

Back to Wild Faces Gallery…Mona typically doesn’t carry museum glass due to the expense, either; but at least she was up front in telling me that instead of trying to pull one over on me.

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If anyone asks, I’m not going to mention the name of the frame shop where I was told that conservation glass is the same as museum glass. My point is not to make a bad name for anyone. Plus, I’ve almost always been pleased with the overall look of my framing done at the shop. My point is for people to become educated about framing materials, if they aren’t already.

*Museum glass is quite expensive. The 20″ x 20″ piece of glass needed for this framed painting was about $120, including labor. Except for maybe one other piece of artwork, I probably won’t use museum glass on anything else because it is so expensive. I will use conservation clear glass on nearly everything I get framed.

(Click here to go to Louise Shimon’s blog’s home page.)

The Way You Look Tonight

April 29, 2010

Click on the photo to see the outline of the treetops.

I know I still need to post Part II about picture framing supplies, but this photo of the moon won the spot for tonight. Actually, just previous to my taking photos, the moon was more orange-y. I know this isn’t the greatest photography, but it was great to be out in the crisp breeze and to see the moon rise above the treetops that you can barely see in the photo.

Part II about picture framing supplies will be posted by Friday.

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Picture Framing Materials: Know Your Stuff (if you don’t already) — Part I

April 27, 2010

(Click here to go to this blog’s home page.)

I’ve had a fair amount of artwork framed. Not until about a year ago had anyone at a frame shop explained to me the importance of using conservation clear glass (as opposed to regular glass) when framing Mother’s original watercolors.

About a year ago, I began having most of my artwork framed by Mona Majorowicz, owner of Wild Faces Gallery in my hometown of Rolfe, Iowa. I knew that Mona’s gallery in Rolfe existed, but I’d never stepped foot inside the gallery. I’d always had my artwork framed elsewhere, probably thinking that a framer in a little town like Rolfe just couldn’t have as much to offer as one would in a more populated area. WRONG.

Not only does Mona offer quality framing (as do many frame shops); she also provides design expertise coupled with actively listening to her customers’ framing wants/needs (more than at any other frame shop I’ve been to). In addition, she offers lower pricing than most (maybe all?) shops I’ve frequented, and Mona cares about every piece she frames.

With that care, Mona stressed to me the importance of using conservation clear glass on anything that is really important to me (especially if it would be difficult to replace if it fades) and acid-free mats. I’d heard the passing mention of acid-free mats before, but, before Mona did, no framer had ever before explained and expressed to me the importance of selecting nothing but acid-free mats.

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Part II will be posted within a day or two.

(Click here to go to Louise Shimon’s blog’s home page.)