The Grand Canyon has always been among the subject matters closest to Thomas Moran’s heart, and along with his career, he would paint many times, often from different angles. Since it is such an amazingly huge natural feature, the artist was thus blessed with an endless source of inspiration and seems always to be able to discover a new vantage point previously unknown to him from which another piece of sublime landscape art could be produced.
This oil on canvas, produced towards the end of his career, in 1913, and now in the hands of private collectors, is one of those sublime landscapes, portraying the Grand Canyon as a column of rain approaches it from the left side of the canvas. The incoming weather works in the scene in more ways than one. Firstly, it provides dramatic dynamism to the scenery, enhancing the sensation of the rock formation as a living thing.
Secondly, the clouds, although unseen, paint the whole landscape with light and shade by its presence. Thus, even though only a strip of rain is seen approaching, Moran makes such dramatic use of lightning upon the scenery that it leads the observer to understand that there is a much greater amount of bad weather coming. Instead of portraying the heavy dark clouds that accompany the rain, he shows us the effect they produce on the land in that short period before the rain completely sets over the scenery.
The observer is left to wonder, then, at the meaning that Thomas Moran wanted to achieve with the title given to the piece. It is not clear whether the eponymous miracle is meant to be the Grand Canyon as a whole, which would be a very apt description, or if it is meant to be the weather pattern witnessed by the artist and masterfully transmitted onto the canvas.
Either way, it is undeniable that, even in the later years of his career, J. W. M. Turner’s influence was still strong in Moran’s work. Considering that the latter followed the steps of the painter of light, one could even venture that the student did eventually surpass the technique of the master and that this piece makes a strong case for that. So exquisite is Moran’s use of lightning that not even photography could make as much justice to the natural beauties of America as he did.
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A Miracle Of Nature
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