It rained in Northern California last weekend: a trace in Sacramento, and a few inches of snow fell in the Sierra Nevada. The week before, while most of the rest of the US was caught in the “Polar Vortex,” the temperatures here were deceptively mild. Indeed, if you are a bicycle rider or a hiker, this is a great winter: Central Valley and Bay Area temps in the 60s, perfect sunny weather. (Well, except for the dirty, stagnant air.) It’s not so great if you’re a skier, though: there’s no snow in the mountains. Almost literally. The early January snowpack measurements found that on average the snowpack is about 20% of “normal.” In the northern part of the state, the snow was at 10% of “normal.” So while last week’s storm helped a teeny bit, many of the cross-country ski resorts have closed; instead, people can hike on their trails.
What this means for residents, both human and non-human, is that, unless things change, there will be very little water this summer and fall. The fire danger will be extreme. There have already been red flag warnings in Southern Cal and in the Sierra foothills in January. There was a fire in Big Sur in December.
Here is Sacramento, the U.S. Bureau of Reclamation has cut the flows to the American River to 500 cubic feet per second (cfs). (A cubic foot is about 7.5 gallons.) By comparison, according to the Sacramento Bee, the median flow for early January is 1,728 cfs, over three times as much. Local lore has it that, when the flows are this low, you can walk all the way across the river in some locations.
Wildlife officials have already started warning people to beware thirsty wild animals. If the drought goes on long enough, it may affect the country’s food supply.
Here are a couple of photos from my local park, where there is a vernal pool preserve. Vernal pools are not affected by the pumping of river water. They only get water from rainfall, and no water flows out of them. The first photo is from December 2012, the second of our three dry years (so far). And the second picture is from last week (before this last rain).
Since there is little I can DO about this drought, except conserve water*, I’ve decided that I’m going to try to document the drought in sketches and paintings. The sketch above is from that same park. With no rain, the oak trees kept their leaves very late, and they turned beautiful and subtle burnt oranges and reds.
I know I am supposed to end these posts on an upbeat note, and pose a call to action. So here’s my call to action for you: pray for rain. Do a rain dance for us. Whatever power you have with the Universe, send some rain and snow our way.
*Water in the West is an extremely complicated and complex topic, but since this blog focuses on art and nature, not politics, I’m not going to get into it. Yet.
Update. Well, at least now we know why all the dead birds at Radio Road that day: an outbreak of avian cholera. Apparently the pond is going to be drained for a few months, to kill the bacteria.
Updated. What a way to start the year! My apologies if the version you saw included unfinished links.
It was a great way to finish the year: A field trip with the Nature Journal Club to Radio Road in Redwood City to watch and sketch shorebirds. About 20 birders and sketchers joined John Muir Laws on this unseasonably warm day near the sewage treatment ponds.
The (Bay Area) Nature Journal Club is a group of sketchers who take monthly trips to, well, sketch nature. But there’s a twist: they’re out to learn, too. I had only been to one other NJC event, a whale watching trip in Monterey Bay last October, so I wasn’t quite sure what to expect. Laws gave an introduction and a primer to sketching ducks, and he asked the “bird nerds” (which included me) to introduce people to the kinds of birds on the pond.
Sewage treatment ponds are havens for waterfowl. There were both kinds of teal, pintail, widgeon, ruddy ducks, canvasback—even a few Eurasian widgeon, rarities for the Bay Area. And that doesn’t include the flocks of avocet, dowitchers (probably short-billed), snowy egrets, cormorants; and the gulls and passerines and raptors who flew by. I also spotted some birders with very large camera lenses lurking about.
After our introduction, we sketched and shared a potluck lunch, showed one another our journals—with Laws encouraging us to sketch beyond the birding-book profile view—then sketched and shared some more. Seeing other’s work is always helpful. Some had focused on drawing heads very well; others had worked on an individual bird. I worked on sketching the birds I don’t normally see when I go out in the Central Valley, where I live.
We ended the day with an examination of the feather structure on a cooperative dead pintail that Laws found, and a comment that the individuals who do the most to protect waterfowl habitat are actually hunters, through both their duck stamp purchases and organizations like Ducks Unlimited. He’s right: too often birders don’t provide the monetary support needed to protect habitat. “[Leaving] only footprints” doesn’t help protect habitat from development.
The bright sunny day did have its shadows. The surrounding neighbors threatened to have our cars towed when we went to their (public) park for lunch. And the pintail was not the only carcass we saw; there were a number of dead birds in the pond. One birder said there were an unusual number of carcasses that day. No one could say why. They had not been shot by hunters; predators would have eaten them. Disease? Toxins? Last summer I saw an account of many birds in the Klamath National Wildlife Refuge being killed by some disease, and I wondered if something similar was at work here. The drought we’re having is likely to exacerbate any contagious or vector-borne illness, so that’s even more reason to hope for rain in the new year.
Still, I’m glad I went. Jack Laws and the Nature Journal Club are onto something, getting people out observing nature and turning their observations into art.
I wanted to write a glowing review of the Anders Zorn show at the Palace of the Legion of Honor in San Francisco now through February 2, 2014. Anders Zorn is considered by many painters to be one of the Big Three of early 20th Century painting (the other two are John Singer Sargent and Joaquin Sorolla). He is not as well known by the public now, but in his day he was quite successful as a portrait painter and painted the portraits of three U. S. presidents.
In many ways, the paintings are amazing, and this is a rare opportunity for Americans to see them without traveling to Sweden. The watercolors, especially, are tours de force. The paintings, both watercolors and oils, are worth seeing for the brushwork alone. Big brushes that create satin fabric (or homespun) in a stroke. Portraits that capture the personality of the sitter, for good or ill. So I definitely recommend the show to anyone interested in art history during the Gilded Age or in the paintings of a “painter’s painter.”
Zorn is also known for his limited palette, on display in the self-portrait that opens the exhibit: white, yellow ochre, vermilion, and ivory black. The self-portrait also has a dark ochre that might be burnt umber or some other darker earth color. In that palette, the blacks can look blue when placed next to warmer colors. And for the landscapes, Zorn may have also used viridian, but I don’t think so. The green in his landscapes is so odd, I think it, too, must be made with black, though I’m not sure how.
Which brings me to why I cannot whole-heartedly recommend this show to someone who just loves art, and has no interest in the craft or in art history. For ultimately, though most of the paintings are supremely well executed, I cannot love them.
The paintings are just cold*, by which I mean the temperature of the colors, not the emotion he seeks to portray. The paintings are also, for the most part, somehow calculating. Even the nudes, for all their daring (naked women in the landscape!) are a little voyeuristic and prurient.
I think I was reacting to that famous palette. Without blue, the colors somehow seem cold and off. And yellow ochre is a harsh, dull yellow under the best of circumstances. If anything, I was reminded of early Van Gogh, before he went to Paris: all dark and umber and black. A few of the nudes are warmer, as Zorn got the warmth of the day into them. This is just my own opinion, mind, and you are free to disagree with me. But I’m gonna stick with a fuller palette.
Have you seen the Zorn exhibition? What did you think?
*See especially “Man and Boy in Algiers,” a watercolor from 1887. The rendering is perfect. But the skin tones in sunlight are cold. There is almost no warmth at all in that sunny day painting.