The Colorado and its Tributaries

Dean Fausett received a commission from the Bureau of Reclamation on May 8, 1969, to visit and depict the Glen Canyon Dam site in his medium of choice. In October of the same year, Dean Fausett, along with Lynn Fausett and Norman Rockwell, visited the Glen Canyon Dam site with John DeWitt and W. L. “Bud” Rusho. The purpose of their trip was to study the site, gather references, and prepare for the artworks they would create based on their experience.

From this commission, Dean Fausett produced four oil paintings: Peaceful Morning Near Camp, Campsite at Dawn, Early Morning at Hole in the Rock, and Wahweap Marina. Each piece is a completed oil painting that captures the landscape, with three of the works being large-scale compositions measuring 48”x96”. These larger pieces bear a resemblance to the murals he had worked on in previous decades.

In all his paintings, the underpainting is visible beneath thin top layers of paint, particularly around lighter areas such as clouds. The canyon waters feature prominently in each work, and the reflections of the rocks and canyon walls are distinct and apparent. Dramatic shifts in value across the canyon walls and crevices reveal the worn textures of the rocks, showcasing their curves and angles. On Fausett’s canyon walls, the dark patina known as “desert varnish” appears to flow over the surface, a result of preferential formation where water trickles down cliff faces. The microorganisms of bacteria and fungi that are present on the surface of the rock aid in the development of the distinctive patina.

A special moment may have occurred between the brothers in the canyons that would later become the Glen Canyon National Recreation Area. Consider Dean Fausett’s Peaceful Morning Near Camp alongside Lynn Fausett’s Slickrock Canyon; despite their striking differences, notable similarities exist between the two pieces. It is likely that during their travels through Glen Canyon, the brothers painted the same landscape in an area referred to as Slick Rock Canyon. The lighting in their paintings suggests they were working at the same time of day, likely in the late afternoon as the sun set, creating strong contrasts, vibrant colors, and deep shadows across the landscape.

Studying these plein air pieces by the two brothers presents a unique opportunity. Lynn, who was one of the first to introduce art to Dean, eventually brought his brother onto various art projects as their careers grew. Their collaborations creating cartoons and designs for Hildreth Meière’s projects was a time where their work needed to be cohesive. Several decades later, they stood by one another on the banks of the slowly growing Lake Powell reservoir, and they painted majestic cliffs of sandstone. Dean’s warm reds gently contrasting with blues and greens and his smooth, long brushstrokes that practically carve away at the sandstone with thin layers of paint. In contrast, Lynn employed shorter, heavier brushstrokes that create thicker areas of yellows, greens, and violets, conveying a shadowy and cooler atmosphere. Few collections share a narrative as rich as that of the relationship between these artists and the creation of their works on the banks of Lake Powell.

The Reclamation Art Program may have been one of the last public projects the two brother artists completed together.