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"Into Blanco Canyon" by Bonnie Marris

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"Into Blanco Canyon" by Bonnie Marris

Into Blanco Canyon
by Bonnie Marris

The history of the horse in North America can be told from northern Texas’ Blanco Canyon. Francisco Vasquez de Coronado camped there twice in 1541 while on his expedition to find El Dorado. The conquistadors’ lost and escaped horses would soon multiply exponentially and populate the west. The word Mustang comes from the Spanish Mestengo – “to stray”.

The great Comanche equestrian empire was born because of their proximity to Mexico. They were one of the first of the Plains Indian tribes to adopt the horse and became one of the West’s dominant tribes because of that. Comanche bred descendants of the original Spanish Jennets, Barbs & Sorraia roamed Blanco Canyon for centuries. Many a western film, including the classic The Big Country, was shot in this magnificent location.

With mustangs as symbols of freedom heroism and romance, Bonnie Marris’ Into Blanco Canyon portrays the limitless possibilities and bold independence we associate with the American West.

"Into Blanco Canyon" by Bonnie Marris



Sizing and Pricing:

Greenwich Workshop
Fine Art Giclée Canvas:

limited to 45 s/n.
36"w x 18"h.

About Bonnie Marris

Bonnie Marris has taken an unusual path into art; she developed her talent by portraying animals “from the inside out.” While she was a student at Michigan State University, Bonnie illustrated several major books. One volume she worked on was a leading expert’s mammalogy text that contained several hundred drawings and detail studies. This massive project attracted the attention of noted zoologist George Schaller, who invited Bonnie to prepare the art for posters that would support his worldwide rare animal relief programs. Beyond academic training and emotional involvement, art requires another element for which there is no substitute: experience. Each year, Bonnie makes two major trips, and countless smaller ones, to observe and learn about the wildlife she loves. In 1980, one such voyage took her to Alaska, where she lived in the wilderness for six months. She recounts, “To get into a natural environment and see the animals on their own terms is as important as knowing the animals themselves. For instance, gray wolves on the tundra—the vast, vast tundra with the wind and other forces of nature at their most extreme—that’s what makes them what they are. To stand not far from a grizzly that is so overpowering, so beautiful and so large . . . to watch it pull up a small tree with a swipe of its paw and just a few minutes later see it delicately picking blueberries with its black lips. . . Alaska changed me; it gave me the biggest incentive to paint and increased my interest in the predators: the cats, bears, coyotes, wolves and foxes. They exist on so many levels. Their moods show in their eyes and we can learn so much from them.”


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