I used an old black and white photo of Tila (in the garden) to put this painting together. I asked my grandson Lorenzo to pose so I could do Tila's younger brother in a realistic manner. I had some old magazine photographs of New Mexico kitchens in historical homes, which I used for the Tila's background.
Scene II shows Tila and her friend as they depart Taos to go to a girl's school in Santa Fe. Tila's father drove the girls to a little railroad depot so they could ride the train to the Lamy station near Santa Fe.
Carolyn furnished me with an old black and white photo of Tila's father with his horses and wagon. I found a trio of Hispanic women in the parking lot of a local grocery store, and asked them if I could have them pose for me. One of the girls put her hand on her mother's shoulder, and I thought that was a sweet gesture, so I included it in the painting.
Scene III continues the story of Tila after the end of World War I, when she married her friend Amata's old brother, Juan. Juan was 26 and had just come back from the Army, and Tila was a mere 17. Tila and Amata had just joined the Church of Jesus Christ of Latter-day Saints, so Tila made Juan promise that he would join the church if she married him. He did, even though it took over three years!
When I made this painting, I had a black and white photo of the wedding. The details were scratchy, but I decided to paint them in sepia tones, with a touch of pink for cheeks, lips, etc.--just like old b&w photos I had seen. I put them on a stage; after all, most weddings are pretty much stage productions! Ha ha.
After the wedding, Scene IV. continues the story as Juan (now called Trujillo by Tila) starts work as a shepherd. Trujillo and Tila have their first little baby, Magdalena, who dies shortly after birth. So the sorrows of married life begin, but they have many more children, among them a beautiful little girl, Nora, who was the mother of Carolyn.
When I painted the sheep herding painting, I had nothing for reference. I googled an image of a 1920's sheep herder, and used it as the basis of the painting. I had some good photographs of sheep (I like painting sheep), so I was able to increase the size of the herd with some good life-like sheep. And the background is a photograph of Taos Mountain.
As the number of children increased, and Trujillo found different employment, Scene V. shows his purchase of a dark green International pickup. Since all International pickups were extremely difficult to bring to a complete stop, Trujillo drove slowly by the house so Tila could throw his lunch through the truck window. This gives a new meaning to drive-up food services.
I had Carolyn pose for this painting--and she did a great job! Again, the Internet became the source of a green International pickup, as well as some of the beautiful hollyhocks that are known as the Taos city flower. Another search yielded an old adobe home in Taos, so I stirred all the ingredients together and this is what came forth!
Scene VI. depicts Tila presenting two missionaries with a freshly-baked loaf of bread. Tila and Trujillo (who was the Taos Branch President--aka the minister of the LDS Church) donated some of their land and built a little chapel for worship. They built an extra room at the back of the Church that became a home for the missionaries. These boys became like sons to Tila, and one of them, Elder Wally Chatwin, eventually married her beautiful Nora.
I started this painting with an old black and white photo of the old chapel, which has since been torn down. I had Carolyn and two young men I drafted into posing for me help with the inspiration photo. Naturally, Carolyn wore the right kind of dress for the era, but my 'missionaries' needed a little wardrobe and hair change. So, I painted some nice pleated and cuffed trousers, made the shirts a little fuller, and the ties wider and shorter. Hair was changed a little, and they received a loaf of bread with the old chapel in the background.
The end of the play, Scene VII. shows Tila and Trujillo in their later years, dancing in front of their Christmas tree. These two kept a ledger to keep track of their finances. It was also used to record important dates--and as a place to write notes to each other, particularly if one of them had an 'axe to grind.'
Carolyn furnished me with a wonderful black and white photo of Tila and Trujillo dancing. I painted it much like the photo, and colored the skin and clothing to suit the era and my own ideas of how they might have dressed. Carolyn's sister Susan helped by remembering that the floral drapes were blue. I think this is my favorite of the paintings, just because you can see the love between these two.
I am so grateful to Carolyn for the opportunity to create these paintings for her, and hope it will provide her family the same pleasure I had in helping to create them.
