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Artwork of the Week

'After the Fire' by Charles S. Chapman

Artwork of the Week: August 26, 2024

A painting of burned trees in a mountain landscape
Charles S. Chapman (1879-1962), 'After the Fire,' no date, oil on metal, 16 x 21 inches. Brigham Young University Museum of Art.

Blackened trees smolder in the aftermath of a wildfire, charred remnants on a mountaintop. During Charles S. Chapman’s lifetime, unusually massive wildfires destroyed millions of acres in 1898 (North and South Carolina), 1903 and 1908 (Adirondacks), 1910 (Montana, Idaho, and Washington State), and more. While lightning and drought can naturally spark and spread a wildfire, many wildfires also have human origins, such as arson, accident, and industrial negligence.

Placing the viewer on a mountain, this work offers less a sweeping vista of a landscape than a view of our relationship to—and potential complicity in—a devastating blaze.

This work will be on view in the upcoming exhibition, Crossing the Divide: American Art from the Permanent Collection, opening on September 20, 2024.

Past Artworks of the Week

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Artwork of the Week: 'An Autumn Stroll' By J. Alden Weir

May 11, 2026
In J. Alden Weir’s An Autumn Stroll, a woman and child share a quiet moment in the cool autumn light. As they pause for a shared moment under a tree, they gaze outward—their calm,contemplative expressions detailing their experience and allowing viewers to feel welcome in theirspace. Based on Weir’s own daughter Dorothy and her stepmother, the artist uses this painting toprovide viewers a glimpse into the relationship between this mother and child, capturing both familiarity and tenderness. As they stand together, connected, they represent the relationships that many may have with their own parents or loved ones.
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'Figure of Count Bruhl's Tailor' (Unknown Artist)

May 04, 2026
Artwork of the Week: May 4
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Artwork of the Week: 'Round Dance' By Maynard Dixon

April 28, 2026
Dixon loved and respected the indigenous people who often appeared in his paintings. He was inspired by their physical resilience as well as by the spiritual knowledge he believed that they drew from their relationship with the land. At times, they invited him to witness some of their sacred ceremonies, and he believed his role as an artist put him in a unique position to explore these sacred rites. Dixon allowed his imagination to edit and augment the things he saw when visiting with the Hopi and Navajo peoples and acknowledged that others might not see this world as he was presenting it.
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