The Art of Robert Griffing: His Journey into the Eastern Frontier
By George Irvin
Edited by Ann Trondle-Price
152 pages, hardcover: $55.00; premier edition: $385.00
ISBN: 0-9671614-0-1
Reviewed by Tim Todish for MUZZLELOADER. Published in March/April 2000 issue.

    Like many of the people in his paintings, Robert Griffing is a pioneer. It was not all that long ago that both artists and their publishers were reluctant to risk producing "Eastern" historical artwork. The real market and therefore the profit was in Western art. Not only were Griffing and his publisher the first team to risk doing Woodland Indian art on a large scale, but also they have been innovative in other ways. Along with the print The Taking of Mary Jemison, they produced an excellent videotape that tells the history of the actual event and also chronicles the progress of the painting. This is a unique idea that I would like to see much more of in the historical art field. And while the publication of a collection of an artist's work in book form is not a new idea, The Art of Robert Griffing is certain to set a new standard of excellence in the industry.
    Before turning to historical art fulltime, Robert Griffing enjoyed a highly successful thirty-year career in commercial art, where among other accomplishments, he designed the well-known cowboy hat logo for the Arby's fast food restaurant chain. "Griff," as he is known to his friends, grew up in rural northwestern PA where he gained an early appreciation for the area's history and natural beauty. He was especially fascinated by the region's first inhabitants, the Eastern Woodland Indians. When he finally retired from the commercial art world, Griffing determined to devote his future efforts to painting his longtime loves, Woodland Indians, nature and history. He quickly became recognized as one of the foremost historical artists working today and is certainly the premier painter specializing in 18th century Woodland Indians. Both Griffing's original art and his limited edition prints published by Paramount Press are in great demand. His artwork has also graced the covers of many issues of this magazine.
    The 9 X 12 inch page size of this new book allows the artwork to be reproduced large enough so that its beauty and detail can be seen and appreciated. Unlike many books the text is printed in a large, easily read size. The premier edition includes a 16-inch by 20-inch stretched canvas reproduction of the book's cover illustration, The Peacemaker. The edition size is 950, and both the book and print are signed and numbered.
    The Art of Robert Griffing is divided into chapters that organize the story of the Woodland Indians in a logical manner under such topics as: "The Way They Lived," "Trails Through the Dark Forest," "Traveling the Waterways," and "Taking Up the War Axe." Each chapter combines relevent paintings with powerful text to give the reader a full appreciation of the topic. In my opinion the last chapter, "Robert Griffing--His Journey," should be read first, before one seriously delves into the rest of the book. This chapter sketches Griff's life and artistic career, unraveling many of the mysteries of the quiet man behind the paintings, thus enabling the reader more fully to appreciate the rest of the book.
    Mere words alone cannot adequately describe Robert Griffing's artwork, as those who are familiar wiht it will readily attest. To say that his art is artistically beautiful, historically accurate, emotional, expressive and inspiring is correct--yet incomplete. There is something about it that defies verbal description; it must be seen to be appreciated. Being fortunate enough to have seen a number of his original pieces, as well as most of his limited edition prints, I am amazed at how faithfully the reproductions in this book reflect the quality of Griffing's art. Not only are all of the well-known favorites here, but also are a number of previously unpublished works.
    Just as the artwork in this book should be studied and admired, so should the accompanying text be carefully read. Simply and without fanfare, the text compliments but never overshadows the artwork. This is the way it should be, and the writers are to be complimented for their efforts. their clear and concise narrative, using quotes from a number of well-chosen primary sources, will be interesting and informative to beginner and veteran history buffs alike. It will also capture those whose interest is in the "art" rather than the historical background of the paintings. Who cannot but benefit from the advice given by the Caughnawana Tecaughretanego to adopted white captive James Smith to 1758? "Owaneeyo sometimes suffers us to be in want, in order to teach us our dependence upon him...Be assured that you will be supplied with food, and that just in the right time; but you must continue diligent in the use of means--go to sleep and rise early in the morning and go a hunting--be strong and exert yourself like a man, and the great spirit will direct your way" (qtd. in Scoouwa: James Smith's Indian Captivity Narrative 21).
    No doubt most of the readers of this review will be very much interested in the historical aspects of the book, and they will not be disappointed. He says, "I'm not focusing on their culture or the spirtual part of their lives. That's their very own, very private story. Instead, I'm focusing on their struggle in the face of European invasion and how they were able to survive. My work is about how they maintained their pride and dignity in the face of extreme change."(147). Griffing's talent with a brush reminds me of Gary Foreman's skill with a camera and the way he produced an honest, authentic and visually stunning chronicle of the same basic conflict in his award-winning History Channel series Frontier: Legends of the Old Northwest. It was no accident that some of Griffing's paintings were used as "flat art" in this series.
    When it comes to historical accuracy, Griffing treats both sides of the conflict with the same care and precision. The clothing, uniforms, weapons and accoutrements illustrated are all correct and authentic to the period. So too are the natural backgrounds, such as the forests, the rivers and streams, and the dwellings and fortifications. The details of both the Indian and white 18th century cultures are researched in minute detail. The resulting accuracy of of the paintings comes from Griffing's love of history, knowledge of the woods and his natural talent to put what he sees down on canvas. Another element enhancing his artwork is his participation in "living history," where he is able actually to experience as closely as possible how our ancestors lived. It is one thing to read about an historic trek or canoe trip, but it is much better to experience it yourself, covering the same ground wearing period clothing and using only authentic gear and weapons. Of reenactors Griffing says, "Some of my closest friends today are relatively recent acquaintances I have made at re-enactments. To tap into the knowledge they have . . . it's very important to me."
    The Art of Robert Griffing is one of those books that definitely belongs in every library, in every school and in the personal collections of every reenactor, buckskinner. The Art of Robert Griffing is available from Paramount Press, PO BOX 226, Stow, NY 14785, or call (800) 647-2901.