Before Now | Historical Artists | Visual Arts

Porter Rockwell Through Alvin Gittins’ Eyes: Myth and Man Captured in Paint”

Expressive painting of a man's face with a bald head and a thick white beard, holding a cigarette between his teeth, with soft brushstrokes and warm tones.

Alvin Gittins’ self-portrait as “The Gourd King,” 1970, oil on canvas, 16 x 11.5 in. Courtesy Springville Museum of Art.

On the site of the old state prison, where developers are promising a city of the future at the point of the mountain, ground was recently broken for the first stage of the development: a grand boulevard named after one of Utah’s more notorious citizens: Porter Rockwell. Called by one biographer, “Man of God, Son of Thunder,” the gunslinger’s life was the basis for numerous rural legends, campfire stories and parental admonitions. He was known for his characteristically long locks and his clear, slightly wild eyes. Both are captured in Alvin Gittins’s portrait of the Utah legend, painted out of personal fascination rather than commission. The portrait of Rockwell showcases the artists skilled realism, sense of humor, and ability to capture complex personalities—all while reflecting on the myths and violence tied to Utahs pioneer history.

Gittins is a towering figure in Utahs art history, celebrated both for his technical prowess as a portrait painter and his influence as a long-serving professor at the University of Utah. You cant explore much of Salt Lake Citys public buildings without running into one of his portraits, which can be found all over the University of Utah Campus, at the Utah State Capitol, and in the Abravanel Hall lobby. Hes well-known for his ability to capture the individuality and humanity of his subjects, and was commissioned to paint hundreds of portraits during his career.

As an artist, Gittins championed realism during a time when it was not popular, dwarfed by the developments of Abstract Expressionism, Minimalism, and Conceptual Art that dominated the 1950s-1970s. His dedication to the human form and to capturing the essence of his subjects earned him a reputation as Utahs foremost portrait painter. Gittins once remarked, I am fascinated by man and woman and living things … their flesh and bone, their folly, their beauty, their variety. If I could reflect these things strongly, and down to the last significant gesture or wrinkle, perhaps I could also reveal a meaning veiled, yet expressed by the surfaces of life; then I would be content.” This philosophy underpins much of his work, particularly his official portraits of prominent Utah figures. Another common element in Gittins’ paintings is a sense of humor. Especially when Gittins was left to his own devices, without a formal patron, he often imbued his paintings with layers of jokes and playfulness. His self-portrait “The Gourd King,” in the Springville Museum of Arts collection is a great example. It is within this context and at this intersection of official portraiture and humorous genre scenes that his portrait of Porter Rockwell finds its place in his overall oeuvre.

Gittins’s interest in Rockwell appears to have been deeply personal, and perhaps obsessive. According to historical records, Gittins became captivated by Rockwell after reading about his exploits. He visited the Utah Historical Society to study all the available material” on Rockwell, immersing himself in the life and legend of the man. The then-Historical Society director Dr. Everett Cooley even reported that Gittins painted the canvas to get Porter Rockwell out of his system.” After all this research and obsession, Gittins says he painted Rockwell, “as he felt he would have appeared.” The result was a haunting depiction that captures both the myth and the man. Newspapers reported, The wild-eyed look of Rockwell cannot help but stir the imagination of even the most passive onlooker.”

Painting of an older man with a long white beard and disheveled hair, wearing rugged clothing and holding a pistol in one hand, standing in a desolate landscape under a dramatic sky.

Alvin Gittins’ portrait of Porter Rockwell, 1967.

The painting shows Rockwell standing in a desolate landscape. His wild, long gray hair and beard blend into the swirling storm clouds behind him, creating a sense of chaos and blending man with nature. His dusty yellow jacket merges with the browns and yellows of the desert landscape, reinforcing this connection. In his right hand, he holds a gun at his side, while his left hand is raised in acknowledgment—perhaps surrender, perhaps greeting. His expression is fierce and defiant, inviting viewers to confront the mythology surrounding him.

It’s interesting to analyze Gittins’ painting as an artifact in the States history collection, rather than a painting in its art collection. Gittinsportrait reveals much about the way we have constructed the story, and mythologized the characters of Utahs pioneer settlement. Gittinsportrait reflects on broader themes of violence, myth-making, and the complexities of Utahs history. Rockwells larger-than-life persona can be seen as a convenient scapegoat in the way weve told the story of Utah in the nineteenth century—a way to blame the violence of early Mormonism onto one man rather than acknowledging the systemic nature of the violence and problems of an entire culture, time and place. In some ways, Gittins’ portrait reinforces this stereotypical story by continuing to mythologize Rockwell and his legacy. But, Gittins seems to understand, and tries to portray, the complexity of Rockwell and his mythos beyond the stereotype. Though wild, fierce, violent, and defiant—he is not necessarily a hero. There is almost a bewildered look in Rockwells eyes, a hint that maybe there was more nuance to both the way Rockwell understood himself, and the way Gittins wanted to portray him.

After gifting the painting to the Utah Historical Society in 1967, Gittins’ portrait toured Utah, hanging in locales as diverse as Bountiful, Park City, Logan, Sundance and Salt Lake City. At every location it caused a stir and reaction in its viewers and the local press frequently commented on its ability to capture the attention of viewers. When displayed at the Kearns Mansion, a reporter described the painting as dominating the library,” and opined that you could almost hear him say, I never shot a man that didnt deserve it.” A reporter in Logan tried to skirt around some of the potentially alarming details in the painting, writing, Certainly, some arguments may be raised about certain features of the Rockwell painting, especially the scuffed leather boot of a very dead man at the bottom of the painting.”

For over a decade Gittinshaunting portrait of Rockwell hung at downtown Salt Lake Citys iconic Alta Club, welcoming (or warning) members and their guests to this exclusive establishment. It was taken off loan a few weeks ago to head to Colorado for conservation and cleaning before making its permanent home at the upcoming Museum of Utah.

Though the Alta Club will miss having the original Rockwell in their lobby (a very nicely produced giclee will hang in the originals stead), the portraits planned placement in the Museum of Utahs engagement room is particularly fitting. It was in this space in a previous building that Gittins conducted much of his research on Rockwell, immersing himself in the stories and documents that informed his portrait. The painting exemplifies Gittinsability to capture both the humanity and the mythology of his subjects, blending realism with storytelling to create portraits that resonate on multiple levels.The painting stands as another example of Gittinsskill, humor and enduring legacy in Utahs art history—an artist who, even decades after his death, continues to stir the imagination of those who encounter his work.

Tagged as:

1 reply »

Leave a Reply

Your email address will not be published.