Chesley Bonestell, the IAAA, and Cosmic Art in a Historical Context of Latter 20th Century
Tags: Culture, Science, Space, History, Art

Chesley Bonestell, the IAAA, and Cosmic Art in a Historical Context of Latter 20th Century Nora Follow Oct 11, 2019 · 12 min read

“JUPITER FROM IO.” IMAGE COPYRIGHT DAVID A. HARDY

Since the birth of human beings, art has existed along with the development of humanity. Rock paintings and cave sculptures have perfectly proved that artists from millennia ago had started to produce and enjoy art. The imagination goes further when technology brings back information of the great outer space, where space digital images are put down into drawings by artists to inspire us. Cosmic art is the embodiment of the old and modern image which represents a special genre in the art field to accelerate beautiful explorations of the space. What is cosmic art? How cosmos and art are interconnected? By presenting the background of cosmic art and The International Association of Astronomical Artists (IAAA), this blog post aims to analyze two famous cosmic paintings by the father of space art — Chesley Bonestell, and how the paintings related to the historical context in the latter 20th century. To newly open adventurous ways to the appreciation of contemporary cosmic art by presenting a few examples, it is exciting to learn a new perspective viewing the universe and to imagine freely about the future development of our cosmic culture.

Multicolored galaxies, shining stars, distant worlds with too many unknown features, people all over the world tilt their heads toward the sky, are eager to know what the outer space looks like.

Contemporary art is tightly associated with the history of building human civilization. Under the global perspective on art, the importance of encouraging art-making is seen as the catalyst for space exploration. For human beings, the discovery and use of the space could be incomplete and pitiful if we neglect the contribution that art made to the development of humanity.

Dated back to 1874, James Nasmyth and James Carpenter, two Englishmen published a highly realistic depiction of the moon’s surface. The photography The Moon was originated by the model of a single round plaster with a starry and black background. From here the artistic imagination and anticipation for outer space began, and it opened the study of space art and encouraged many other artists to follow suit. A two-volume book named Splendor of the Heavens (1923) was out, written by Scriven Bolton and a Frenchman the Abbé Moreux, considered as the very first collection of space images in the early 1900s. Another Frenchman, Lucien Rudaux, also gave birth to books such as the classic Sur Les Autres Mondes. Being the very own director of the observatory in Donville, Normandy, Rudaux got the privilege of observing the surface and edge of the Moon. Thus, he contributed more to the realistic paintings on the lunar mountains and water traces. These three pioneers of cosmic art largely imitated the form of realism following the Carpenters.

The earth, from the moon, Lucien Rudaux

Perhaps Vincent van Gogh’s Starry Night was among the most notable artworks picturing the starry sky during this period, painted in 1889. Still worldwide famous of this particular artwork, it illustrates how the two colors, dark blue and shining gold collaborate perfectly to depict the scene from his sanitarium room window. Besides the many space fiction literature that had existed or is coming out for generations to stimulate the imagination of discovering the universe, a newly broad genre of visual art — Space Art has emerged. There are seven categories of this diverse genre, Space Art is defined as “Contemporary art which relies on space activity for its implementation”. Primarily, artwork created basing on space photography and statistics is the first kind, in which space illustrators largely make use of the fine art to engage with space exploration. Secondly, artwork that expresses or defines space conceptions according to database and facts, namely the concrete depiction of certain space terms. The next three kinds are similar; art in space seen from Earth, art on Earth seen from space and art in space seen from space itself. The sixth type and seventh type are more concerned about the modern practical use, focusing on artworks of object design and new-born technologies or materials. These last two are vital for the global artwork system under the satellite systems we have already. In general, cosmology is the system far beyond sequential classification or the integration among different fields. Today, we gain daily updated information and find it meaningful that the link between science and art dedicated to early pioneer cosmic artists had given us the platform for new streams of creativity. Armed with data and facts, constructing the bigger image of space art proves to have more and more interesting turning points.

Chesley Bonestell, Father of Cosmic Art

“No artist had more impact on the emerging popular culture of space in America than Chesley Bonestell.” By using light and shadows massively, Bonestell was the greatest artist who stimulated the Americans’ interest in space exploration. Not only to exaggerate specific features in close depictions, but he also portrayed outer space in a way with a sense of awe. His very strong characteristic of painting landscapes rather than space aircraft of astronauts has greatly influenced the contemporary space culture. Originally, little figures of human beings standing in the mass shadows of big mountains and valleys were the characteristic of Bonestell’s artworks. The sense of contrast was performed with the alien and distant worlds presented by him, giving us exotic emotions toward the shadows as human beings are much too small compared to the locations.

Father Of Modern Space Art, Chesley Bonestell

Chesley Bonestell was a prolific artist with multiple titles; designer, book-writer, painter, director, and illustrator. In a wide range of media, we can find his masterpieces, from textbooks to encyclopedia, from popular magazines to movies on the big screen. Born in San Francisco, California, Bonestell studied architecture in college. This probably explains why his unique angel of the three dimensions was very much applied to his artworks, credit to his early knowledge of analyzing stereoscopic acuity. Though Bonestell’s very first space-art painting Saturn as Seen from the Titan was destroyed during the great 1906 San Francisco earthquake, it didn’t affect its publishing in a 1944 issue of Life magazine. Ron Miller, being the administrator of the Bonestell Space Art put lots of effort into analyzing Bonestell’s artworks, especially this early iconic Saturn painting.

Saturn as seen from Titan, Life Magazine, 1944

There were many other topics to draw, and many other subjects to focus on, but Chesley Bonestell chose the Saturn. Not to mention the moon, our nearest neighbor at all. He could have also chosen Mars or the starry sky above. In the mid 20th century, Bonestell had gained a reputation as a top architectural illustrator, where in Hollywood he worked as a special-effect matte painter. Since childhood, his strong interest in astronomy pushed him to dedicate himself to the space field and made colorful illustrations to the generic definitions. “Its spectacular ring system — assumed at the time to be unique — made it something special.” The beautiful depiction of Saturn pretty much formed a mindset when people think of the term “planet”. Despite the pretty rings around the circle, the rings themselves reflect different scenes under different angles, seasons and distances. The saturation of the picture is strong enough with emphasized shadows on the rocky mountains.

When looking at the historical background in the 1940s, it is surprising to find that not a lot of space scientists studied Mars before. This probably explains why Bonestell didn’t choose Mars to be the focusing subjects. People at that time assumed Mars was simply a plain desert with red soil and some holes, hills on the surface; then Bonestell’s delicate artwork with the interesting visual effect would possibly be regarded as pure imagination of unrealistic planet. “With Saturn, Bonestell would have had to rely much less on an invention. The compelling beauty and mystery of the planet spoke for itself.” During the creating process, Bonestell drew several draft versions of the Saturn on a sketchbook, with the insight of shadow and light using only black and white. Here the techniques of the three-dimensions were put in use again. Echoing with the pioneer artist mentioned before, Scriven Bolton, the two artists share a similar perspective on depicting the surface of a certain planet and the convincing details of choosing angles. Moreover, the astonishing believability and realism in the Saturn shocked the contemporary space culture as a bomb, for it trumped the other postcard-like cosmic artworks. As the only satellite in the Solar System that posses an atmosphere, Titan itself is colored in orange surrounding clouds. Resemble as an alien ship, the Saturn looms low with its glowing edge rings, to be afloat between dark yellow cliffs which angled as an icy sea under the blue sky.

When we look at the piece today, obviouly, it could not be crystal blue sky around the Saturn planet! However, we still hold the opinion of accuracy in the painting on account of the concerned time, back in the 1940s. It is irrelevant if we look into the specific scientific facts we can engage and to compare the facts with this beautiful old artwork. Apparently cannot count on

Bonestell for depicting the planet in his way, for this iconic masterpiece, has become the inspiration for later generations of scientists, space lovers, and explorers.

The success of Bonestell didn’t stop. The special-effect designer turned part-time space artist then started collaborating with the prestigious rocket scientist Werner von Braun to illustrate space series for Collier’s Magazine, titled the ‘Conquest of Space’. This historically iconic series later became the reference point for many subsequent artists, with unsensational but detailed information, portrayed beautiful landscapes, delicate spacecraft and alien outer space to render von Braun’s American space exploration. “What you will read here is not science fiction,” wrote editor Cornelius Ryan, defensively, “it is serious fact.” The corporation between von Braun and Bonestell perfectly illustrated the link connecting science and art, for their shared passion continuously conveyed this beautiful integration to society through the images. Represented as the vanguard of the field, the two realized how their common interest but distinct skills complemented each other.

Bonestell is quoted in admiration of Werner von Braun’s ‘intellect, romanticism, and modesty’ while von Braun spoke of how he ‘learned to respect, nay fear, this wonderful artist’s obsession with perfection.’

Chesley Bonestell and Wernher von Braun

In 1944, a German V-2 rocket soared to the altitude of 109 miles, launched from a small island in the Baltic on September 14th. Two years later in 1946, another V-2 reached a peak of 114 miles of altitude from the Army Ordnance’s White Sands Proving Ground on December 17 in New Mexico. “Development of the space station is as inevitable as the rising of the sun; man has already poked his nose into space and he is not likely to pull it back.” “The cover displayed von Braun’s design for a 265-foot-tall winged rocket dropping its second stage as it ascended past the forty-mile mark above the Earth.” The rocket’s body assembles like a rifle barrel where the gases ejected from the tail are like the bullet. It is called the “thrust” when measuring the rocket’s power in tons of recoil rather than horsepower. Based on von Braun’s explanation, the approach of propulsion focused on the recoil principle, which definitely does not need the air.

Third Stage Separation, Collier’s, 22 March 1952

Among the early American space arts, the sense of authenticity was highly encouraged. Particularly, containing strong saturation of color and contrast, very clear contextualization and definite light and shade, all these factors as well as the perspective of overall conceived background. Such is seen in the cover picture above, the use of light orange in the southeast corner strengthens the focus point of the whole page. With scientific accuracy and precise technical observation, the whole image presents a sense of realism. Talking about the composition of the whole page, the artist put effort into structuring the different dimensions, no matter the details of the margin, either top or bottom, right or left, hoping to find the balance with the center of the page. The beam of light perfectly stands at the center of the cover, even though the rocket itself is directed in a linear direction from southeast to northwest. Generally speaking, the core information and point of excitement are always put at the center position with represented objects. Apart from that, other marginal elements are more or less subordinate. The northwest and the top of the image are dark and starry, symbolizing as the ideal destination of the outer space where needs human beings to conquer. The starting point in the southeast represents the real or the practical condition we have right now, the rocket. The ingenious design in this masterpiece of space artwork embodies the inspiration of exploring the unknown, and move forward for further space discovery. It is no doubt why it stands as the cover of the Collier’s.

The International Association of Astronomical Artists (IAAA)

Contemporarily, astronomical artists are under a limited number of only hundreds. To make it “worse” most of the artists are scattered across the globe. But still, a group of artists who hopefully continuing picturing those distant dreams is gathered. In the early 1980s, “informal professional relationships had existed based upon geography or common projects such as Carl Sagan’s landmark television series Cosmos.” Partly enhanced by the lunar landings Apollo, and Mars returning by the Viking program, the society’s awareness of space is growing stronger and stronger. Under the influence of prestigious pioneer space artists such as Lucien Rudaux, Chesley Bonestell, the new generation cosmic artists, independent but highly talented,

“met at a comprehensive space art show sponsored by The Planetary Society for the Society’s gathering Planetfest, held during the live transmission of close-up photos of Saturn by Voyager II in 1981 where the seeds of the IAAA were thus germinated.”

Founded in 1982, today the IAAA has nearly 150 members across the world. The members are active, from magazine covers to book reviews, from the space research program to movie effects production, from artistic images illustrating astronomical discoveries to the publication of educational textbooks, “the IAAA is truly the vanguard of artistic space exploration.”

IAAA Logo

To raise public awareness about space is the primary aim of the IAAA, most importantly, to educate kids and to inspire society on the greatest frontier. The good news is today The Rudaux Award is the most prestigious award granted by the IAAA, to praise individuals who contribute significantly to the field of astronomical art. Most Rudaux winners have largely dedicated efforts to build the genre of cosmic arts, which in the larger sense, help inspired many other artists even in different fields. The members of IAAA endeavor to capture scenes that are beautiful beyond the diverse range of appreciation.

Before I end the story…

Thanks to the development of technology, human kinds have reached out into the outer space, not simply stayed on the drawing or photographing based on imagination. From Moon to Mars, and even to the further Solar System, it is very meaningful when looking back at how human beings have accomplished, especially when art is so tightly engaged with science. “It is quite possible that by the third millennium if we are not destroyed by some natural disaster as perhaps wiped out the Dinosaurs or destroyed by our stupidity, the majority of the human race may be living and working in space, either in colonies on the Moon or Mars or even in the freezing outer reaches among the moons of Jupiter and Saturn.” From Scriven Bolton to Lucien Rudaux, and to Chesley Bonestell, and to today’s IAAA, the development of the genre of cosmic art experienced a long but beautiful process. We can probably imagine that space art would become the majority of topics when artists decide to construct a multi-angle masterpiece. The wonders of the space art will go along with the wonders of human beings exploring the out space, with fruitful imagination and never-ending inspiration.