In 1908, Sandzén saw the Rocky Mountains for the first time: with their great masses of shale and rock, rugged mountain peaks, penetrating light and deep shadows. Although he had been introduced to the broad horizon and bright light of the prairies, few things captured his attention as did the Rockies.

His life in this isolated middle region of America led to the development of a strong expressionist style and manner of painting; which is evident in most, if not all, of the large oils currently shown in the Thorsén Room of the gallery.

It must be remembered that Sandzén interpreted the landscape. His motifs were planned by sketches and drawings. In an article published in 1915 he stated his views on the special relationship of landscape to the use of color: "I feel that one should be guided in both composition and use of color by the character of the landscape. There are western motifs out here, especially in a certain light (for example, in gray weather), which are distinguished by their majestic lines as in protruding rocks, rolling prairie and winding ravines. One should, when painting such motifs, first of all emphasize the rhythm and then sum up the color impression in a few large strokes. In other words: a severe decorative treatment is best adapted for this purpose. However, it should not be understood that color is less significant. No not at all. The color arrangement, however simple it may be, should support and enforce the lines. A false arrangement of color may completely destroy the rhythm. In the atmosphere in which the intensive light vibration and ring of color produce the great poser of light which is often the situation in the dry air of the Southwest -- it is clear that a color technique should be used that emphasizes the most characteristic feature of the landscape. One must then use pure colors which refract each other, but which through distance assimilate for the eye -- the so-called "optical" blending -- since the usual blending on the palette, the "pigmented blending," is not intensive enough and does not "vibrate.""

Sandzén preferred that his palette be neither too simple nor too complicated: "There are four or five pigments that no painter can do without. As to the rest, there is plenty of room for individual taste... Vary your palette for different subjects... We can get every imaginable color by mixing a few pigments, but too much mixing kills the color."

Sandzen's palette was varied: titanium and permeable white; cadmium yellow, medium; cadmium red, medium; yellow ocher; raw sienna; alizarin crimson; permanent green, light; emerald green; French ultramarine blue; and cobalt violet. This palette was well suited to his paintings of Colorado, the first area for intensive travel and sketching. Colorado and the Rocky Mountains would lure both Sandzén and his family to the national parks for more than three decades. A 1927 itinerary included Bryce Canyon and Zion Canyon in Utah and the Grand Canyon of Arizona. Many paintings by Sandzén provide an eloquent testimony to his love of the landscape in the West and the Southwest.

Margaret, his daughter, accompanied Sandzén on a trip to Mexico in l935. They journeyed to Taxco and it was a pleasant and rewarding experience for father and daughter. Previously, Sandzén had visited Mexico one time before in 1899.

Sandzén enjoyed the experience of sketching in the Smoky Valley, where he often drew the homesteads of the early settlers. The oil The Old Homestead is of a home that was near Coronado Heights in the valley. It was built by Magnus Carlson, an early stone mason. Sandzén sketched the house many times from different sides. He also encouraged the family to keep the house in good repair, but over time it fell into such disrepair that it was torn down. Unfortunately, no trace remains of the house today. The large oil of the house was a gift to the gallery from Mrs. Birger Sandzén. Sketches of the Magnus Carlson home were also used for several prints.

He also made numerous sketches while visiting the family farm of his wife's parents in Graham County, Kansas. This western Kansas setting, near Hill City, gave him a good measure of the vast, broad landscape of the Great Plains. A nearby steam called Wild Horse Creek with outcroppings of limestone rock became an often utilized motif for his oils, watercolors and prints. A more personal study of Sandzén reveals the need to place in perspective his personal qualities of strong character, optimism, and congenial spirit. These factors are clearly discernible in his art.

Hour of Splendor, Bryce Canyon, Utah, 1928 oil on canvas, 59-7/8 x 80 inches, Greenough Trust Collection, Sandzén Gallery

Throughout his life in America, Sandzén was an avid seeker of ideas and impressions that would contribute to his understanding and description of nature, which he often called the "great teacher."

The Legacy of Birger Sandzén