Over 30 members of the Mercedes-Benz of America Club–Orange County paid a visit to the Chuck Jones Center for Creativity yesterday where they were able to view Chuck Jones's 1970 280 SE Mercedes-Benz convertible.
They were particularly impressed by the fact that the top has never been folded down and as a result is in "like new" condition!
Jones, when asked how he'd like to be paid for some consulting work he'd done for friends, demurred, but they insisted so he pointed at a toy Mercedes-Benz convertible on their desk and said one of those would be fine (meaning the toy replica.) A week later, the 280 SE showed up in his parking space.
The convertible is still on display at the Chuck Jones Center for Creativity. Come on by and see it for yourself! The Center is open Wednesday through Monday from 10 AM to 6 PM and closed on Tuesday.
We ran across this photograph the other day on our way to something else (as usually happens) and delighted in what it said about Chuck Jones' passion for drawing and painting every day of his life.
On May 1, 1960 we find Chuck Jones sitting on the back of his 1960 Ford Consul convertible (this car was made in England by Ford Motor Co. and sold in limited release in the U.S.) up in the high desert outside of Los Angeles with his watercolor paints in a tool kit as he contemplates a work-in-progress (or has he completed it? We're not sure.) Which put us in mind of two watercolors of the high desert vistas that he did complete:
"Joshua Tree," a watercolor on paper (18" x 28") by Chuck Jones was completed around the same time as the photograph. His classical training really shines through in a work such as this; his facility with the medium is without peer and reminiscent of the California watercolorists such as Phil Dike (who worked at one time for Walt Disney Studios) and Millard Sheets, both of whom taught at Chuck's alma mater, Chouinard Art Institute (now CalArts in Valencia.)
"Storm Clouds" watercolor on paper (20" x 30") by Chuck Jones again indicates his familiarity with the California watercolor movement with its emphasis on color, form and the landscape of the state. This movement was defined by a large format, expressive brush work and strong colors (you can read more about the movement by clicking here.) You can see in both works how Jones used the white of the paper as a color and form, another attribute of the movement.