I saw these lovely foals in the same group of horses that this painting came from. They were very unsure of a strange person and stayed close to the adults, but were still curious about me.
I started this painting with my new step of doing a pencil drawing at the final size first, tracing it and then doing a graphite transfer to the RayMar canvas board. My purpose was to solve any drawing problems, get the correct placement in the space and indicate the basic value pattern.
Once the drawing was transferred to the board, which had been previously toned with a wash of raw sienna to knock back the white, I re-stated the drawing with a brush, refining and correcting as I worked. This step was also done with raw sienna.
The next step was to indicate the shapes of the shadows in a dark value. I mixed a warm brownish-purple for this.
Then I started to lay in color, bringing up the shadows to a higher key since the foals were in really nice morning light.
The finished painting “Mongol Horse Foals” 14×18″ oil
Here’s the reference photo. I punched up the intensity of the color, as you can see, and left out all the other horses since the painting was about these two and their connection with each other.
Done for the Day 17×30″ oil- domestic bactrian camels.
Don’t forget to check out my 2013 calendar filled with images of my paintings of Mongolia! It includes “Done for the Day”, which was accepted into the Society of Animal Artists prestigious juried show “Art and the Animal” in 2009.
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River valley, Hangai mountains north of Bayanhongor
Owen Lattimore was, in his time, considered one of the greatest western experts on Mongolia. He traveled extensively in what were then called Inner and Outer Mongolia in the 1930s. The former is now an autonomous region of China and the latter is the independent country of Mongolia. He revisited Mongolia in the early 1960s. I just finished his book “Mongol Journeys” and would have to say that it is one of the best books on Mongolia that I have read yet. It’s not easy to find, but you can currently get it here for a reasonable price.
I’d like to quote from it today about the traditional Mongol view of names for things. It’s a pretty good example of how untrue and simplistic the overgeneralizing statement is that “people are all alike”. In fact, people in different parts of the world operate from very different cultural assumptions which can, in equal parts, trip up, amuse or, with luck, enlighten a visitor and give them an insight into a different way of seeing the world.
For example, the exploration of America often consisted in being first to a place and then giving your name to it. If the name stuck, then it was the one that appeared on all maps henceforth down to today. We even get a kick out of places that have had the same place name for a very long time. For many Americans (I can speak only to my country, others may be the same though), the first thing they ask when arriving at a sight like a mountain or river or waterfall is to ask what it’s called.
But for the Mongols:
“Another very interesting thing about nomad life is the balance between the specific and the vague. In the Mongol vocabulary, for instance, the age, colour and individual characteristics of a horse or a camel or any other animal can be told with the most minute precision. There is also such an accurate terminology for different kinds of hills, ridges, plains, lakes, pools, streams and springs that you can get directions taking you across many miles of vague country without a mistake. On the other hand, it is often difficult to get a precise place name. A hill or a spring may have several names, of which some are descriptive and others honorific or propitiatory. The “real” name is likely to be taboo, so that if you ever hear it at all you are more likely to hear it when you are far away than when you are near it.
Why such taboos? Well, to begin with, if you are at a certain place you are obviously in some ways dependent on that place – for a safe camp, for good pasture and so on. It is better, therefore, to talk about that place vaguely in a ‘respectful’ way than exactly in a ‘familiar’ way. Even more important, perhaps, is that fact that, being a nomad, you do not want to be tied to any one place even by verbal associations. It is true that neither the Mongols nor any nomads are unlimited wanderers; you move in a framework which is partly the social frame of your tribe and partly the geographical frame of your tribe’s territory….the fact that you are a herder means that you always long for fluidity of movement. The Mongols, as nomads, call themselves nutel ulus, moving people….Your “homeland” is your nutuk (today this is spelled “nutag”)…your nutag is not only ‘the territory within which you move’ but ‘territory in which you are always moving about’.
Within this territory you do not want to be pinned down to any one place, nor do you want to be easily traced or spotted by an enemy (Note from Susan: this was written in the 1930s when there was still intertribal conflict and banditry in both Inner and Outer Mongolia). At the same time you do want your friends to be able to find you and you must be traceable by the authorities…..All of this explains why, when you are travelling and either asking your way or being asked from where you have come and where you are going, there are two extreme answers and any number of gradations in between; the vague answer and the exact answer. It all depends on the authority of the questioner and the degree to which the man questioned recognizes that authority and the necessity of being indentified or the desire to be traced. When, in short, you sometimes find yourself thinking that the nomad is frank and honest and at other times that he is evasive and a liar you must remember that this is as much a social convention as it is of personal veracity.”
My own personal experience with this whole cultural issue of place names was on my 2009 trip to Mongolia, heading south to Baga Gazriin Chuluu Nature Reserve. We stopped for lunch on a hillside with a view to an amazing mountain that rose out of the steppe. Naturally I asked what it was called. My guide/driver said “Hairhan”, which means “sacred”. Then he explained how the Mongols do not, out of respect, say the name of a mountain while in its presence. They are all called “Hairhan”. I observed that it got around the question like the one I had asked, that a visitor could ask the name, get an answer and be content, while the Mongol had preserved the correct cultural practice. And, in fact, I follow it myself now. If someone asks me the name of a mountain (they are all sacred since the top of a mountain is the closest one can get to Tenger, the Eternal Blue Sky), I say “Hairhan”, but also explain what that means and that I will tell them the “real name” once we are out of the mountain’s presence. It just feels like the right thing to do.
There are many artists who come up with a way of working that satisfies them and they never alter it. That would not be me. Every year about this time, I sit back and rethink my whole process of painting a picture. I’m perfectly willing to toss it all in the air and tweak and change whatever I think needs it. It’s very liberating.
I recently went to the Norman Rockwell show and was reminded of how thorough a process he used, how he broke down the elements of a picture and solved the problems as much as he could with each step, always leaving the door open for alterations down the road if needed. It’s the same procedure we were taught when I was getting a degree in illustration at the Academy of Art in the late 1980s. One didn’t need to do every step every time, but it was always there to fall back on if one got in trouble. (The steps are: thumbnails, rough drawing for composition, finished drawing, value study, color study, finish)
One of the things Rockwell did was very finished charcoal drawings at the final size. It always looked like a lot of work, even though I really love to draw, and I guess I never really got the point. I do now. I got into messes a couple of times in the past year, partly due to not solving all the drawing and value problems before I started to paint. I had begun doing drawings at the final size for the large pieces, but only outlines, no value. I’ve just started a series of three argali paintings and decided to take it up a notch.
I also needed to rethink how I got my image onto the canvas. I don’t have a projector anymore and don’t really want one. I’ve found a lot of value in drawing an animal multiple times because I really LEARN it. A painting shouldn’t be about saving time or doing it fast. It should be about doing what it takes to get it RIGHT.
One benefit of doing the drawings at the finished size is that it is then easy to make a tracing and do a graphite transfer. The alternative is the venerable grid system, which works just fine, but, dare I say it, takes a lot more time to no good purpose and, more importantly, didn’t give me as accurate a result.
These three pieces are compositionally simple. I have a clear idea in my head of where I want to end up. The main upfront decisions were how big and what proportions each one should be since they are intended to hang as a group, although they will be priced individually.
The reference photos (which I am not going to post due the vagaries of the internet) were taken during one action-packed hour with five argali rams at Ikh Nartiin Chuluu Nature Reserve in Mongolia in July 2010. And two afternoons I spent there this past August during an eleven day stay doing studies of argali horns at the research camp really paid off in being able to understand the horns in the photos.
I’ll start with that page from my sketch journal and then show you the steps so far for the three paintings. I didn’t do thumbnails or rough drawings, but went straight to finished working drawings of the animals, but still thinking about what the landscape will look like.
Argali horns, research camp, Ikh Nartiin Chuluu Nature Reserve, Mongolia, July 2012
Painting No. 1- Tentatively titled “Coming Through”, a big ram asserting his right to walk wherever he wants to, when he wants to
Beginning the graphite drawing; detail to show how I “drew through” the ram in back to make sure the parts all are in the right places. I used another piece of reference for the back legs since the ones in the photo didn’t read well.Finished drawing; graphite on vellum bristolI put tracing paper over the drawing and did an outline only drawing to use for transferring the image to the canvasArgali horns, research camp, Ikh Nartiin Chuluu Nature Reserve, Mongolia, July 2012
Painting No. 2- No title yet
Finished drawing; graphite on vellum bristolOutline on tracing paper; I’m drawing shapes of structure and valuesBrush drawing on canvas
Painting No. 3- No title yet
Graphite drawing; this was the third one and felt that I didn’t need to go all the way to the same point. It was more important to get all the size and position relationships between the rams correct. The one in the back looked very odd in the reference photo, so I changed out his head for a profile instead of three quarters view. Notice that the single ram and the group are on separate pieces of paper so I can move them around.The tracing paper transfer versionThe brush drawing
I should have a pretty good handle on argali horns by the time I’m done with all three paintings.
This year’s cover image “Then They Walked Out Into The Morning Light”, Mongolian argali from an original 24×48″ oil painting
You can now enjoy images from the Land of Blue Skies every month of the year through the paintings in my 2013 calendar. Mongol horses, takhi, argali, herders, yaks and camels, they’re all here.
Visit my shop on Zazzle and order one today! You will also find tote bags, coffee mugs and real US postage stamps with my Mongolia images on them.
Also, don’t forget to check out the page with my small original oil paintings.
I’ve been having fun painting Mongol horses. This and the previous one, which you can see here, were started before my latest trip to Mongolia.
The reference photo was shot at the beginning of my 2011 trip with fellow artist Pokey Park. We had spent a few days in Hustai National Park photographing and observing takhi. Now we were on our way south. We had left the park and were driving to the only bridge for many miles that crosses the Tuul Gol, traveling along an upland area that overlooked the river valley.
The rocks on the right are part of a complex of Turkic graves, which are quite interesting. But not nearly as interesting to me as the herd of horses that were behind me when I took the above photo.
It was August and there were a lot of flies. The horses were constantly circling, trying to get their heads as far into the middle of the group as possible. But they knew I was there and every once and awhile some would stop and look at me, which is when I got the reference photo I used for the painting.
I liked the contrast of color and head position of these two, so I cut out everyone else. The twisted blue khadag around the neck of the brown horse was a nice extra.
For the final part of this three-part series, here are three videos that, to me, show one of the most interesting and fun parts of contemporary Mongol music, the synthesis of traditional and modern forms.
Altan Urag is probably the best known group outside of Mongolia, due to their attendance at many internatinal music festivals. They play what we would call “Neo-folk” music, traditional songs uniquely interpreted. This one, “Khiliin Chadad” combines traditional Mongol instruments like the morin khuur (horse head fiddle), Jew’s harp (used by Mongol shaman), plus khoomii (throat-singing) with a Middle Eastern-sounding drum rhythmn and Spanish-style guitar. It’s quite a combination.
Hurd, whose lead singer is Chono (“wolf” in Mongolian), is one of the most famous rock bands in Mongolia. The song, Eh Oron ( which I think should have been spelled Ikh Oron), is a rock anthem, with morin khuur. The video’s visuals are a photographic journey through both the land and traditional culture of the country. Picture Led Zepplin extolling the virtues of the English countryside and the various activities at county fairs with a violin section added in the middle. But somehow, in Mongolia, it all makes perfect sense.
Javhlan, one of Mongolia’s most loved singers, has a world-class voice and then some. He only records traditional songs. But he sets them to a variety of western rhythms…samba, waltz, pop and others. He often wears traditional Mongol men’s clothing in his videos, as in this one, and usually includes lovely shots of the land. I’ve been told that these days he lives out in the countryside in a ger and I’ll bet it’s a really nice one. I have six or seven of his CDs loaded into iTunes and listen to him often while I’m painting.
In one of those little incidents of sychronicity that come along every once in awhile, I’ve just had three articles about me, my art and Mongolia appear in three publications in less than a week.
It started with a Facebook message on November 3 from a editor for The Epoch Times, a Chinese-American news website and print publication which is published in 35 countries and 18 languages and is dedicated to providing uncensored news to the Chinese people. The editor, Christine Lin, found me through my Facebook public page after she had a problem using the contact form on my website (which is now working fine as far as I know). One lesson from this is that it pays to have multiple ways for people to contact you if you are an artist. We did a one hour phone interview which resulted in a 1500 word article that included six images of my art. You can read “American Artist Susan Fox Paints Genghis Khan’s Mongola”here.
The next contact came through LInkedIn. I was looking through the list of possible contacts the site provides based on who your current connections are. One of them was Allyson Seaborn, who writes for the UB Post, the leading English-language newspaper in Mongolia. What caught my eye at first, though, was that some of her page was in Mongolian cyrillic. I sent her a connect invitation, she accepted and then a day or so later sent me a message asking if I’d be willing to be the subject of one of her regular expat (expatriate) columns. I told her that I don’t live in Mongolia, but she felt that I have traveled there extensively enough (7 trips so far) and that being an artist would be interesting to their readers. In this case, she sent me a short list of questions about me, my work and my activities in Mongolia. There was also a list of set questions that every subject of the series answers. You can read “Susan Fox- There is no other place like the Land of Blue Skies” here.
The third article, for our local newspaper the Times-Standard, had been on my To Do list since I had come home from Mongolia in late September. In this case it was something I wrote myself, which was mildly edited, and submitted with a zip file of images, but I had no idea that it would appear yesterday. You can read “Local painter takes art expedition to Mongolia”here.
There doesn’t seem to be a western musical genre that hasn’t found its way to Mongolia over the last twenty years or more. I get a kick out listening to pop, rock, jazz, etc, with lyrics sung in Mongolian. There are covers of western songs, but most are original compositions by Mongolian songwriters. There are standards too, obviously well-loved songs that have been recorded many times.
Rock arrived in Mongolia very shortly after democracy. Groups like Haranga, Chono and Nisvanis were extremely popular and there are still lots of videos of their music on YouTube. Today the alt rock band The Lemons is very popular.
Boy Bands were big in the United States at the same time the youth music scene started up in Ulaanbaatar. The most successful Mongolian group in this pop genre was Camerton, four guys with great voices who created wonderful harmonies. They’ve all done solo albums and one member, Bold, has gone on to write, record and produce at least a half dozen albums and now has his own production company, B Productions.
Hip Hop isn’t really my thing at all, but it’s a very important genre in Mongolia and often is used to draw attention to serious social issues like alcoholism. I chose this one because it’s about the Democracy Movement and includes images from that time.
Next week: Mongol music that is a synthesis of traditional and western styles
We were driving on an upland areaoverlooking the Tuul Gol one morning in 2011 and saw a herd of horses right by the road. Photo time. They were circling and circling, all trying to get their heads into the middle of the group to keep the flies off, but sometimes for a very short time some would stop and see what I was doing. That’s when I snapped this photo. I simplified it by removing some parts of other horses so that the center of interest would that line of heads. I really liked the pattern and rhythm of their overlapping forms. And then there was the foal as a bonus.