I have a nice selection of affordable original oil paintings available in my Fox Studio Etsy shop, including this one. You can get the details and purchase it here. It’s of a domestic Mongol horse foal I saw on one of my trips to Mongolia. He was having a bit of trouble balancing, but was finally able to scratch that itch.
I also offer a variety of animal-themed coloring pages, available for immediate download and only $1.99. Here’s one example:
“Cheetah” from an original pen and ink drawing by Susan Fox
I saw this wonderful cheetah on an art workshop/safari in Kenya in October of 2004. Cheetahs have always been one of my favorite big cats and it was a thrill to see them going about their business in the wild. You can download this big cat here.
Is there an animal lover in your life? Valentine’s Day is only a couple of weeks away. Consider the gift of art. I have a nice variety of affordable original oil paintings in my Fox Studio Etsy shop!
“How Now Red Cow”
I’ll be posting new work next week, so be sure to check back. Prompt free shipping.
Come check them out! The originals are dip pen and ink drawings on Clearprint Heavy Vellum. All of the images are from photos I’ve taken myself on my travels over the years. You can buy them here:
It’s clear that one lesson we, as a species MUST learn, is to share. All of these animals have just as much right to be here as we do. As they go, in the end, so shall we.
I’ve never made a point, for the most part, of specifically seeking out endangered or threatened species to photograph for my paintings. But, as it’s happened, in less than ten years I’ve seen two dozen, plus one, all in the wild. Quite a surprise, really.
Sometimes they’ve been pretty far away, but that in no way diminished the thrill of seeing them. Close-ups in a zoo or other captive animal facility can be useful, within certain limits, but seeing a wild animal in its own habitat, even at a distance, is much more satisfying and gives me ideas and information for my work that I couldn’t get any other way.
In no particular order, because they are all trying to survive on this planet:
Takhi, Hustai National Park, Mongolia
Monk Seal, Kauai, Hawaii, United States
Wolf, Lamar Valley, Yellowstone National Park, Wyoming, United States
IMHO, there is too much animal art out there in which the subject has about as much life as a department store manequin. Why is this? Is it a lingering result of Descartes’ pernicious idea of animals as “mere machines, incapable of thought or feeling” (Pollan, The Omnivore’s Dilemma)? Being so concerned with surface features that the inner life of the animal is ignored? Not doing the fieldwork and observation which would reveal that inner life? I could make a case for any and all of those reasons, but the fact remains that there are an awful lot of “dead” animals on canvas out there.
Pronghorn doe
Internationally known wildlife artist John Banovich, who I have been fortunate enough to study with, pointed out in one workshop a few years ago that “you are only as good as your reference”. Since then I’ve realized how true that is. I look back through the print photos that I took before I went digital and it’s so obvious why I couldn’t get my work past a certain level. I didn’t have top-notch reference. I struggled to paint with what I had because I wanted to do it so badly.
African Wild Dog
Digital photography has been a godsend since it has always been necessary, as any professional photographer knows, to take 20, 50 or 100 shots to get the keeper. Now there’s no excuse not to fire away and greatly increase the chances that you’ll get the shot that will allow you to do the painting that will be ALIVE. Here’s an example: two images of a cheetah, taken 3 seconds apart. The first is ok, but the second is much, much better. The only difference is a slight turning of the head, but it makes a big difference in the expression.
Cheetah 8:45:11am
Cheetah 8:45:14
For an painted animal to “be alive”, the artist is required to accept that they are sentient beings, with their own consciousness. Whatever else animals are, they aren’t “dumb”.
Meercat
For the next few weeks, I’ll be discussing animal features one by one and how they relate to capturing life and expression. The final installment will be how it all comes together to create a whole that is greater than the sum of the parts.
One of the things that makes me a little crazy is animal artists who present their subject in an awkward and sometimes even ugly pose. There seem to be a number of reasons for this, among them lack of drawing skill, not knowing the anatomy of the species, getting too caught up in copying a photograph or simply not seeing the inherent grace and rhythm of living things. Just because it “looked that way in the photograph” is NO excuse. Be intentional. Don’t be lazy and settle for what’s in front of you. Now is the time to pull out the old National Geographic or hit Google Images. Not to use someone else’s images, but to fill in the information that is missing in your reference.
It is a matter of training your eye to evaluate what’s in front of you. Someone once said that drawing is seeing. Exactly right. As an example, here are two images of a cougar. Which pose do you think has the better rhythm?
The only real difference is the position of the head, but the 3/4 view really changes the flow of the top line and actually stops the sense of movement.
Here’s one of two horses I photographed in Mongolia last year. If you saw them separately as paintings on a wall, which one would draw your eye and pull you over to it?
My own eye has been influenced by looking at the work of Alphonse Mucha, the great Art Nouveau graphic artist. Notice how the hair is designed in deliberate, rhythmic shapes.
Think about how that might apply to a horse’s tail or a lion’s mane. It could save you a lot of time, and end with a far more interesting result, by seeing and painting hair and fur as larger shapes instead of individual strands. Fur rendered in excruciating hair by hair detail is definitely another of my pet peeves. There is a better way. Really.
Finally, here are some quick drawings (2 minutes or so) that I did this morning. Notice that I didn’t worry about the spots on the cheetah or the pattern of markings on the giraffe. All I wanted was to catch the gesture and rhythm of the pose. These quick sketches are also a way to find out if a pose “draws well”. Something that looks fine it a photo can look really weird in a drawing. Odd, but true. Why notice it when you’re halfway through painting all those spots?
ART THOUGHT FOR THE DAY
“The true artist does not paint to please the public – but he holds the interest of all who think, for a work of art expresses the mind of its workman. In it are clearly reflected his vices and his weaknesses, as well as his virtues. He may deceive men, perhaps, but not inspiration, which will not be duped by hypocrisy.”
William Wendt (1865-1946) (as recently quoted in the California Art Club newsletter)
Four years ago today, internationally known wildlife artist Simon Combes was killed by a cape buffalo while walking with his wife on a mountain called Delemere’s Nose, which is part of the Delemere estate in Kenya where they lived. Just two months earlier, I and nine other incredibly fortunate wildlife artists were on the safari of a lifetime with him. Looking at dates on my images, I see that we had gotten up the morning of October 12 at the Kigio Wildlife Sanctuary and spent most of the day driving south to the Masai Mara. When we stopped for lunch in the Masai group ranch north of the reserve proper, we saw our first Mara wildlife, a male topi on top of a mound. Then, in rapid succession it was wildebeest, gazelle, hippos, a huge male giraffe right inside the entrance to the Reserve and then…lions!
My tribute page and the photos that I took of him during the safari are here. But what I want to share today is what it means as an artist to be able to travel to a place like Kenya with someone like Simon, who knew the ground and the animals and who always seemed to get us to the right place at the right time. I had realized very quickly on my first trip there in 1999 that it was pointless to paint animals like cheetahs and lions without having seen them in their habitat. There’s really no way to get it right and those who have been there know the difference instantly. Trust me on this. So out of the 5,218 photos I shot in 2004, here are a few that I hope will illustrate this point, followed by some of the paintings that have resulted from the trip. If you want more, the whole safari is here. on my website.
Samburu encounter
Emotion and point of view play a major role in the creation of great wildlife art. How could the two women in the front vehicle not remember and “channel” this encounter if they paint an elephant? We’ll all remember this morning in the Samburu going from cool to warm, the beautiful light and this bull elephant who made it abundantly clear that it was time for us to move along.
Impala and baboons
Artists get asked all the time where we get the ideas for our paintings. Well, here’s one I probably wouldn’t have thought of if I hadn’t seen it. Baboons and impala breakfasting together at Lake Nakuru. Part of the problem with zoos and game parks is that the animals are out of context. You never see the natural groupings or interactions. Or if there are different species together, you have no idea how that would play out in the wild. To me, this kind of reference is gold. I can paint this African “Beauty and the Beast” scene because I saw it, photographed it, know it happened.
Young mara lions
There really is something about lions. They define “presence”, even when they are still kids, like these two. Great afternoon light and you hardly notice that his face is covered with flies. For contrast, here’s a zoo lion. He’s gorgeous, with a huge mane and perfect whiskers. Dead giveaway, along with the flat light and lack of body condition. This lion don’t hunt. Which would you rather paint?
Zoo lion
We went out on an evening game drive in the Samburu and as the sun was going down, it seemed to be really important to Simon to get to a particular place. We were literally along for the ride, so just waited to see what was up. Oh, yeah, this is very, very nice. It’ll do. Thank you, Simon.
Samburu sunset
Here’s a selection of the paintings that have come out of the safari so far.
Ground Hornbill oil 18"x 24" (price on request)
Reference shot in the Mara. Simon did some interesting jogs with the vehicle to get alongside this big bird, who just wanted to walk away .
Samburu Morning oil 18"x 24" (price on request)
I loved the northern Kenya landscape with the huge, storybook doum palms.
Interrupted Nap (Spotted hyena) Private Collection
Reference shot in the Mara. There was a cub, too, but that’s a painting for another day.This one was snapped up by a collector who also loves vultures and gets first crack at any I do.
Thompson's Gazelle oil 16" x 12" (price on request)
John Seerey-Lester was kind enough to choose this painting for inclusion in the 2008 Art and the Animal Kingdom show at the Bennington Center for the Arts.
That's Close Enough oil 12" x 9" (price on request)
Cropped in from a large herd of buffalo at Lake Nakuru. Nobody was getting anywhere near that calf. No way, no how.
Morning Break oil 12"x 24" (price on request)
Reference photographed in the Mara, where we got an eyeful of cheetah every day we were there. This painting was juried into the 2008 Animal Art show at the Mendocino Art Center here in California. I’ve got to be in the right mood to paint all those spots, but I do love cheetahs!
ART THOUGHT OF THE DAY
“A few days later I looked up from my work to see a new elephant, one that I had not seen before, standing quietly only yards from my easel. He had crossed the river to my side on the outer curve of the ox bow and wanted to pass through the narrow neck where I was working. To do so he would have to pass within five yards of me or go back the long way around. I held my breath as he shifted silently from foot to foot, carefully weighing the situation. Finally, he moved forward and past me, watching intently as I stood motionless. Such rare incidents of trust between man and wild animals give me a great thrill.”
I’m just finishing a second productive week in the studio after my return and, boy, does it feel good. As did getting out yesterday afternoon and planting some new roses and spring bulbs.
HEAVY LIES THE HEAD
I’ve got a number of pieces in progress, but wanted to share this one that was completed before I left. It was in the Wild Visions 2 show and I hadn’t had a chance to photograph it until a couple of days ago. I’ve never done a three-panel piece and I’m thrilled with the framing. Unfortunately, the framer has gone out of business and there isn’t anyone else around here who can do this kind of custom work. Drat.
Heavy Lies the Head oil 20"x 46"
The animals, bighorn sheep, were photographed at the Denver Zoo. It was a warm morning and the ram couldn’t keep his eyes open. His head kept, drooping, drooping, until it sank onto the back of the ewe, who never even blinked. The pose was irresistible, but I did check with Laney, a nationally known artist who specializes in bighorns, to ensure that this behavior could have happened in the wild.
Of course they needed a more interesting setting, so I found some nice rock formations that I had shot up on Logan Pass in Glacier National Park, where bighorn sheep are often seen. Laney suggested adding the bits of snow so that the presence of the ram and ewe together would be consistent with the season.
Besides the great pose, I wanted to try to capture the feeling of the environment bighorns live in and how casual they are about heights that would make a lot of people faint with vertigo.
CHEETAH HEAD STUDY
Some animal’s heads are more challenging than others. There are subtleties to the forms that, if they are missed, leave the viewer who knows better feeling that the painting was “close, but no banana”. Cheetahs seem to be one of the difficult ones. I think I’ve seen more badly drawn and painted heads of cheetahs than maybe any other animal, so I’ll hang it out there and offer for your perusal this new head study.
Cheetah Head Study oil 9"x 12"
EQUIPMENT REVIEWS
All in all, everything worked as it was supposed to.
My husband was very happy with his LL Bean Katahdin 20F sleeping bag. He liked the larger size and the fact that it was rectangular. The Climashield fill kept him comfortable. The only down side was that it didn’t pack down as small as my down bag.
My Katahdin 20F down bag was great, as usual. One of the nice things about the rectangle is that it can double as a comforter. This is handy in a ger, which has regular beds with sheets and blankets. It can get cold at night though, but unzipping the bag and throwing it over the bed worked well. And if the mattress was too hard, as is sometimes the case, I used the bedding as a “pad” and just slept on top of it in the bag.
The LL Bean ripstop cotton pants were absolute winners. We wore ours day after day and they seemed to shed dirt and never felt icky. My husband likes them so much, he now wears them for his everyday pants.
Loved having the New Balance walking shoes for around town and camp as a change from the hiking boots. Hadn’t made space for that before. The LL Bean Cresta Hikers were, once again, comfortable and functional. David bought a pair of Keen hiking boots, which he really likes for their comfort and breathability. What we found, however, during the deluge at Ikh Nart, when we had to walk around 40 yards to the toilet, was that his boots wetted through pretty quickly. Now, he hadn’t waterproofed them, because we hadn’t anticipated such hard, out-of-season rain, but my boots kept my feet dry throughout. They are leather, which I probably wouldn’t buy now unless I could source them to humanely raised cattle, but they really performed.
The Smartwool socks rocked! The Thorlos tended to get sweaty. Next trip I’ll take more Smartwool for the field and a few Thorlo light hikers for around town.
Loved the Patagonia fleece for comfort, but will probably replace it to reduce bulk. It took up a lot of space in my duffle. The Travelsmith jacket was great. Too bad they don’t make it anymore. The only problem was that the patch pocket got caught on something and ripped loose.
I love, love, love my Icebreaker 100% merino wool thermals! The top and bottom together take up less space than one piece of the other brand. I didn’t need them very much, but found them very comfortable when I did wear them.
It’s interesting how things are going full-circle for some outdoor gear. All there used to be was cotton and wool. Then the new, improved synthetics came along and, overall, they were an improvement in weight, performance, etc. But I’m finding that the new cotton and wool products work as well, if not better, and are not made with petroleum by-products.
The MetroSafe 2000 purse was good, as usual. Very functional, practical and unobtrusive.
My old standby neck scarf and hat did the job, also as usual.
Camel ride at Arburd Sands
The luggage came through fine. It was nice to have the lower rigid-side compartment on the bottom of the big one for odd, ends, extras and art purchases. It’s a rolling Sportsman’s gear bag from LL Bean. The small one, which Bean doesn’t make anymore, holds the camera equipment, toiletries bag and the minimum needed to survive a day or two without the big bag.
ART THOUGHT FOR THE DAY
“There is a common foundation from which all the arts rise, and that is the need for self-expression on the part of the artist,-expression of his own personal experience, whether it be by words, as with literature; by sound, as with music; by pigment or with plastic shape, as with the graphic arts. But there is a further condition attendant upon this expression of which we do not always take account, namely, that the artist’s personal experience must be emphasized by strong feelings, by enthusiasm, by emotion, or the result is not art.”
Notes on the Art of Picture-Making by C.J. Holmes, Slade Professor of Fine Art, Oxford University, 1909
The only real difference is the position of the head, but the 3/4 view really changes the flow of the top line and actually stops the sense of movement.
Susan Fox, American Artist 