A couple of recent photographs from the Middleburg Hunt’s Christmas parade and fox hunt caught the eye of two artists from either side of the Atlantic, and I was honored when they asked my permission to create paintings from my images. Since then, Ian Legge from the UK and Jeff Morrow from Cincinnati have produced absolutely beautiful, very different paintings. I asked them to share some thoughts about their paintings and the photographs that caught their eye.
12 x 24, oil on canvas
“I came across the source photograph of Maureen Conroy Britell, taken by Ed at a Middleburg Hunt meet, on the Countryside Alliance Facebook page where a number of Ed’s photos had been posted. Many of my paintings are based on dogs or horses and am always looking for inspiration. A number of photos from the set caught my eye but the one I chose just has a beautifully elegant poise to it. Ms. Conroy Britell looks regal, balanced and elegant and is caught in a lovely light. It was a shot that just popped out at me. Ed kindly allowed me to use the image (with approval from Ms. Conroy Britell too).
“When it came to painting it, it proved quite tricky. I used some old oil brushes here, where recently I have been using watercolour brushes — totally incorrect with oil paint, but there were practical reasons for this. This has led to a slightly more ‘impressionistic’ result than some of my other work. It was nearly erased completely at one point, but I slept on it and found a way through. Possibly the biggest challenge was the veil. The first attempt looked very poor – painted lines just didn’t seem to work. So that got scrubbed. After the paint drying, I re-glazed the surface and then re-worked it by applying skin tones and highlights as ‘blobs’ hopefully suggesting skin through a mesh. Not sure if the end result is the right solution but it’s a solution. Next time I tackle a veil, I may explore other options.
“A learning curve certainly but I think offers a potential for approaches for future work and, happily, both Ed and Maureen have been very kind in their responses to it. Very many thanks to Ed Felker and Maureen Conroy Britell.”
24 x 18, oil on canvas
“I never use other people’s photography as reference for my oil paintings, but a few weeks ago while perusing Facebook, I came across a photo [of Devon Zebrovious and Anne Sittmann] by Ed Felker. It caught my eye because of the arrangement of light and dark values that make an interesting abstract pattern. I also like the lighting and how the shadow is hiding the one woman’s eyes. That mysteriousness, along with the fact that the two women are in each other’s space makes the situation intriguing. I felt including the hands of the woman on the left would be distracting from the heads. In my painting it looks more confrontational than the photo indicates. Perhaps because in the photo it is evident that Anne, the lady with her back to us, is pulling down on her vest and not holding her hands on her hips.
“It was fun to paint the extreme lights and darks working against each other. It was a fun challenge to portray the hat on the right with few discernable edges – just melding into the background. Painting the veil over the woman’s…Devon’s…face was daunting because I was afraid if I messed it up I would end up repainting areas of her face. But I think I got the veil indicated just enough that it isn’t too heavily done, yet shows enough to read as a veil. Getting the satiny effect of the vest came slowly and with difficulty. On the other hand, the back of Anne’s head and her collar came easily and quickly. It “fell off the brush” as I like to say. Overall “The Conversation” was a joy to paint. It is being framed and is available at the Eisele Gallery in Cincinnati.”
Many thanks to Ian, Jeff, Devon, Anne and Maureen.
For more of Ian Legge’s work, click here.
For more of Jeff Morrow’s work, click here.
As a fly fisherman, I have seen countless trout replicas. They are on display in the homes of my fly fishing friends, in fly shops, and in every bar in every fishing town I’ve ever been in. Almost all of them are fiberglass casts, molded by manufacturers in an array of different species, sizes and positions. Then they are painted — sometimes exquisitely — to look just like that special fish an angler wants to immortalize. To make those replicas appear lifelike requires great skill. But imagine crafting such a thing from scratch, coaxing life out of an inert, featurless block of wood.
Meet Virginia-based artist Russell Pander, who does exactly that.
I first learned of Russell when my friend Douglas Dear, owner of Rose River Farm, commissioned him to recreate a special brown trout he caught from the Smith River in Montana a few years back. When Douglas took delivery of the carving, pictured at the head of this post, he couldn’t call me fast enough. “You have got to see this thing in person!” he said, and he was right. It is astounding.
I asked Russell to share how he got into carving and to tell me a bit about his process. While I tell some of his story, I’ll mix in some progress photos from this Smith River beauty.
Russell’s interest in carving goes back to an uncle who carved decoys. But he didn’t start carving until he received a gift certificate to a class at the local Audubon Society. The class, given by carver Dave Farrington, was filled with mostly retired women and a 29-year-old Pander. Students carved a Chickadee using a knife and wood burner, and hand painted them with acrylic paints. “I liked it,” Russell recalls, “and found I had the ability to see symmetry and in three dimensions — two of the most important aspects of carving.”
He took more classes from Farrington, carving a couple decoys, a skimmer in flight, a Greater Yellow Legs and a Sanderling in flight. “This is where I learned to power-carve, using mostly burrs and stones on a rotary tool to remove wood and create detail,” Russell said. But around the same time, life got in the way a bit. His family was growing, his schedule shrinking, and he put aside carving for two decades.
But Russell never lost interest. An avid fly fisher and fly tier, he always wanted to carve a cold water fish. The opportunity presented itself when fellow member of the International Fly Fishing Association Bill McMannis caught a record Brook Trout. Word went out throughout the organization that McMannis was looking for someone who did reproductions. “I felt this was my calling and reluctantly offered to do it,” Russell said. “I had never carved a fish, I didn’t own nor had ever used an airbrush, but considered this my opportunity.” And with that Brookie under his belt, he was off and running.
To me Russell’s carvings show an uncanny understanding of the natural movement and posture of the animals he creates, and Douglas’s Brown Trout is a great example. “The pose and posture of the fish come from how I think the fish would move,” he said. “I do a great deal of studying. I look for underwater shots of fish, to help me understand how they move, and things like natural eye and mouth positions.”
He has carved with Sugar Pine and Bass Wood, but his favorite wood to work with is Tupelo. “It’s the best wood for power carving,” he says. “It’s light, and doesn’t ‘fuzz’ when ground.” This brown trout is carved from Tupelo.
When it comes to subjects, however, Russell doesn’t play favorites. “I learn more techniques from not carving the same subject all the time,” he says. “I like to switch between birds and fish.”
Among the animals on his wish list are raptors, including a Kestrel, a Pueo Owl native to Hawaii and a Red Tailed Hawk. But don’t put anything past Russell Pander. Who knows where his drive to learn new techniques will lead? “Some day I may carve a life sized Elk,” he says. “I have always admired the chainsaw artist, as the scale they work on is so great!”
I look forward to following Russell as he explores new horizons with his art. Just as long as when that trout of a lifetime comes to hand for me, he’s willing to go back and create another masterpiece like this one.
For more info, check out Russell Pander Wildlife Art on Facebook.