A tale of four horses

Every commissioned portrait I make is special, and I don't mean because of my artistic skill - far from it! I mean because of the subject. It's because each animal is a one-of-a-kind individual in their appearance, their personality, and their life story. It's also because each human-animal relationship is unique.

When I'm asked to create a portrait of an animal, I'm aware it's because there was something extra-powerful between that human and that animal. I try to come to know each animal as well as I can in the brief time we might meet or, if they've already left this world or simply live too far away, from what their owner can tell me about them. I also work to uncover the particular connection between the person and his or her beloved four-legged friend. It goes without saying that capturing the animal's likeness in a portrait is important. I would add that infusing it with personality is crucial. And when I'm able to tap into the bond between the animal and its human partner, I feel like I've really done my job. 


A pencil drawing I made when I was about 14.

Horses were my first love (see my past blog A History of Horses) so any time I can work on something involving horses, I'm pretty happy about it. Over the last while I've been working on a coloured pencil portrait of not one but four horses - a project to delight the soul of a horse-loving artist like me.

However, along with the joy of creating this new work of art, the project has presented some unique challenges. These four horses span their owner's entire history of horse ownership dating back to the 1970s. Each represents a different time in her life, a different place, a different riding style, a different discipline, a different role. Each horse spent years with her, up until its death with the exception of the most recent arrival who is still going strong. They are of three different breeds but all are chestnut in colour with white markings. Even the two that share the same lineage - quarterhorses - are quite dis-similar in many ways, one with a high-headed, inquisitive expression, the other with a more reserved look about him.

Because three of the horses are deceased I'm limited to available photos - not a significant problem except when considering the size relationship between four animals who never actually lived together and each of whom are different shades of chestnut. The subtleties of their colour differences are not captured well in photos, particularly old slightly-yellowed snapshots. Conversations and consultations with the owner plus her lovingly written descriptions of each horse, his/her personality, and their time together have filled in the gaps. When I asked her, "Why chestnuts?" she said she didn't really know - they found her. She also told me about what she learned from each horse, and is still learning from the last of the four who came into her life not all that long ago - things like patience and bravery. Her bond with each of these individuals was and is unique, shaped by her life and by what each of them brought to her.

And so I am working on this most enjoyable project, starting with this preliminary sketch where I worked out the scale and composition.

They are arranged so that the horse from the most distant past is on the left, progressing through to the most recent on the right. The still-living horse on the right looks away from the other three, signifying his difference from the others.

Below is a photo of the drawing in progress (not a great photo because I took it on the fly using my phone camera under less-than-ideal conditions). I'm never good at photographing my work in progress because I'm simply too caught up in the work to be mindful of stopping to take pictures. However, this one particular photo shows the drawing developing from the ghostly horse on the left, where I'm just starting to build the image, to the more developed horses across the drawing to the right. I'm left-handed, so I usually work from right to left.

Both I and the owner are satisfied with each horse's expression and posture, with the relationship in height between them, and with the overall composition. Now it's just a question of persevering and getting it all done, and done right.

Some time later (and I don't count the hours), the drawing is nearly there:

And, finally, a photo of the finished product, framed and ready to go home:

 

 

 

When success can be measured by tears

Over the years I've created countless portraits of people's beloved animals - the dogs, horses and cats who enriched the lives of their humans. I started as a teenager when I ran a classified ad in the local paper and for $25 or so would make a pastel or pencil portrait from a photograph. 

During that period, I made this oil pastel drawing of a collie from a photo I found in an old book. Remind you of anyone?

An unknown collie I drew in 1975.
A premonition perhaps?

A photo of my collie Riley
 taken a few years ago.

That was just the beginning. Here are a couple of portraits I created in the 1980s (with apologies for the image quality; photography technology - not to mention my photography skills - has made remarkable improvements since then):

My career as an artist has evolved and matured but commissioned portraits are still an important part of my art practice. I know many artists who don’t much like working on a commission basis and I understand why. It’s the kind of work that contradicts the typical artistic temperament. For one thing, it involves creating a piece of art about a subject that’s not of the artist’s own choosing. For another, there are often deadlines involved – particularly when the portrait is destined to be a gift – and that can generate the kind of stress that's not conducive to creativity. And thirdly, the artwork has to measure up to the client’s expectations as well as satisfying the artist. It's not the ideal scenario for highly individualistic artist-types who prefer to do things their own way, in their own time, on their own terms! But I feel like I’ve developed strategies that have helped me flourish as a commission artist.

First off, I stick with what I know: animals. In the portrait business that usually means dogs, horses or cats, and these are all critters with which I’ve had lots of personal experience. I believe each and every one of them is special, unique and interesting – beautiful in their own way even when they’re missing an eye or an ear, or when the signs of advancing age or a difficult life are clearly visible. If they pose a particular challenge I embrace it, knowing it will push me to expand my boundaries and encourage artistic growth.

This little Boston Terrier pup was one such project. He had been very, very special but his life, during which he had lost an eye, had been brief. Only a handful of grainy Polaroid photos were available. Sometimes an old-fashioned magnifying glass sure comes in handy!

But you might wonder how I generate a personal connection with animals I don't meet in person. After all, I have talked before about my firm conviction that creating a meaningful piece of art requires an emotional investment on the part of the artist.

In a perfect scenario, I certainly prefer to meet my animal portrait subjects. When that’s not possible, the next best thing is to hear the animal’s story as told by his/her devoted human. I can form an emotional attachment to an animal in the blink of an eye (I’m not sure if that’s a gift or simply a bizarre personality quirk) and when I hear their story I have little trouble making a personal connection. I envision what they were like and what it would have been like to be around them. I can almost smell them and feel the warmth of their bodies! 

A portrait for a long-distance client.
From what I was told about this horse,
I felt like I knew him!

I truly appreciate what each and every one of these animals means to their human(s) and I feel empathy for that bond. Even if my client can only supply a handful of not-so-great photos, I jump in with both feet with the goal of making a perfect portrait. 

From this particular selection of photos...

...and from what I learned from my client about each cat, his/her personality, and their lives together, I created this portrait:

Listening to the stories also helps me get to know my human client and what their expectations might be. If they’ve come to me for a portrait, I know they’ve seen my work and appreciate what I do, so we’re already half-way there! It’s up to me to help iron out the details and also to figure out how to make the portrait perfect. Collaboration is important – both I and my client must be satisfied with the end result. They’ve come to me for my expertise but their input is crucial. After all, I’m making art for them.

The last issue, the one of deadlines, can be challenging. I find the best thing is to be transparent about what’s possible and what’s not, to reorganize schedules as needed, and devote some late-night hours when necessary. Creativity under time constraints is not ideal but it’s a reality of the work. I’m never averse to working hard.

I’m always just a little nervous when it’s time to unveil the finished artwork. Even though I am an emotional person when it comes to animals, I’m often surprised at the depth of feeling my clients display when they first see their animal’s portrait. Very often there are tears. This makes total sense to me when it's a portrait of a dear, departed companion or one who's nearing the end of his/her life’s journey, but when the critters are alive and well with many happy years ahead, I never fail to be caught off guard. However, tears are a sure sign I’ve done a good job! I always keep a box of tissues handy.

It’s not always easy, but art-making has got to be among the most satisfying work there is. When I can bring tears of joy to the eyes of a fellow animal lover, it’s particularly so.

This little cutie is my next subject.
You'll be able to see her portrait in a few weeks' time.

If you'd like to learn more about the portraits I create, visit the portraits page of my website. Over time some of them have been featured in my blog and you'll see them if you read back through the archive of postings. Most notable are Evolution of a Portrait, A Father's Day Gift, Portrait of a Best Friend, and recently My New Friends.