Monday, March 23, 2015

Masterworks from the International Guild of Realism Features Animal Art

Linda Besse,  The Art Student, 14.5X20-Oil

 MASTERWORKS FROM THE INTERNATIONAL GUILD OF REALISM is a new initiative intended to recognize achievement in realism and result in a traveling museum exhibition.  The exhibition consists of 70 artworks by 65 artists selected by a jury-of-peers shaped by input from the project's tour director. defines Contemporary Realism as a movement which emerged in America, in the late 1960's and early 1970's concerned with "the straightforward realistic approach to representation which continues to be widely practiced in this post-abstract era . . . (and) is different from Photorealism, which is somewhat exaggerated and ironic and conceptual in its nature."  The International Guild of Realism represents some 350 artists from some 35 countries around the world who form a disparate group, and, though literate in conventions of Modern Art, choose to work in traditional forms.   

Camille Engel,  U.S., A Song Worth Volumes 2010 11x14

The mission of the International Guild of Realism is to advance realism in fine art and to promote the careers of the representational artists it represents. Among the goals of The Guild are to recognize the best realists working today, and to share their work with the public.  Toward that end, The International Guild of Realism reached out to David J. Wagner, L.L.C., to produce a traveling exhibition of museum-quality works representative of the best work of its members today who work in a range of media including oil, acrylic, egg tempera, graphite and colored pencil. 

Paula Henchell, Canada,  Mountain Bluebird 2014 18x18

Jurors responsible for selecting works for MASTERWORKS FROM THE INTERNATIONAL GUILD OF REALISM included: Donald Clapper, painter and Founding Charter Member, International Guild of Realism; Vala Ola, painter and sculptor from Iceland (now U.S), and Charter Member, International Guild of Realism and  Art Renewal Center Living Master; and William Rowett, Scottsdale Realism Collector.  David J. Wagner, Ph.D., served as Curatorial Advisor to the jury.  MASTERWORKS FROM THE INTERNATIONAL GUILD OF REALISM is comprised of 70 paintings by 65 artists whose work embodies high standards of excellence and ranges from ultra-contemporary to timeless traditional realism.  

Joan Johnson, After We Play, 16 x 20, oil on panel


Alban Lee U.S. The Toy Box 2011 15x 12
Alberto Jorge U.S. "C" is for cat 2013 12x12
Alberto Jorge U.S. Allegory of the Arts 2012 17.5x29
Andresen Nancy U.S. Barnum 2014 12x16
Anthony Janice U.S. Threshold 2015 35x34
Barthelemy Christian U.K. French Alps, Mont Blanc Massif Autumn 1999 26x32
Beasley Glenn U.S. First Light 2014 16x20
Besse Linda U.S. The Art Student 2013 15x29.5
Blackburn R. Geoffrey U.S. Twilight on the Colorado 2012 14x24
Bowen Ginger U.S. Hawk 2012 30x19
Bowers David Michael U.S. The Observer 2010 29x18
Bowers David Michael U.S. Made in America 2011 24x44
Brooks Hebe U.S. Patriotic Melody 2013 30x20
Cantrell Sheila U.S. Red Pears at Play 2010 16x20
Carroll Pamela U.S. Jean-Baptiste Greuze Post Card 2008 12x9
Cassity Daniel Mark U.S. Keys to the Kingdom 2012 16x20
Chandler Marsha U.S. Pear Mosaic 2012 22x30
Clapper Donald U.S. Ernest, Which Stamp is Real? 2003 12x16
Clements (Barber) Barbara U.S. Serene Afternoon on Cape Ann 2012 30x40x1.2
Copley Ed U.S. One Stitch at a Time 2015 28x38
Copley Ed U.S. Breath Taking 2014 26x20
Diefenbach Lyn Australia Reflections on a Journey 2014 24x36
Dolan John Philbin U.S. Nolan 2013 17x13
Dunphy Evelyn U.S. Exuberance 2013 22x24
Engel Camille U.S. A Song Worth Volumes 2010 11x14
Gonzalez George A. U.S. Brain Games 2014 16x20
Gorman Allan U.S. Ruby & Sapphire 2014 36x24
Grimes Deanna U.S. Duck Social 2012 15x20
Henchell Paula Canada Mountain Bluebird 2014 18x18
Henderson K. U.S. PB&J #2 2014 24x36
Hinojosa Albino U.S. Relics 2015 21.5x21.25
Johnson Joan Essex U.S. After We Play 2012 16x20
Jones Jane U.S. Crimson Evening 2012 21x21
Jones Steven U.S. Books & Strings I 2008 36x48
Kim Grace U.S. Dragon Fruit 2013 10x18
Kloosterboer Lorena Belgium Tempus ad Requiem III 2014 12x15 3/4
Kornachuk Anne-Marie Canada Leaving Eden: Vertigo 2010 48x48
Lalik Sharon Guyton U.S. Ketchup and Pepper 2010 20x20
Lende Jette van der Norway Freedom of Speech 2008 27.6x41.3
Lindamood Patsy U.S. Just Giraffe 2014 18x24
McWethy Tatiana U.S. Caravaggio 2011 30x32
Miller Terry U.S. February Sun 2011 11.25x10.5
Nelson Priscilla U.S. Chasing Shadows 2014 48x36
Nixon Daphne Wynne U.S. Hard-Boiled Lemon & Egg Squeezer 16x20
Nyayapathi Sivananda U.S. Damon Carter 2013 24x20
Ola Vala U.S. Moonstruck 2012 20x16
Pech Arleta U.S. Collected Toys 2014 21x29
Penning Cees U.S. Cupcakes 2015 24x36
Peyton Anne U.S. Prey Watch 2014 18x10
Poole Colin U.S. Daydream 16.75x12.5
Prezioso Michael Robert U.S. Homage to Ingre 2014 11.25x18.25
Pruys Cher U.S. The Bubble 2014 7x12
Royston Scott U.S. Propitiation 2013 20x12
Rusin Len U.S. Misty Morning Climber 2012 20x24
Saunois Laurence France Ordinary Wildlife 2014 11.80x17.72
Scaglia Ken U.S. Saratoga 300 2011 36x24
Schwartz Gerald U.S. Dusk 2013 36x30
Sistrunk Beth U.S. Athena in Spring 2014 20x20
Skudal Atle Norway Sewing Machine 2008 21x26
Srebnik Craig U.S. Her Morning Bath 2015 24x18
Starostka Ardith U.S. Persephone 2012 30x20
Starostka Ardith U.S. Pearl Necklace 2011 18x24
Stommes Jan U.S. Trompe l'Oeil Series: Art of Raptors 2014 24x36
Swift Peter U.S. Sewing a Strawberry 1982 16x20
Thompson S. Mark U.S. Morning Glory 2012 20x46
Thompson S. Mark U.S. Delft Vase with Rembrandt Tulips 2010 19 3/4x23 1/2
Tiessen Josh Canada Pond's Edge 2013 14x30x2
Tietjen Laurie U.S. Cleo Sleeping on Bed 2012 23x16
Weiss Elizabeth U.S. Reawakening 2015 15x16
Wright William U.S. Altar of Sacrifice, Zion NP 2013 18x24
Yee Karen U.S. Nikki 2014 24x18
Yenkevich William Michael U.S. Still Life - Essence of Beauty 2013 16x12
Nancy Andresen, Barnum 12x16, Oil on Canvas
Produced by David J. Wagner, L.L.C.

May 19, 2015 - July 26, 2015
The R.W. Norton Art Gallery
Shreveport, LA

September 1 - October 31, 2015
Appleton Museum of Art
Ocala, FL

February 6 - June 11, 2016
Albany Museum of Art
Albany, GA

For further information contact:

David J. Wagner, L.L.C.
(414) 221-6878;
or visit:

Member: American Alliance of Museums
                   International Council of Museums

Tuesday, March 17, 2015

Lindsay Wildlife Museum
Will present

 Wild Life
as we see it

30 Watercolor & Oil Paintings of Life in the Natural World we live in  &  with 

Linda Darsow Sutton 

April 18th – May 31st 2015

Reception April 26th 2:00 – 4:00 pm
Walnut Creek, CA (San Francisco Bay Area)

Those Lion Eyes  24" x 40"  transparent watercolor

 The human eye is not designed to see everything at once, but to savor specific jewels of information.  The surrounding content taunts us to seek more, sometimes sacrificing the details to be engulfed in an entire atmosphere of a place, grand or small. All life matters, even when it’s not convenient, its purpose for the whole Earth must be respected. Presented at “The Lindsay” will be a smattering of our planet great and small including of a variety of Life. In the transparent watercolors of animals just enough accurate information is included to invite viewers to engage their imagination beyond the two dimensional surface. Maybe even be inspired to explore unique different qualities of species, different menus, hunting styles, the spring costumes change for many and some grow out of their baby clothes. 
Summer's Hunting Sky  40" x 22"
There are no animals hidden in the little landscapes painted in oil but they are full of life nonetheless. Water is life, wild or tamed, it all strives to go to the ocean and can take many forms to get there. Nurturing all along the way, wildlife adjusting and evolving around it’s behavior. Painting nature’s beauty is an expression of wonder and gratitude, rewarded by understanding, and sometimes shared secrets. Painting outside you are not alone just because you don’t always see who’s out there. Be intrigued to play outside, be quiet in it for a minuet (yes, turn off the cell phone), and see things, listen if that’s what suits you, or, even get involved in preserving something. This show is not about people but for them; take the children out of town often. Go see, experience, and remember beverage containers are lots easier to carry out of camp empty than in, so please keep your human influence to yourself. 

The Lindsay Wildlife Museum has been “Connecting people with wildlife to inspire responsibility and respect for the world we share” in the San Francisco Bay Area for 50 years. Their wildlife hospital is the oldest and one of the largest rehabilitation centers in the United States where they rescue the rescue-able and release the releasable. The un-releasable, if they are amiable, become our favorite wildlife ambassadors (and models), I am always proud to join them in their cause.

Mendo Grove Individual 12" x 9" oil on panel  (as seen at The Laumeister Fine Art Competition)

Working primarily in transparent watercolor Linda Sutton cavorts her medium with subjects of the natural world, exhibiting paintings with conservation groups in prestigious museums and winning top honors in plein air competitions (listed on the website). With intent to inspire awareness, respect and appreciation for the planet we live on.

For information:
(925) 935-1978
about Linda:

Wednesday, March 11, 2015

By Leo E. Osborne
Leo E. Osborne
Society of Animal Artists Master Signature Member
It was my honor to be not only at the opening evening of ENVIRONMENTAL  IMPACT at the famous and in my own words, ”American Treasure” of Brookgreen Gardens, but to be given the opportunity to lecture about the show the following day.
First I must pluck my heart strings for how I feel towards this amazing sculpture garden and the art contained within.  I was first introduced to this spectacular place in the early 80’s when I would go to Charleston for the South Eastern Wildlife Exhibition.  Since those days I have shown work at galleries in  that city and that brings me back from time to time.  Often these trips include a drive to see Brookgreen! I have had the privilege of two works being included in their permanent sculpture collection.
I must say that the square footage of the exhibition hall which is spread into two adjoining rooms with a lovely roofed terrace in between is not a big space.  However…..the Director of Brookgreen Gardens, Ms. Robin Salmon through her keen dimensionally trained eye for sculpture managed to place every work into this show that is part of the exhibition, curated by David J. Wagner.
Michael (Mick) Meilahn, Pickett, WI
(Corn Genetic Engineered)
2012, Blown Glass and Cast Bronze, 9x9x9'
How did that feel?  Let me first explain how it impacted me.  First I was dazzled by seeing the large hanging works of glass artist, Michael Meilahn, these 3 foot blown glass ears of corn, hanging from knotted stretch ropes holding back bronze castings of husk shapes at various intervals along the 12 feet of hanging sculptural forms.  Then too are the magnificently crafted works titled THE TRAVELERS done by artist Sayaka Ganz of Japan.  These large hanging wolf / canine like forms are created by using discarded bits and pieces of white plastic utensils, lawn chairs and virtually anything that her friends help her find in the trash heaps of this planet!  I kept coming back to these to investigate their construction and to feel the power that they unleash.  I had the opportunity to see this show at previous venues and at some it was not possible to hang these large pieces from museum gallery ceilings. However at wondrous Brookgreen they created new temporary beams to handle these works and they did take up the center of each display room.  They each blew me away!  I was elated to have the opportunity to witness first hand these impressive hanging sculptures of Michael and Sayaka. 
Sayaka Kajita Ganz, Yokohama, Japan (now USA) 
2013, Reclaimed Plastic & Metal, 57x24x26"; 2 @ 45x16x18"
And, again, how did this relatively small space make me feel about the show.  How was I impacted by ENVIRONMENTAL IMPACT?

I felt taken in by it, absorbed thru & thru, drawn into and shaken up.  I would turn a corner and BLAM,  hit in the face by the face of BUDDING BOY by Julie Hefferman.  This 78x56 painting is a dreamy boy figure amidst a budding tree and he too appears to be budding with fruit as if coming forth from his own center.  It is beautifully haunting, but not as haunting as her work of that same size, PINK LANDSCAPE.
This work so called into place the book I had just been reading, THE WORLD WITHOUT US, by Alan Weisman.  He gives us concrete information about what we are forcing onto the planet and how we might find ourselves extinct, but the world of other life forms may then dwell in peace and harmony.
This painting is apocalyptic and summons our mind to look at survival as something real and not simply the illustrations of early comic books!  And then too, on a monumental scale of 100x90 inches, is the painting of Ron Kingswood, TAKKEN IN HET BOS (branches in the wood).  It hangs on a mid- room panel and its size overtakes you into a wondrous wintery background of snow and branches strewn about the surface like the spilling of I CHING sticks.  I wondered before it, and looked to find its own hidden story and messages of the future.

Julie Heffernan, Brooklyn, NY
Budding Boy
2010, Oil on Canvas, 78x56"
Courtesy of Catharine Clark Gallery, San Francisco and P.P.O.W., New York
I still found the sculpture by CHAPEL, the sea turtle bronze and stone work RISING TIDES profound.  This turtle is pondering at the side of a human built structure that is flooded, this again took me back to the words in THE WORLD WITHOUT US.
And speaking of sculptures I never tire of seeing the impressive piece REQUIUM by Kent Ullberg. This piece was instrumental in the conception of this show by Wagner along with the works of Bob Bateman and myself who did these pieces over 20 years ago during and right after the Valdez Oil Spill in Alaska. They each document the fact that humanity is STILL NOT LISTENING to the songs, the words, the cries of our planetary comrades in arms.
I have to admit that I am not always the best viewer or critic of photography.  However, the works of these photographers is to be strongly considered as a very real view of what we have done and are continuing to do to the planet and to human existence on it.  Martin Stupich, Richard Misrach, Peter Goin and Robert Dawson have selected works that inspire awe for the transgressions we have heaped upon our Mother Gaia.  Shameful is all I can say about that.  Thank you four for capturing this and sharing this viewpoint.
In part, it is my own fascination and love of bees that makes me love so much the paintings of Britt Freda, but Britt has painted these in such wonder and color splotches of paint, dripping like honey from cone and rock cairns that I just love the paint, the forms she uses to capture the eye and content of her thoughts.
And then there was this:  There is a video screen on the wall and it contains a loop of 10 minutes created by filmmaker, Drew Denny, interviewing her, Zaria Forman and Lisa Lebofsky as they journey to Greenland and the Maldives.  I must mention that their journey was spawned by Forman’s mother, fine art photographer Rena Bass Forman who conceived this journey, but did not live to see it through.  These lovely young women brought Rena’s ashes with them as an offering and a “saying goodbye on scales both global and personal”.
Lisa Lebofsky, Bronx, NY
Petzval Glacier
2011, Oil on Aluminum, 40x64"
The paintings that came from these three women are all stunning and breathtaking. The waters are rising, islands are ‘going away’ and the icebergs are fleeing into meltdown.  I was so intrigued by the painting PETZVAL GLACIER by Lisa Lebofsky.  It is done by applying oil paints onto a sanded aluminum plate.  It moves, it is there at one angle and disappears at another angle. How so like the subject, icebergs drifting away and melting.  The translucency of this painting kept my mind in wonder and yes, I too had to keep coming back to it again and again.
Though I could continue on to illuminate each artist and their works at the show as each work is so profound or simply beautiful in its own, I must try to keep this brief.  It is a show with punch, it is edgy and it is an exhibition that should travel the world. 
Leo E. Osborne

Saturday, February 14, 2015

BOOK by David J. Wagner, Ph.D. 

ART OF THE DIVE / PORTRAITS OF THE DEEP is a book that catalogues a 2011-2012 museum exhibition that featured work by leading artists who portray underwater life and habitat. ART OF THE DIVE / PORTRAITS OF THE DEEP includes color photographs of paintings, sculptures, murals, and monuments by the world’s leading dive painters and sculptors, and biographies of each artist. These begin with Stanley Meltzoff (1917-2006), who, as author/curator Dr. David J. Wagner explains, was given his art-of-the-dive start with a commission from National Geographic Society in the 1960’s and who is now generally recognized as the progenitor of the genre. Others include Charles Allmond, Al Barnes, Renée Bemis, Eric Berg, M.J. Brush, Ian Coleman, Jean-Louis Courteau, Guy Harvey, John Kobald, Diane Peebles, Randy Puckett, Don Ray, George Schelling, Randall Scott, Rachelle Siegrist, Wes Siegrist, Mark Susinno, Fred Thomas, Kent Ullberg, Ronnie Williford, Wyland.

Guy Harvey, Blue Runner, 2007, Acrylic, 30x40

ART OF THE DIVE / PORTRAITS OF THE DEEP, was designed by Wes Siegrist and published for David J. Wagner on, a print-on-demand self-publishing service.  ART OF THE DIVE / PORTRAITS OF THE DEEP, is available at:

Randy Puckett, Encounter, 1997, Bronze, 32x60x24

 Though replete, detailed paintings created from the perspective of the dive have existed now for almost fifty years, a comprehensive museum exhibition of the genre did not exist before been produced before David J. Wagner, L.L.C. produced ART OF THE DIVE / PORTRAITS OF THE DEEP.  The exhibit was intended to document and acknowledge achievements of painters who have dedicated themselves to portraying aquatic themes from the perspective of diving.  Stanley Meltzoff established the genre among painters in the 1960’s, beginning with a painting of striped bass which Sports Illustrated published in 1966.  Meltzoff was subsequently emulated by a second generation of painters, many of whom are represented in this exhibition.  Sculptors on the other hand, have celebrated the richness and beauty of marine life, for hundreds of years before that.  But over the past fifty years, certain artists have pushed the expression of marine themes in sculpture in new and interesting ways.  Kent Ullberg, for example, not only pushed media beyond bronze to include stainless steel, but also pushed the scale and the aesthetic of the genre from one of realism to post-modernism, all of which were informed by collaborations with leading architects and landscape designers, and first-hand experience as a diver dating back to 1965 when he enlisted as a navy seal in the Swedish armed forces.  ART OF THE DIVE strives to recognize and honor artists who have perennially produced work of the highest quality.  In addition to quality, another criteria that guided the composition of this exhibition has been diversity . . . diversity in terms of subject matter, media, style, geography, etc.  Insomuch as the world's water is a barometer for the health of the inhabitants of our oceans, lakes, and rivers, subjects found in ART OF THE DIVE, and their richness and beauty, function as a powerful foil against destruction symbolized recently by the 2010 Deepwater Horizon oil-rig explosion in the Gulf of Mexico.  Of course, that sensational spill is but the tip of the ice berg when it comes to dangers confronting underwater life (e.g., bycatch from commercial fishing, coral reef destruction, wastewater discharge, etc.etc.etc.).  Because ART OF THE DIVE celebrates beauty and diversity, it shouts out the need for marine conservation and stewardship in positive and powerful ways.  

Randall Scott, Reef Sentinel, 2004, Acrylic, 36x30


Charles Allmond (Wilmington, DE)
Al Barnes (Fulton, TX)
Reneé Bemis (DeKalb, IL)
Eric Berg (Philadelphia, PA)
M.J. Brush (Mystic, CT)
Ian Coleman (Great Britain)
Jean-Louis Courteau (Quebec, Canada)
Guy Harvey (Cayman Islands, BWI)
John Kobald (Meeker, CO)
Stanley Meltzoff (1917-2006)
(Meltzoff Art on loan from estate collection of Mike Rivkin & painter Don Ray)
Diane Peebles (St. Petersburg, FL)
Randy Puckett (Salinas, CA)
Don Ray (Vero Beach, FL)
George Schelling (Laceyville, PA)
Randall Scott (Palm City, FL)
Rachelle and Wes Siegrist (Townsend, TN)
Mark Susinno (Harrisburg, PA)
Fred Thomas (Shoreline, WA)
Kent Ullberg (Corpus Christi, TX)
Ronnie Williford (Georgetown, TX)
Wyland (Laguna Beach, CA)

Ronnie Williford, The Color Garden, 2011, Oil, 72x36

For further information, contact:

David J. Wagner, Ph.D., Author, Curator/Tour Director
Tour Office, David J. Wagner, L.L.C.
Phone: (414) 221-6878

Tuesday, February 3, 2015


Ellen Woodbury
Verde Guatemala Marble on Granite
18 1/2 x 8 x 8 inches
Photo by Mel Schockner
© Ellen Woodbury

Every aspect of a horse’s existence is based on movement.  They graze to eat and walk to digest, they see in perspective only when they move their heads from side to side as in walking, their hooves are little pumps that circulate blood in their legs as hoof impacts ground.  They live to move, and move to live.
 “Exuberant” was inspired by my dressage horse, Amarretto.  In his youth he was tall and slender, an honest 16.3 hands high, with attractive uphill confirmation and pretty gaits.  He loved to move and he loved to play.  I discovered his enthusiasm for inventing and playing games during a lay-up after an injury that required stall rest.  He was hand-walked for several weeks and then brought back slowly into work.  During that time, we did ground driving and de-sensitizing exercises with scary objects like cardboard boxes and the dreaded blue tarp.  He was fascinated with the mazes and obstacle courses I guided him through, and eventually ended up wearing the tarp and carrying a box in his teeth that held his treats as he negotiated the course.  (The first time I put the treats in the box I could see from his facial expressions that his brain was racing to determine the possibilities of what I had just done!)
 Here’s another story:  Amarretto had an enormous safety cone in the turn-out paddock that was a favorite toy during his daily personal playtimes.  He would throw the safety cone into the neighboring turn-out hoping the horse relaxing there would throw the cone back to him.  Nobody ever did.  One of his horse buddies, Magoo, was on stall-rest for several weeks and would continually observe this one-sided game from his stall.  When Magoo was finally well enough to have a turn-out, he knew how to play the game and was the only horse who returned the thrown safety cone.  That totally warmed my heart!
 Amarretto’s joi de vivre was not confined to his turn-outs, and riding with him was often an adventure in movement.  Exuberant is the best word to describe his philosophy of life.  I take that feeling forward with every sculpture I create.  This one is for him.    
 The stone is Verde Guatemala Marble, originally quarried in Guatemala, as you might expect.  The quarry ran out of stone some time ago, but a new strain of the same marble was found in India, so this particular block is Verde Guatemala from India.  (Geology is fascinating!)  The stone is extremely hard, and certainly the hardest marble I have ever carved.  The friction from cutting this stone was burning off the nickel plating on my diamond blade and I had to switch to a sintered blade, used for cutting granite.  Slow going, but it did the trick. 
 Filing and sanding were extreme finger-busting efforts.  Each stage in the progression from raw stone to 600-grit sandpaper had to be done perfectly—all scratches and tool marks had to be obliterated with each successive tool in order for the final “skin” to be flawless.  The next-higher grit was not effective in removing flaws missed by the previous sand paper.  Deep and rich color almost always comes with a price, and Guatemala Verde is no exception.  However, the end justifies the means for this color freak.         

Friday, January 2, 2015

Produced by David J. Wagner, L.L.C.
David J. Wagner, Ph.D., Curator/Tour Director

September 19 - October 18, 2015: Lindsay Wildlife Museum, Walnut Creek (San Francisco Bay Area), CA
October 31, 2015 - January 3, 2016: Arizona-Sonora Desert Museum, Tucson, AZ
February 1 - April 30, 2016: Hiram Blauvelt Art Museum, Oradell, NJ

“Tapestry” Palm Tanager, 21.25 x 31.5” Acrylic on Board, 2009

The result of Denman’s first international travel, in this case a trip to Trinidad in the West Indies, “Tapestry” represents a significant shift in style.  Here the stylistic and abstracted elements are melded seamlessly with hyper-realistic treatments in the artists’ portrayal of both habitat and wildlife.

A n d r e w   D e n m a n
“In the increasingly crowded field of wildlife artists, Andrew Denman [b. 1978], stands out for his distinctive look in addition to his masterful painting skill” writes veteran art writer and magazine editor Jennifer King in an editorial for Create Better 

“Indigo” Indian Blue Peacocks, 24 x 48” Acrylic on Board, 2004

Not only was “Indigo” Denman’s first painting accepted into a major museum exhibition, in this case, “Birds in Art” at the Leigh Yawkey Woodson Art Museum, but it was also the first time his use of abstraction, previously limited to background applications, spilled over into his treatment of the animal subjects.

 Denman is an artist known for capturing diverse subjects, from wildlife, to landscape, to still life, in an equally diverse range of styles.  His recent work focuses on intimate wildlife portraits and scenes approached with a unique combination of hyper-realism, stylization, and abstraction.  While Denman does not eschew the term “wildlife artist”, his work has moved well beyond the genre, often incorporating modern art elements as well as subject matter that most traditional wildlife artists avoid. 
“Jigsaw” White Gyrfalcon, 28 x 20” Acrylic on Cradled Birch, 2011
 Denman holds a BA in Fine Arts from Saint Mary’s College in Moraga, CA.  He is well known in the San Francisco Bay Area as both an artist and teacher, and he has gained national attention through major gallery showings, numerous museum exhibitions, artist workshops and speaking engagements, and feature coverage in such publications as Southwest Art, American Artist, Wildlife Art, and The Artist’s Magazine, among others. 
Born in 1978, the Bay Area native showed a great degree of interest in art from an early age.  Denman organized his first one man show in high school at a local library, and soon after began participating in exhibitions with Pacific Wildlife Galleries in Lafayette, CA.  Since then, Denman has held four highly successful one-man shows at Pacific Wildlife. Locally, he has also participated in exhibits at the Bedford and Hearst Galleries, The Lindsay Wildlife Museum, the Oakland Museum of California, and the Bakersfield Museum of Fine Art. 

His work has toured nationally with Birds in Art and the Society of Animal Artists, which has thrice honored Andrew’s work with Awards of Excellence.  The artist has participated for four years running in the highly competitive Western Visions Miniatures and More Exhibition and Sale at the National Museum of Wildlife Art in Jackson, Wyoming, an institution that named him the Lanford Monroe Memorial Artist in Residence for Winter of 2009.  Denman’s work can be found in the National Museum of Wildlife Art, The Leigh Yawkey Woodson Art Museum in Wausau, Wisconsin, and numerous private collections across the country.  The artist is a member of the Society of Animal Artists, NY, The International Guild of Realism, AZ, and Artists for Conservation, Canada.  Denman is currently represented by Trailside Galleries in Jackson Hole, WY, and maintains Denman Studios at his Orinda home.

“Modern Dance” Acrylic on Board, 35 x 24” 2004
Typical of his mature style, Denman uses the flamingos, as they shift musically between styles and stages of completion, as a vehicle for exploring the paint itself and the process of painting.

Whether painting an animal in its natural habitat or juxtaposing it against an abstract background,
Denman goes to great lengths to faithfully portray his subjects, taking frequent field trips to nature areas, parks, and zoos to observe his subjects and acquire reference material.  Yet while accuracy is always of great importance, Denman is an artist before he is a naturalist.  The sense of fearless experimentation and originality he brings to his paintings testifies to the artist’s true focus.  As Mary Nelson wrote in the Wildlife Art magazine, “In the end, it’s not the mood, the meaning, or the method that Denman craves.  It is the medium-art.” 

"Keep Searching Winki" Squirrel Monkey Acrylic on Board, 10 x 6.75" 2009
“This little fellow captured my heart one day on a trip to the San Francisco Zoo. Anyone who has ever named a pet is guilty of anthropomorphization and in some wildlife paintings, such sentiment creeps subconsciously into the artist’s portrayal of the anatomy. My goal is to not let my feelings of identification with an animal subject distort the accuracy of my representation, but I’m not at all above allowing emotion to shine through in the pose or expression I select or the title of the piece.

ANDREW DENMAN: THE MODERN WILD shall consist of thirty-five (35) artworks, plus preparatory drawings/sketches, photographs, poems, panels and labels.  For further information, visit:

by Andrew Denman

I drink jubilations of ignorant green;
I lap the clear quiet of blue;
I’m absorbed by the wisdom of yellow
And the violet mystery, too.

Mine is the hot, earthy passion of red
And orange with its zeal and its rage;
Mine is the vibrance and glory of black
And the pure, peerless white of the page.

It is my red lace eyelids that purple the sun;
In my brain burns the brilliance of sight;
Mine to breathe are the white buds of jasmine,
Unfurling like stars in the night.

I claim azure oceans that tug at my feet;
Mine as well are the sweet singing reeds;
Mine is the moss and the dust and the dross
And the root and the stem and the seed.