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wildartguy β Persian Leopard Study
Published: 2009-07-12 14:03:43 +0000 UTC; Views: 7620; Favourites: 236; Downloads: 559
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Description
I really enjoyed painting this, having intended from the start to keep this picture loose and 'unfinished', a style perfected by the greatest of all Wildlife painters (IMVHO) Raymond Harris-Ching (although Singer-Sargent's great work 'Madame X' is a powerful earlier example).Unfortunately, Ray's work is hard to find on the net as, with his usual obstinacy, he has no web site and doesnβt own a computer. I offered once to build him a web site gratis, but he declined. Still, a Google search will turn up a few examples of his work, and I can recommend one of his books in particular: "Wild Portraits", which has probably influenced my work more than any other single source. Perhaps Amazon has it...Hang on, I'll look for you........
Yep, its over 200 bucks for a used copy, but I assure you, worth every cent.
The magnificent cat in this painting was a female called Samara who I was lucky enough to pet and scratch while she purred like a giant pussy cat, one of the most amazing animals I've had the pleasure of meeting. Moments like that are the reason why I paint animals. To have a moment of real 'contact' with a wild creature is a joy far beyond the feeble power of words to express. I've had these experiences with a tiny Kingfisher, a 30 foot Humpback whale, and many others in between. I try to get the feeling of this phenomenon with paint, but it can't really be done - not by me at least, but when I come to paint the animal I get to feel a bit of that moment again.
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Comments: 50
Magnificently realistic
Keep up the great work
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Thanks for sharing ... not only this gorgeous painting, but also a little about what inspires you and what moves you ...
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I've noticed that a lot of your paintings' compositions make really clever use of negative space. I can definitely see the Raymond Harris-Ching influence here, but it reads as being a distinct style unique to you. You definitely captured the grace and power of this beautiful feline.
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Okay, well that certainly ranks among the best few compliments I've ever received! And from a fellow artist no less. Not quite sure I deserve it, but it's very much appreciated nonetheless!
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Gorgeous use of light & shadow!! Stunning painting
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Thank you Becker, much appreciated. it was one of those pictures which just worked and was finished in a couple of sittings. Sometimes I work for a month and get something nowhere near as good! It might be because I really got to know this stunning cat, she would come up to the bars and let me (very carefully) scratch her head like a big pussy cat when no one was looking!
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You're very welcome 
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Edit: The link to the Feature is here: [link]
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congratulations!
Your artwork has been featured in our June Feature for the theme "Wildlife":[link]
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I keep coming back to this painting to admire it--it's so lovely! The amount of depth you were able to achieve it in and the variety of detail is just incredible. I love that you have a very finished looking piece while still having blank canvas space. Keep up the amazing work!
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Very kind of you Misted, many thanks. The style is one I've always loved, brought to perfection by the great artist Ray Harris-Ching. Hes a Kiwi living in England who I've been lucky enough to know for the last dozen years or so. There are several books of his work available but they aren't cheap, and there isn't much on the web as Ray refuses to have anything to do with computers. I offered to build him a website, but he ain't interested, stubborn old bugger!
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You're very welcome! It must me very nice to have a mentor as talented as himself. I'm sure you've been able to glean much from his experience and expertise over the years. You clearly have something going for you.
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Ray is the most amazing man, I got to spend a few hours at his home in Wiltshire a few years back. He could talk about bowel movements and make it fascinating (not that he does) his ideas about art are just a revelation. He taught me to look at my work, and say "Well, that's fine, but what does it MEAN!! (I can hear his voice as I type), my friend Andrew Denman (a brilliant US wildlife artist) is a big fan too, in fact most artists I've met including Bateman, Carl Brenders etc, see Ching as the master, he's like the "Artists artist".
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Some people really know how to speak about things, and it's especially nice when they are artists. 
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Thanks again, hey have you heard of 'Birds in Art'? Its an annual exhibition in Wisconsin (which then travels around the US) which attracts the best artists each year, not easy to get into, but they have an amazing opening weekend in which you will meet some of the best (I found myself chatting over drinks with Guy Cohleach one evening and playing volleyball with Lars Johnnson the next day, it was fantastic!). Your work is good enough to get in, but that's no guarantee, the jurying is a bit iffy. Worth a shot though!
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I have heard of it, though I don't know why I haven't explored it a bit more. I live in MN, so it's only a state away. Thanks for the info! I'll definitely have to check into that more seriously now. And haha, yes juries can be very iffy! I know exactly what you mean by that (and I don't think I'd expect any less from them
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Well, these guys are very... unusual in their selections. Politics and friendships have much to do with it. I finally got in in 2001, we went over there for it, it was awesome, and while there I became friends with Marcia, one of the trustees. She wasn't involved in 2002, and I was disappointed again, in 2003 she was back in and I was accepted. The best advice I got was from Ray Ching who told me to enter a small picture to break in, then a bigger one next time. He also told me to make sure not to enter a Robin or a Cardinal, but something unusual. I did all these things and they worked perfectly. I entered a small Australian Gallinule which was accepted, then a large pic of Hornbills, which worked also. They tend to favour unusual species or a quirky image, no standard birds on branches. The other big thing to enter is the SAA exhibition (Society of Animal Artists), You gotta be a member, but you shouldnβt have any trouble, (only show your BEST work) good luck with it!
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Thanks again for all your advice--it's much appreciated! I see what you mean by that. I'll have to try for it next year and see if I can be lucky enough to get in. Haha, I'm sure they get a bit of an overload of the common species. 
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Yeah, it ain't cheap, I think it's like $200 to join then about $160 per year. Mind you it would be a lot more use to you over there than here in Australia! They're based in NYC, (we were there for a few days in 2001, just before the Birds in Art weekend on Sept 7-9, our timing wasn't great). and they have a lot of events in the US, I think the only reason I keep up my membership is so I can put 'SAA' after my name. Oh, you can pay monthly if it suits. They're good at helping struggling artists.
Good luck with it, let me know if I can help.
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Yeah, I think those were the numbers I had seen before. I guess I'm not very familiar with the perks. Are you allowed into exclusion exhibitions and that sort of thing? Or are there other aspects that I don't know about as well? I'm very money conscious at the moment as I just graduated from college last year about this time and have yet to find a full time job.
And thank you as well! You've been a lot of help to me already.
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No problem, People helped me when I was finding my way, so I'm happy to help, and you're talking like a real artist there, we're ALL money concious, except the half dozen who are hot at the moment, and even then it doesn't always convert to money. Andy Denman is not exactly swimming in money and he's about as hot as anyone right now, but he's being very careful not to let his prices rise too quickly so his work is still quite cheap compared to guys like Bateman and Brenders whose work is sold before its done, and for ten times what Andy charges. I made that mistake, let prices get too high too quick, thanks to greedy dealers. It's great while things are good, I was selling for up to ten grand, but since September 11 not only was art not selling, but the buyers that were still around only wanted US artists and only wanted patriotic pictures of Indians wrapped in American flags (what a bizarre idea!), or cowboys on horses. I just didn't do that kind of work and never will, so sales stopped. Fortunately I had started doing digital work by then which pays the bills, and because it was for an ongoing job, it didn't stop after the banks collapsed in '08. Lots of other artists I know had to go back to a 'normal' job. My idea of hell!
And yes, the SAA has exhibitions only open to members, including their annual show which is a big deal. They also get contacted occasionally by people needing artists, I've gotten a couple of jobs out of it. They also plan lots of activities for members, especially if you're over there. Last year they had a big weekend in San Diego for the annual show with events at the Zoo etc. Andy went and said it was brilliant. The annual show gets good coverage too, and a gold medal from it is a mighty good thing for the resumΓ©. Not easy of course, but nothing worthwhile is.
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Haha, yeah that's very true! I suppose you almost have to be if you want to be an artist and make a decent living. I haven't heard of Andy before, but I checked out his work and it's very lovely! He has a nice way of mergin abstract thoughts and techniques of line and color into very realistic wildlife paintings. And that's awesome he's able to make a living from that! I'm still at that stage where I price my work very modestly, as I am far from well known on the art scene. I suppose pricing is something you adjust as you gain a larger audience, sell more frequently, and achieve a better resume. Ah yes, and that's exactly what I want to avoid--a "normal" job! Though it's not working that way right now as I have student loans to pay.
I'll have to check that out a bit more thoroughly, then. I don't think I'd be able to afford membership this year, but hopefully sometime in the very near future! It's always great (and important) to spend quality time with other wildlife artists and learn from each other, not to mention being able to exhibit together.
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The time with other artists is probably the biggest thing SAA and others offer, another worth looking at is the AFC (Artists for Conservation) formerly the WNAG. They have a great web presence, with your own page, and many opportunities, including expedition funding etc. If you mention my name to Bill Whiting (who runs it) it might help (or get you barred for life!). Andrew was a more standard artist a few years ago, more Terry Isaac, but he found that the semi-abstract stuff gained him a more recognisable style. If people can look at a piece and know you did it instantly you're halfway there!
Just don't let a dealer or gallery lift your prices too quickly, better to remain affordable for as long as possible. What you want right now is to accumulate collectors, worth their weight in Gold. The more people who collect your work the more valuable you are to a gallery or dealer. Stay inexpensive until you have lots of collectors. Things like horses and Moose, native animals in general, will sell well. The very best advice I can offer is that which Michelangelo (my personal hero) gave a student who asked how to become a great artist like him, he said "Draw, son, and don't waste time! I follow that advice every day, the more you draw, the better you will get. Shame about the student loans, that whole thing makes me sick, how can a nation spend billions on wars and make their next generation pay tens of thousands for an education? It's not just the US, many Western countries do it, except some European ones. (rant over). Anyway, Draw, draw, draw, the rest will follow!
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Hmm, I don't think I've heard of the AFC before, but again, I'll look into that. It sounds like another great opportunity. And yes, it seems to help a lot if you have a very recognizable style. And that's also good to know. I'm not a part of any gallery (yet) nor have I ever been, so it's a new experience if and when I get there. I'm slowly building up my artwork's familiarity around my community, and it helps that I'm one of the few (if not the only) realistic wildlife painter around the area. Michelangelo was a stunning artist and I, too, look up to his beautiful work. Definitely the best advice out there.
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Beautiful painting. Love the way you handled the background too - makes for a great composition.
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wow!so realistic!excellent work!amazing colours!perfect lighting!very well done!
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Many thanks guys, @Mattlowdenfish, I can't think of a better investment than one of Rays incredible works, unfortunately he doesn't have much work about and much of his latest stuff is of people, though he does still do other animals, when you see the originals up close you realise how much better they are than photos can show. If you decide to buy one his prices are ridiculously cheap compared to many American artists, and I happy to help you find a piece, let me know.
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I had wondered why you don't see much of Raymond Harris-Ching's work around. I am a fan of the loose, unfinished style too, after many years of aiming for tight realism I am trying to work on my looser techniques. I am also just starting to skim the surface of the world of big cats - this is beautifully done
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I found this image, and path to this page whilst looking for work by Ray Ching. I've been collecting his books and prints since in my teens and now, in my late thirties, can almost comprehend buying a small original of his. He is a draughtsman without peer in my opinion but all his paintings show such love for his subjects that I believe, although they are traditional and accurate, are highly personal too. Anyway, I digress. I thought this image was one of his. You've done an incredible job. Bravo.
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I found this image, and path to this page whilst looking for work by Ray Ching. I've been collecting his books and prints since in my teens and now, in my late thirties, can almost comprehend buying a small original of his. He is a draughtsman without peer in my opinion but all his paintings show such love for his subjects that I believe, although they are traditional and accurate, are highly personal too. Anyway, I digress. I thought this image was one of his. You've done an incredible job. Bravo.
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Absolutely stunning work. I love the way you've captured the social aspects of these animals, showing them in the slightly secluded way you often find them. Great use of colours too. Very emotive.
How long did this take you?
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Thanks very much Chikrata, I'm thinking you're a big cat nut like me! This one was quite quick, the best ones usually are, probably 15-20 hours over a week or so (I'm usually working on several things at once)
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Welcome!
Oh definitely! They're amazing creatures.
If that was quick i'm wondering what your longer pieces take?
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This is an amazing painting! You have totally captured the wild, calm, yet powerful essence of Samara. This is absolutely gorgeous!
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>you're amazing why does this not have more favs and comments???
exactly!!
I love it! so much details ald beautiful colours!
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you're amazing why does this not have more favs and comments???
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very real look u got here. love it!
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What paints did you use?
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I assure you, you ARE anywhere near as good as me, I've simply been doing it 20 years longer. How good you are when YOU are 40 will simply be a matter of how much of your time you devote to your art, nothing else. I guarantee it. Sure, some 'natural' ability is required, but trust me, I've looked, and you have more than enough. Don't waste money on teachers/tutors, (except as a way to get to spend your time working on your art), there is more than enough information and teaching available on the net, and this stops you getting stuck to someone elses style. Places like this are invaluable. And you 'guess' exactly right: When Michelangelo was asked by a student how to become as great an artist as him, the Maestro replied: "DRAW, young one, and don't waste time!"
Another great thing to do is ask questions! The Leopard is Oil (W&N), on gessoed Belgian Linen, painted very thinly (many layers of thin paint). The white at bottom is bare gessoed canvas.
Good luck!
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You're most welcome! For me, oils are absolutely the best. There are things you can do in oils that can't be done any other way, especially blending colour and glazing lots of layers of thin paint to create translucent colour with incredible depth. Then again Acrylic is easier, cheaper and less messy. I used it for quite a while and while I can't imagine going back, I've seen a lot of incredible work in Acrylic. Photorealism is often done that way. If you have the space and can handle the smell (I love it) you should at least try it. Three tubes & white, a cheap hog brush or two plus a bottle of turps and you're away - oh and a canvas, But don't get cheap paint, everything else, no prob, and you can get little sets of 3 colours, but get artists colour, Windsor & Newton will do, Rembrandt is better, and if you're feeling adventurous try Liquin to thin the paint (also By Win & Newt). Most of all...Enjoy!
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