Back in early 2019 in planning paintings for the 2020 show at InSight Gallery, I decided I wanted to paint a moonlit longhorn scene. I got inspired after seeing such a scene after a long day of reference gathering.
I waited for well lit nights to do some plein air color studies. As I designed the piece I realized the size needed to be substantial.
With my sketch on paper, I begin sketching on the gessoed board with paint. Diagonal lines in pencil make it easier to scale.
After the initial sketch is in place, I pay closer attention to anatomy. I continue to refine.
Now I begin to put a wash down. This will give a warm undertone.
Jumping forward I begin to refine in color. I continue this process until completion. Although the scene is serene, I wanted a shimmer and movement in the light. Western history and cattle lore often centered around the night watch. The stars are bright on this night, but the longhorns take center stage.
The West & The Wild
Brian Grimm & David Griffin
Reception May 1, 2020
"Spanish Dagger" 24" x 40" Briscoe Western Art Museum Auction 2019
I aimed to muster up the best of the Texas brush in "Spanish Dagger". Each year the lure of the whitetail increases with each passing day as fall nears. Bucks can be monsters in the brush and this guy was a brute. It is all about the buck and the yucca, both of which are aptly nicknamed "Spanish Dagger".
In South Texas, seasonal colors vary from year to year depending on temperatures. I've been there when barely a sprig of green is evident and then other years, like the one in the painting, summer hugs winter allowing for extended growing season creating a thick yet airy lushness as rain allows.
"Spanish Dagger will be at the Briscoe Museum of Western Art, live auction March 29.
"Horns at Honey Creek" is reminiscent of scenes throughout Texas, however, this is set west of San Antonio. Love of family and land kept this second painting close to home. My grandparents arrived as children in Galveston, TX from Germany in the 1880s. They met, married and purchased 239 acres, not 10 miles from where I grew up in Central Texas. We all have stayed in Texas since.
Longhorns captured my imagination early on. Self-reliant, rugged and the mascot for the University of Texas in nearby Austin, longhorns dotted the landscapes of ranches throughout Texas and were accessible subjects for me to paint.
"Horns at Honey Creek" is in the Hill Country. I'm unsure if the creek got its name from the color or the taste, but I imagine it's probably a little of both. The dappled light of the shade play on the pattern of the longhorns. Summer is ending with cooler days on the way.
"Horns at Honey Creek" 24" x 32" Briscoe Western Art Museum, Night of Artists 2019
"Western Winds" 24" x 36"
Just doing their thing. That is strength. That is the feeling I had when watching these bison. Blustery weather arises. Grit can blow and wind can sweep, yet they carry on. I aimed to capture their genuine strength.
The internet and social media are hurdles. I'm only on Linkedin not because I'm not social; I don't do my best work when I see too much of the same content. I have also found a need to limit technology in the studio. I have internet, I stream music, but I limit browsing. I've heard it argued that artists from the past would have used the tools of modern technology if available. Maybe so, but would their art be better for it? Probably not.
Others have differing viewpoints, but this is what works for me. I'm not a technophobe, I just believe it can homogenize and sterilize, like synthesizers in music. The quirks of the human hand bring warmth and soul.
I really don't like talking much about it. The art should say it. Proof should be in the painting.
Looking forward! Gearing up for some Texas whitetail! Our bucks are the best yet. Almost all have rubbed off their velvet and are beginning to bulk up. Can't wait for the show!
"Afternoon Social" 18" x 24" InSight Gallery
I had this bobwhite quail painting in the works for some time. I toyed with the design, changed their positions, gestures, lighting, etc. until my vision was set. I thumbed through my reference to back up what I had in mind and found I lacked the exact "look" for the hens. Several restless nights were spent thinking about this painting.
I did not want to render. Their patterns are intricate yet I wanted the impression, the air, the light, the mood. Each bird needed their own gesture and personality. I wanted to be sure of hand. I had to do right by this painting. Time to put on the boots and get the proper reference!
Next morning at breakfast I noticed a cardinal landing in the backyard. In its flight path a small object moved. I thought perhaps a squirrel, but recognized a quail hen.
Here it was. I nearly knocked over everything to make way to the camera. I had no time to deal with condensation on the lens. This was incredible! We have 5 acres that are surrounded by larger tracts and in the 5 years of living here, I have never seen a quail, not on our place, not while driving. We have plenty of birds, whitetail, and critters, but the quail were elusive. This hen made her way into our fenced garden. She strutted about a bit, giving a myriad of supermodel worthy poses before she flew to the fence, hopped to the ground to make her way back to the edge of the woods.
"Thank you, God!" Truly an incredible gift and exactly when I needed it.
I also finished this Rio Grande Turkey painting. I had a blast with this painting. The two toms came out as hoped. That is especially true in their personalities. One is completely full of himself, the other seems more pensive. I picture some cocky, lanky dude belting out "What's up girls?". The sometimes humorous ritual of guys approaching ladies seemed to stick with me. The title, "Rio Grande Casanovas" said it all.
Summer months are usually busy in preparation for fall shows. This is especially true this year. Time to get to it. Back to the easel!
"Rio Grande Casanovas" 24" x 36" InSight Gallery
Texas Masters Show at InSight Gallery, March 2, 2018
"La Gran Sombra" (The Big Shadow) 22" x 28" oil/board InSight Gallery - Texas Masters Show
This painting is of a South Texas whitetail from a friend's ranch near Cotulla, TX. Two items set this painting into motion, the whitetail buck and the large acacia tree, (Huisache) he is emerging from behind.
The largest of these bucks instinctively hug the shadows of very early morning or late day, when the shadows become great. The thick expanse of brush south of San Antonio offer ample cover.
I really enjoy the raw beauty of the Brush Country. There is a peace that comes over me sitting in the stand and yet when an animal emerges my heart races with excitement. The camera captures the details and my paint records in sketch, the energy and emotion of the moment.
I can't tell you how many times I revised the drawing for this buck. I took it to different easels, different rooms, in the frame and without. After a break, I'd go back to wipe him clean and begin again. I was determined not to begin painting until I was fully satisfied.
One slight shift of the leg and he was too tense. After much tweaking, I was ready to paint!
"Gillespie Gold" was in many ways a return to my roots...
The Texas Hill Country has a rugged beauty that is ripe with wildlife. Although this could very well be anywhere in the Hill Country, this scene is west of Fredericksburg in Gillespie County before the Mason County line.
Can't believe how fast time is passing. After focusing spring on paintings for Legacy Gallery in Jackson Hole, I am back in Texas getting inspired for the next painting, a whitetail piece for Insight Gallery. Like many of my paintings, I've tinkered with this design in my mind for a while.
I have a faint grid drawing, have the general design sketched in charcoal and refined it. After the initial drawing, I decided I didn't like the buck's back legs stretched quite so far out and moved them in slightly. Also, initially the closest doe was in a different position. At this point, I have my color wash down but found a couple of things I wanted to tweak. I left it overnight to come back with fresh eyes this morning. (note: coffee cup on easel.) Overall satisfied, I wanted to take a look at it in a frame I was considering. I will review it after finished and decide if a new frame is in order. Behind me are small plein air studies and my sketch that will work as a guide throughout painting.
Painter of western wildlife and landscapes, constantly seeking to balance impressionism and realism sans trickery. Brian works as a full time artist in Central Texas. Exhibited at Rockwell Museum, Briscoe Museum, National Cowboy and Western Heritage Museum, and National Museum of Wildlife Art.