Paintings of Wildlife & Nature by Rebecca Latham

You are here: Home » Blog

Conservation, Why Bother?

on July 26, 2013

Snow Leopard, watercolor on ivorine, ©Rebecca Latham

I went to a lecture recently themed around conservation. After the session, one young woman asked the speaker “but why do you bother saving this species?” If they are so threatened, if it will cost large sums of time, effort, and currency, why bother? Why care? It’s a losing battle.

She wasn’t stating this regarding her own convictions. She was dedicated to supporting wildlife and environmental causes in need. However, she receives this stance (apparently regularly) against her support for saving species.

The question remains. Why do we?

One argument, because humanity has unfortunately aided in their decline to this point. We push them out of their habitat, clearing land they call home. Sometimes they have special needs and can’t just adapt. ..or hunting or pet trade has diminished their population. Are we responsible? Then shouldn’t we be obligated to fix it?

A second point.. as the common idiom states, “Variety is the spice of life”. Do we really want to lose that variety? Forever?

We live in an elaborate web. All species are connected in some way, with each other, and our environment. If one loose thread is pulled, one species falls off the map, etc., things begin to unravel in other places. It has happened already, and sadly, we only see the impact in hindsight. We do not yet fully understand the workings of this vast ecosystem we live in. Are we really prepared to start willingly pulling threads?

Personally, I am the type that slams on the brakes on the highway for the hen mallard and her seven ducklings crossing the road at midday. (yes, true story) ..because, rare or not, they have just as much right to be here as we do.

Do you support conservation? Why do you ‘bother’?

Rivalry and Competition

on July 19, 2013

Rhapsody, 6″x6″, watercolor on board with sterling silver, ©Rebecca Latham

I am a part of a family of artists. My Mother and sister paint. Many of you may already know this.

We have always shared a studio, or located our studios close to one another since I began painting, drawing, etc. It has it’s benefits.

Not having extended periods of studio isolation is nice, where otherwise the only person I would be speaking to is the cat (he thinks he’s a person). An impromptu critique of something that’s bothering me, or one of them, can pull a painting out of a dreary stage. ..and then of course, running out of burnt umber and having some to borrow only a few steps away is a lifesaver. There are probably others perks as well, but I won’t go on..

We’ve, I’ve, been interviewed a number of times concerning this. Reporters, and I suppose the general public, find it intriguing. They often, however, assume there is a viscous nature lurking behind studio doors – there are always questions:

Do you compete against each other? Yes of course. We often show in the same venues, some of those are competitions or juried exhibits.

Do you get along? Do you sabotage each other’s work? If you and your sister are painting pieces for the same exhibit, do you, like, sneak into the other’s studio and mess up their entry?
I’m sure that would make for a very entertaining read, but.. Um. No. (I’m never quite sure if they are serious or trying to be humorous – perhaps the dividing line on that is blurred? ..anyway. )

I would imagine, if that did actually happen, the sharing of or closely located studios would have a moving van parked out front in no time. Honestly, I’d rather set fire to my paintings than damage one of theirs. I love seeing my family in the same exhibits as my work and am cheering them on when they win. ..even if it means I didn’t.

Just a few months ago, my sister skunked me in a show. I was delighted. Really. She needed that boost. She’s been fighting to get back into the world of shows and exhibits, even just managing to complete work, after her serious health issues she has faced. ..and she soared upon arrival. I couldn’t be happier watching that unfold.

I am not saying that I don’t care about awards, or exhibits and shows. I’m honored when something I’ve done is seen to have merit to earn that spot at an opening or accolade, just as I’m honored to have so many people following my work in social media and real life. ..but all of that is dwarfed by the core reasons I do this.

So, sadly for the lovers of great drama, there isn’t family rivalry and fierce competition. But for the record, I have had a painting or two sabotaged when the cat wanted to help. So it really wasn’t malicious, just the curiosity (or playfulness) that killed the painting.

Questions of Stress, Relief, and Relaxation

on July 12, 2013

Several good questions were presented over on Google+ last week. ..so I thought I would post the response here for everyone who might be interested in the reply..

“A question: Is it stressful while you are painting and you are relieved when it is finished ? Or do you relax and enjoy while doing it ?”

The simple answer: Yes. ..and no.

Painting, when things are going well and it happens to be cooperating, is something similar to meditation. So in a way it is relaxing and one loses track of time and an overall enjoyable experience. (When the painting is not cooperating, that is another story entirely..)

However, while painting, muscles are very tensed and I am braced all over. It isn’t really something I consciously do, it is just how it happens – I suppose it is the result of the effort to create strong fine steady strokes in the paintings. As a result, it tends to wear with measurable amounts of painting time, and all areas get sore as a result.

Sometimes picking up a cup of coffee the next morning is nearly impossible. That point is usually a prime time for a nature walk, observing wildlife, or some book or internet related research – anything that I am able to do with minimal use of my hands or arms.

I am pleased when work is finished, of course. However, when all of the fur of a wolf or raccoon for example is complete, it is never quite as I had envisioned it and I have the urge to do it all over again ‘correctly’.

It is a little disappointing or empty feeling when a piece is done and I have to start another in order to continue to paint more fur, etc. But of course, starting another work for whatever reason isn’t a bad thing, either.

Interesting Places: The Minnesota Arboretum

on July 9, 2013

Many of my paintings featuring botanicals are inspired by my visits to the Minnesota Arboretum. It is a very large location with ever-changing gardens of flowerscapes that are simply stunning. I have mentioned the location before, in post descriptions of some of my floral subjects, but I felt that having a little insight into the actual place might be an enjoyable photo walk for some of you.

My first visit to the gardens was joined by a class of plein aire painters setting up their easels scattered throughout the paths as the sun was sinking, lighting up the gardens. It was an unplanned, but delightful clash with an outdoor atelier. Since then, it has felt a bit like a studio when I drop in to see what’s budding. For more information: http://www.arboretum.umn.edu/ and their blog http://arboretumnaturenotes.wordpress.com/

Why Do You Paint Like A Maniac?

on July 5, 2013

Fox Painting – Detail View, watercolor on board, ©Rebecca Latham

Why do you paint like a maniac?

I occasionally get questions like this. Why? Why do you paint like a maniac? Why put in so much detail? and so on. Sometimes this comes from other artists. Sometimes from the general public.

I shrug. Why not?

Which is met with something to the effect “That would drive me crazy.” or “It would take forever.” – paired with a look that would make one wonder if I had grown another head, and a chuckle.

Possibly. I smile.

This, mind you, isn’t always how conversations go. Many, many people find my work inspiring. ..which in turn, inspires me. I am very grateful for those individuals.

Quite often, when I am out gathering reference, be it early morning in a forest, twilight on a lake, or just spotting a wild animal or bird, the location doesn’t matter. When I have a moment to stop and take in what is around me and really observe.

I am overwhelmed. Emotion wells up and I blink back tears. You see, when I see nature, I see perfection and beauty in the patterns and color harmony that cannot be put into words. The closer one looks at the mesh of intricacies in all nature, animals, the more there is to see. ..the more amazing it is. and the more I am overwhelmed.

And so, when I paint, I try to communicate this.

I have been told on numerous occasions that upon seeing my work in a gallery, etc., that viewers have been brought to tears. It seems odd, but this is the greatest compliment. ..because it means I have accomplished my goal in saying in my painting what my words cannot.

At least for myself in my own work, it seems it would be a lack of respect not to paint these things in nature as they are. I admit that I am simply unable to do so. I fall far short of painting the true representation of what I see in the natural world. But I try my best.

So, perhaps it is a bit crazy to paint like a maniac. I cannot, however, say what needs to be said without it – and I am not sure that would I want to.

Perhaps, my answer is simply, I paint this way because I can.

Black Leopard and Notes on Sterling Silver

on July 3, 2013

I just put the finishing touches on this little commission of a black leopard. These leopards always fascinate me by their mysterious look. Their stunning rich coats so often reflecting a glossy sheen of blue and intense eyes of a predator are always an attraction. To highlight these points, I added hints of sterling silver to this piece as I sometimes do to my work, giving a painting just a little extra.

I was recently asked about what this was exactly. Basically, it is ground sterling silver (or gold) into a fine powder to form a ‘pigment’. It is then mixed with a binder, like usual watercolors are, and dried to form a tablet cake. When needed, the tablet is wet to reconstitute the silver paint, and then can be used as paint in art. Pure silver and gold have been used in illuminated manuscript miniatures for centuries. I love the added zest a hint of silver or gold adds to a piece, as well as how it carries on a tradition that has such a rich history.

The Best Advice I Have Ever Received

on June 28, 2013

image by Abby Lanes via Compfight

The best advice I’ve ever received was to, simply put, ‘follow your heart’.

You may have heard me, or someone else, mention that phrase here or there.

“Follow your heart”. It’s not uncommon.

The more complex version, is that you have your own unique vision and potential for your work. For your life – treasure that uniqueness.

One of the side effects of becoming very good at a talent you were born with is that you will run into individuals that try to squash what you are doing, who you are, and your dreams. I have had more than my share of them, as have some of my teachers that I learned from, and colleagues I have chatted with. You may have even found some of your own already.

No matter what, don’t listen to them or let those individuals drag you down. They have their own abilities and talents. Their own dreams. Their own vision. They don’t need to control yours. Follow what you know in your heart that you were meant to do.

So often, we don’t push ourselves. Perhaps we simply don’t feel brave enough to release our creativity. We get comfortable with only using a small portion of our abilities. It’s easier to be less daring. Yet, we can accomplish so much more if we just put our minds to it – and our hearts in it.

If you are true to yourself, you can. You will. Your future self will thank you for it, as will the world you inspire with your work.

This post originated as numerous requested letters from Rebecca Latham to young artists, by themselves or their parents.

Autumn Rest – Bull Moose

on June 26, 2013

This new piece will debut in Jackson Hole, Wyoming at Trailside Galleries’ upcoming event, Masters in Miniature Invitational. This year’s event runs July 15, 2013 – July 28, 2013

Going out to Wyoming, among the many memorable moments and experiences to look forward to, seeing moose is always one of the special highlights of the trip. Most often I visit during the rut, in September or around that period. ..so I am able to see several in the same general area.

Usually one can spot a large bull and a number of cows. But sometimes there are younger males looking for a challenge and other moose related drama to be seen. It is simply exhilarating to see the massive size of these beautiful animals, set in a backdrop of autumn color. Simply gorgeous.

Misty Tundra – Polar Bear

on June 4, 2013

This painting was just recently finished. I wanted the piece to be very high key with fairly soft tones and color ..overall, a feeling of coolness, yet with a warmth to the bear.. I am pleased with the finished portrait.

Progress on the rabbit series

on May 19, 2013

So far two pieces in the rabbit collection are finished. The paintings are fairly muted in color, but very are involved pieces. I enjoyed working through all of the fine details in the foreground and the rabbits themselves.

Like the recent fawn painting, the rabbits were finished with a hint of sterling silver to add a little extra sparkle.

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

The best advice I’ve ever received was to, simply put, ‘follow your heart’.

Share this:

Share this:

Share this:

Share this: