Thursday, 19 December 2013

Book Review - The Unfeathered Bird


 

REVIEW

The Unfeathered Bird – Katrina Van Grouw 

This book is not an anatomy of birds, states the first line of the introduction to The Unfeathered Bird, by Katrina Van Grouw.  What is it then? It is a beautifully illustrated book dealing with ornithology or it is a gracefully annotated picture book. In fact it’s both; a convergence of art and science – the science is authoritative and expressive; complex structures, forms and functions are revealed and explained by the author who is familiar and comfortable with the technical detail of anatomy.

The way that birds move, and especially fly, takes a great deal of explaining (and reciprocal understanding).  In this book complicated mechanical processes are described in eloquent prose, at every step supplemented by perfectly rendered illustrations. The book is produced beautifully on superb quality paper which is a joy to handle. 

There is a distinct flavour to the artwork, classically crafted and hauntingly reminiscent of Gothic images – there will be the inevitable comparisons with these drawings and those of the great historical masters, and deservedly so.  But Van Grouw looks to emulate no-one; she draws in her own way – exquisitely!  For over two decades she has worked predominantly in subdued and low-key hues, painting with charcoals and other muted media, toiling away at her craft.  The works in this fascinating book are the culmination of this extensive and highly successful career.  Van Grouw’s use of monochrome or, occasionally slightly tinted drawings with highlighted areas, brings a sombre feel to the artwork – a respectful solemnity for the extinguished lives of the birds being depicted. And she handles the media with expert precision and dexterity.

The technical aspects of the book are softened and accessible.  The book follows a systematic order and threads of convergent evolution are woven seamlessly into the story of the birds. 

There’s a fascinating and curious paradox in the way the birds are displayed on the page.  There is (of course) no doubt that these specimens have been stripped of all semblance of life; many are presented as skeletons, some still have musculature in place - yet it is the skill of the artist that the subjects are decidedly more vibrant than many conventionally realist paintings of fully-feathered birds. The artist’s decision to re-create lifelike poses for her subjects removes any stuffiness in the compositions. One piece in particular (the Eurasian sparrowhawk with its blue tit prey) illustrates this dichotomy; the attacker’s posture brimming with latent activity whilst the dead skeletal blue tit could not be more lifeless!  The character of birds is expressed deftly – a glance at the parrots leaves us in no doubt as to their captivating personalities.   The underwater view of the red-throated diver is an exceptionally elegant piece of work, incorporating the underside of floating lily-pads and a tiny fish skimming along the (inferred) water surface.

 

The most striking and enjoyable aspect to The Unfeathered Bird is the way the text works with the images.  Often visual artists – usually reliant on creating images as our primary mode of communication, often fail to achieve a similar level of quality with our written efforts. Not so in this case.  Rarely does a book combine written and visual content so completely.  Prose comes just as readily to this author as the images do to her as the artist; and all combined in one sumptuous offering.  The passages are a delight to read and would stand up well with even the most rudimentary of illumination; when fortified by drawing of such sublime quality the result is astonishing. The writing has moments of wit and pathos, whilst underpinning this is a dialogue full of chatty authority.  The balance is perfect and I found myself flicking between images and prose subconsciously; a wonderful interplay of balancing counterpoints.  

The author reminds us of historical follies and aberrations.  The hunting and collecting trade gets a mention and there is a moment of pure brutality; “. . . notice the violence sustained at the back of the skull where the bird was bludgeoned to death.”  There are no prizes for guessing the species being described here, although sadly, it could be one of many.

A day watching fully-feathered birds in the field rarely disappoints, nor fails to surprise; this book of unfeathered birds is no different in this respect.  For instance; did you know that hornbills wear make-up? . . . or that toucans are likely to tire and drown if they attempt to fly over watercourses just a teensy-bit too wide?

Crammed with information, regularly poetic and often poignant, insightful, illuminative and educational; no doubt, yet it is the drawings which make this publication the stand-out, stand-alone volume that it is, and which will ultimately and absolutely make this book the seminal work it seems destined to be.  Ranging from diagrammatic illustrations to richly-textured interpretative observations, each is executed with clinical assuredness and delicate sensitivity.  The enjoyment of this book is easy, but to allow it to reveal the full depth of its rich textures, acute literary and artistic meaning will give the owner many years of pure pleasure.   

As Van Grouw defiantly states in her introduction; “This book is not an anatomy of birds”.  However, yet incidentally, it is.  But it is more than that.  It reveals aspects of birdlife which would remain hidden to most of us; it weaves tales of ornithological endeavours and vandalisms and, at its heart, connects art with science and history.  And in a manner which tantalises and delights in a way only the great works of art can.

This is the quintessential labour of love; over 25 years in the conception, drawing and writing.  It is a genuine life-work and will surely earn itself and its author a merited place in the history of the Art of the Natural World.


Tim Wootton 

 
The Unfeathered Bird is published by Princeton University Press – ISBN978-0-691-15134-2



 


Saturday, 24 August 2013

SWLA 50 Years Anniversary Exhibition


I am currently exhibiting a painting at the prestigious Nature In Art, Gloucestershire as part of the Society of Wildlife Artists 50 Years Anniversary Exhibition.
 
Current SWLA members were asked to chose a fellow SWLA member from any point of the 50 year history and write a short piece on why they have been inspired by that artist. With examples from artists spanning the history of the Society and insights from the members on why they have chosen them, it is a fascinating show with a wide selection of work on display. 
Please click on the link for more information about the exhibition:

I was deeply honoured to have been chosen as an ‘inspirational artist’ and was extremely touched and flattered that the artist who selected me was the wonderful young painter Nick Derry (http://nickderry.webs.com/).  The exhibition at Nature in Art runs from July 30th to September 1st.
 
Here’s the painting I’m exhibiting and one of Nick’s astonishing pieces;
 
Wings of the North - Waxwings (Tim Wootton)

 Blue-headed Wagtail (Nick Derry)

For details about the exhibition and the fabulous venue for “Nature In Art”, please follow the link: http://www.nature-in-art.org.uk/

 

Wednesday, 12 June 2013

Oil Painting

With the SOC exhibition now finished and the gallery walls well-stocked with lots of fresh work, I've managed to spend a bit of time making some new pieces.  I don't get  the opportunity to work in oils much during the year as the drying times can be a problem regarding hanging and/or packing, but I adore the medium.  So, I'm getting out the fat tubes and big brushes and seeing where this particular road takes me . . . .
. . . here's a few from the past couple of weeks;

'Heading Out; Gannet' - 28"x20"

'White Boat.Kirkwall Basin' - 16"x12"

'Wave Study' - 16"x12"

Monday, 1 April 2013

New Exhibition at the Scottish Ornithologists Club (S O C)


I've been extremely busy making work for a brand new show at Aberlady, Lothian which opens on 13th April. There will be 52 new paintings on show in the excellent Waterston House, headquarters of the Scottish Ornithologists Club.
All the paintings are now finished (phew!) and the ferry booked. Really looking forward to the trip and the opening. See you on the other side . . .

'White Gyr', watercolour, 28"x22"

'Northern Wings', oil, 40"x30"

'Eider Cascade', watercolour, 22"x28"

'Wigeon & Black-headed Gulls', conte & watercolour, 40"x22"

'Winter Sun', Conte & watercolour, 22"x38"

'Manx Shearwaters', charcoal, 40"x22"

Friday, 1 March 2013

Slow Start to the Blogging Year


Long-tailed ducks at Yesnaby, charcoal, 40"x22"
 
Things have been fairly quiet on the birdwatching/art front for a while.  My art activities have been constrained to the studio due to the extremely short daylight hours and frenetic preparations for my upcoming show at Waterston House, the home of the Scottish Ornithologists’ Club. http://www.the-soc.org.uk/waterston-house.htm
Here’s a small selection of recent work destined for the show;

 
Desert Wheatear, watercolour, 17"x11"

 
Eiders, watercolour, 22"x17"

Hares and Snipes, Conte and watercolour, 37"x22"

Ringles Tangles, Sharpie and wash, 18"x14"
 
Snow Buntings, Sharpie and wash, 16"x14"
 
However, both my birding and painting had a major boost on February 1st during the morning school run to Stromness. Whilst making a detour to hopefully catch sight of a family of otters I’d seen the previous morning. There was no sign of the otters, but Edie and I were more than compensated when we spotted a white-phase gyr falcon sitting on a hay-bale. Although it disappeared for the rest of the day, it returned on Saturday, giving terrific views to many local and visiting birders. On occasion it would hop around among the local hares – both species seemingly as bemused by the event as each other. I returned to the studio and made an impression of the event immediately, and subsequently a more considered rendition of the bird a few days later.

The White Gyr, watercolour, 22"x17"
 
Although winter deprives me from fieldwork, it does allow time for a few commissions. One of my favourite views around Orkney is that from Outertown towards Hoy, over Scapa Flow. I’ve painted the Hoy Hills a couple of times, and I really enjoyed making this oil painting for a friend. The seascape at Birsay was a self-initiated piece and I think I learned quite a lot during the making of the piece. 

Scapa Flow and The Kame of Hoy, Oil, 30"x20"

Birsay, Oil, 30"x20"
 
Recent encounters with waxwings have been artistically fruitful, with pages and pages of sketches documenting the winter influx. I have made several pieces of work using these, my winter-muse, culminating in a huge 40”x30” oil painting. This piece is unique for me; being almost exactly the image I had in mind at the offset. Most works end up drifting way off line, but this one behaved itself from start to finish!
 
Wings of the North, oil, 40"x30"
 

 

 

Monday, 19 November 2012

S W L A and the Langford Fieldsketch Award

turnstone at Evie Sands - fieldsketch
 
The Society of Wildlife Artists Annual Exhibition;  the premier exhibition of wildlife art in Britain – possibly the world.  The Society’s inaugural exhibition was held in London and opened by James Fisher in August 1964.  I first exhibited with the SWLA in 1986 and, finally this year, have been elected a full member.  They say that good things come to those that wait . . . 
pintails and wigeon - fieldsketch
 
. . . and this year I was astonished but incredibly delighted to receive the inaugural ‘Langford Field Sketch Award’.  The Award is given to “an artist who shows a fundamental understanding of the subject through their work in the field . . . for a body of work that captures the essence of the subject which has been drawn from life”.
goldcrests
 
goldcrests
 
I always joke that Autumn lasts about three hours in Orkney; the first serious blast of breeze strips any trees and shrubs of their leaves and deposits them somewhere due east of Scandinavia, yet this year we have enjoyed beautiful proper autumn days, typified by invasions of warblers – many goldcrests from the near continent and the exquisite yellow-browed from Siberia.  I spent a few sessions with these birds.
yellow-browed warbler in sycamore
 
British butterflies
 
It was also a pleasant diversion to be asked to make a small painting for a couple I know.  Butterflies occasionally feature in my work, but often they are overlooked in favour of the birds – but this was a piece I was keen to do.  As with most of my paintings, I spent a wee bit of time sketching before committing to the finished article and I was lucky to have several pages of butterfly sketches from my trip to Sark with the Artists for Nature Foundation last year.  Some of the quick watercolour sketches had a nice sense of vitality to them and I tried to keep some of that in the finished painting.
painted lady, red admiral and buddleia
 
waxwing - fieldsketch
 
waxwing - fieldsketch
 
I have a favourite bird – it’s the one I am looking at in any given moment.  But, to narrow that field down a little, it is the arctic skua.  Well, it is when they’re here, at any rate.  And when they’ve left for the Southern Hemisphere, I can look forward to greeting my other favourite birds – waxwings!  These little northern birds bring a splash of colour at the time of the year it is most needed.  Their sleek and beautiful plumage resonates against the dank and grey late autumn light; gem-like.  Nothing lifts the soul like seeing waxwings, and hearing their Christmas jingle-bell calls.  This autumn waxwings have arrived in their hundreds and I’ve spent a lot of time enjoying these delightful birds – and drawing them.  
 waxwing - fieldsketch

waxwing - fieldsketch

waxwing - fieldsketch

waxwing - fieldsketch


Friday, 26 October 2012

Last Few Days of Maine Show

Just a few days left of my exhibition in Maine, US - all work now with big discount.  Please follow the link below;

http://www.projectpuffin.org/TimWoottonExhibit.html