Wild Things
Having spent 24 years seeking inspiration for her wild- life art, British-born Lindsey Foggett wasn’t about to let a little frigid whitewater stop her from paddling the George in September, a time when the 400,000-caribou- strong George River herd would be on the move. “If you are serious about painting animals, you have
to encounter them in the wild where they are behaving naturally,” says Foggett. “An animal’s manner, and even its muscle tone, is completely different in a zoo.”
Study in Mud
Te opaque watercolour paintings John C. Pitcher does in the field are reference studies for works he’ll start later in his Ver- mont studio. Pitcher did this study after noticing a wolf track in the mud beside a small creek he was fording. “A sketch like this not only gives me the proportions and colour that I need later, but also connects me to the encounter. I also take photos for later reference, but when I paint a scene I establish a cogni- tive connection with it and come to know it better than when I worry about what exposure will capture the blue shades of the sky reflecting off the mud.”
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