Artist & Painter Rebecca Latham’s Nature & Wildlife Art

This image (left - "Maternité", 1908, mother and children in a gold frame) is a miniature painting in the collections of the Museum of Fine Arts, Boston. 

The muted and moody piece is a watercolor on Ivory by American miniature painter, Lucy Stanton (1876 - 1931).  The painting’s image is 8-3/4 in x 7-3/4 in.

Ivory was first used by a Venician artist around 1700, and soon after, became very popular in England.  …and of course, America.  It became the surface of choice for those miniature painters who painted the popular portrait miniatures. 

Pieces of ivory most often were cut as slices from a tusk, though methods were developed to cut very large and thin veneered sheets (a roll 52 feet in length was once displayed in the 1850’s).  For durability reasons however, those veneered cuts never gained great popularity with miniature painters.  In the 20th century, the largest classically cut and prepared pieces available to a miniature artist were about 6 in x 7 in and quite expensive.  (This American artist sent for her pieces of ivory from London or Paris markets.)

Though some larger works can be found also, it is understandable that many smaller miniatures were painted on ivory…..with the expense of the surface and relatively small size of classically cut pieces, popularity of small miniatures during that time, and the difficulty that some artists had in handling paint on the smooth surface (I must add…it has even been published in several books that the difficulties of working on the surface is repeatedly over-emphasized in discussions of miniature painting.)

Personally, I honestly enjoy painting on these ivory and ivory simulated surfaces even more than the others that I have tried. …the final works seem to be popular with collectors as well.

Of course, ivory as it was during that period is no longer used because of species conservation.  However, luminous qualities of a miniature painting are still achieved on ivorine, an ivory surface substitute.  The Ivorine surface is neither opaque, like a gessoed panel, nor clear and transparent like glass.  it has a translucent quality that adds depth to a painting.  Surfaces like antique ivory and the mammoth ivory, which I am painting my wolf miniature on, for example are also available….and very nice as well.

Wishing everyone, wherever you may be,  warmest Christmas wishes and all the best in the new year!

“It is Christmas in the heart that puts Christmas in the air.” –  W. T. Ellis

"Polar Ambiance", Watercolor on Board
One of my paintings in the 2007 MPSGS Exhibition

For those stopping by who might be interested in the happenings on other art blogs on the net…  Katherine Tyrrell, British blogger and artist from ‘Making a Mark‘, reviewed the current MPSGS exhibition in Washington on her blog. (See her review by following this link.)

Earlier this year she also reviewed the RMS exhibition in the Mall Galleries in London - was nice to hear about the show I wasn’t able to go (I had 5 pieces in this year’s exhibition).  Thank you, Katherine.

This is a little miniature I’m working on as well.  It’s a chipmunk that I saw while I was out in Wyoming this fall.  There were two of them that were scavenging around a park area.  They were fairly used to being around humans, so they did come up fairly close - was very interesting to watch them.  (My family had a hard time dragging me away from them… )

I think I find them particularly fascinating because my painting methods originated with my studies a number of years ago with a Flemish artist who also paints nature like this.  He had studied it in his native country.  It is rooted deeply in their culture.  …and continues today.

Miniature paintings, like these, show wildlife art being carefully depicted by artists who also shared a connection with nature 400 years ago.

I just put the finishing touches on my red fox kit commission. It is now off to the framer’s for a little dressing up.