BIOGRAPHY
Capturing the beauty of birds in watercolor and on film has been a life-long endeavor.
As a young boy growing up in Washington, Iowa, and Michigan, Brian was enthralled with
nature. As a child, he created many of his toys by drawing mammals and birds on cardboard
and canvas then cutting them out. At 12, he began painting watercolors of wildlife.
Finishing daily school homework, Brian would spend hours each night in self-taught
sessions drawing and painting birds, perfecting his talents. Weekends were spent
outdoors studying and sketching wildlife. At 16, he decided to concentrate primarily
on the art and science of painting life-size watercolor renditions of North American
birds inspired by the works of Audubon and, particularly, the Canadian bird painter
J. Fenwick Lansdowne.
To authenticate his bird illustrations, Brian augments field research with a study of
intricate bird anatomy. In 1973, he began an ongoing, self-taught bird anatomy study
program--which involved dissecting hundreds of birds while preparing them for study-skins
for museum collections.
A tremendous amount of time is spent in the field photographing, sketching, and
observing birds in their natural environment.
Study-skins--which are stuffed birds used for scientific research--are loaned
to Brian by various museums, including The Denver Museum of Natural History and
the American Museum of Natural History, New York. When painting, a study skin is
always on hand to ensure plumage accuracy. Paintings are literally done with a
study-skin in one hand and a paintbrush in the other.
Life-sized renditions of North American birds are primarily done in a vignette format.
The sharp-focused, clean design obtained with this technique creates an attractive
artistic statement. Background props for paintings are either collected fresh or
photographed for later use. Although backgrounds are often limited, they nevertheless,
form an integral element in the entire design concept. Colored painting surfaces of
museum-quality 100 percent acid-free matboards enhance the vignette format.
Gouache, an opaque watercolor medium, is well suited for his powerful yet soft painting
style. This medium enables him to capture the detailing and softness of a bird's
plumage and various textures of habitat.
Since 1979, Brian has been painting life-size illustrations of birds for private and
corporate display.
Combined with field sketches, photography was used as a reference tool for paintings
since the mid-1970s. However, as time passed, photography became more than just means
for depicting reference material for paintings. Since the mid-1980s, Brian's photography
has become an art form of its own. He has established himself as a highly respected bird
photographer, particularly of raptors. His photographs, including cover designs, are
regularly published in numerous nationally published magazines and books--as well as
his own books.
A three-year collaboration with noted raptor author, William S. Clark,
from 1983 to 1986, produced the highly acclaimed A Field Guide to Hawks
of North America that was published in 1987. This book is #35 in the
prestigious Peterson Field Guide Series published by Houghton Mifflin.
Brian illustrated and co-authored the field guide. Twenty-four color
illustrations, two black-and-white book plates and the jacket design
were designed by him. He also contributed over half of the photographs.
Hawks has become one of the best selling Peterson Field Guides.
In 1995, A Photographic Guide to North American Raptors, by Academic Press,
was published. This book, also co-authored with William S. Clark, contains
375 color photographs of North American raptors, 270 of which are Brian's.
This is the first raptor guide that exclusively uses photographs for all
images.
A contract to illustrate and co-author a second edition of Hawks was signed
in 1995. This totally revised edition, with 40 all-new color plates, revised
text and range maps is slated for publication in 2000.
A contract was signed in 1996 with Academic Press to author, design, and
illustrate with 420 of his own color photographs, a two volume, pocket-sized
soft-cover field guide set on North American raptors. These two innovative
companion books, tentatively titled Field Guides to Eastern/Western Raptors,
are slated for publication in 2001. Eastern/Western will have the most
extensive text and largest, most comprehensive range maps ever published on
North American raptors. The unique format allows for a small trim size yet
large photographs.
In addition to books, Brian has co-authored and authored several magazine
articles on raptors and photography in such publications as Birding and
Wild Bird.
In 1998, Brian obtained a contract with Tide-Mark Inc., East Hartford,
Connecticut to produce the exclusive Hawks on the Wing 2000 wall calendar.
The calendar features 12 of BrianŐs stunning raptor photographs and
informative captions. Hawks on the Wing 2001 calendar is already in
production.
First hand knowledge of the birds that he paints is essential to the authenticity
of his painting, photography, and writing. Brian has traveled extensively
throughout the United States, Canada, and Mexico.
Formal art training in design and illustration from the Paier College of Art,
Hamden, Connecticut from 1975 to 1978.
The Douglas Gallery, Stamford, Connecticut, October 1987:
One-person show celebrating the publication of A Field Guide to Hawks of North America.
Roger Tory Peterson and William S. Clark were present for a book signing gala.
Eleven of fifteen original paintings sold on opening day.
The Douglas Gallery, Stamford, Connecticut, October 1979:
One-person show. All 16 original paintings sold on opening day to a
major corporation.
The Different Drummer Gallery, Hartford, Connecticut, October 1977:
One-person show. Several original paintings sold.
Chippewa Nature Center, Midland, Michigan 1977:
A 4' x 5' full background oil painting on masonite, depicting
the extinct Passenger Pigeon and Michigan habitat of the mid-1800s,
was commissioned by the Chippewa Nature Center as a permanent display
in the main lobby.
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