Monday, July 2, 2012

ADDITIONAL IMAGES NOT IN THE CURRENT EXHIBITION

ORANGE-BREASTED FALCON & GRANADA MORPHO
acrylic on illustration board 24" x 18"

















Roughly the size and build of a Peregrine, the uncommon and poorly-understood Orange-breasted Falcon (Falco deiroleucus) is distributed patchily in Central and South America. Although it's rarely seen far from heavy tropical forest, it feeds mostly on birds that are captured above the canopy. It nests in nooks in cliffs adjacent to forests, and probably sometimes in tree cavities. The heavy feet and beak of this species are relatively bigger than those of any other falcon. The Granada Morpho (Morpho granadensis) is one of aroud 30 members of a butterfly genus well known for the immense and iridescent blue wings of a number of species. Incidental animals in this painting include a Misfit Leaf Frog (Agalychnis saltator) and a young Fraser's Anole (Anolis fraseri).

PIAPIACS & AFRICAN ELEPHANT
acrylic on illustration board 12" x 24"









Piapiacs (Ptilostomus afer) are small, crow-like corvids that are found in tropical Africa from southern Senegal east to Ethiopia and western Kenya. They forage for insects in small flocks, often perching on the backs of large mammals to hunt the grasshoppers they disturb. Where Piapiacs occur with elephants, they favor them as perches, and unlike oxpeckers, they are tolerated by the pachyderms.

A CIRCLE UNBROKEN--SPOTTED TOWHEE
acrylic on illustration board  30" x 20"

















As winter's harshest cold subsides, the Milbert's Tortoiseshell and other bold hibernating insects rouse while the snows deliquesce into life-giving water, soaking the soil and moving nutrients through it, signaling the torpid roots of Glacier Lilies and Short-styled Bluebuells to force their prepunctual greenery through the snow's dingy last remains, to blossom inappropriately on the still wintry forest floor. A brumal blanket pulled back reveals rabbitbrush seeds and other new foodstuffs for scratching towhees. Each year, April holds the promise of new life.

TRIAD--TOKAY GECKO
acrylic on illustration board 20" x 30"












Among the largest of all geckos, the Tokay (Gekko gecko) can reach 20 inches in length. It ranges from Nepal through most of Southeast Asia and the Philippines to western New Guinea, and is well known for its loud nocturnal call (from which the word “gecko” is derived) and willingness to live in close proximity to Humans. Like most geckos, its highly-adapted toe pads allow it to climb easily on most vertical surfaces.

THE PROBLEM OF WILD IDENTITY--RED KANGAROO
acrylic on illustration board 20" x 30"












You can go to Madagascar, Venezuela and Nebraska
Cross the stark Strait of Makassar, trek from Tunis to Timbuktu
You'll see tragopans and troupials, chiropterans and marsupials,
Spend weeks ranking and grouping all variety of snake or shrew

Over a lifetime's exploration fueled by animal admiration
And obsessional observation of feathers, fur and a fang or two
In matters zoological, you can see it's not illogical
To presume some mythological, like the implausible kangaroo.

INDIAN NARROW-HEADED SOFTSHELL & PAINTED STORK (2013)
acrylic on illustration board 24” x 18”

 
Four genera of huge, mysterious softshell turtles inhabit the Asian continent. On the Indian subcontinent, this group is represented by the endangered Narrow-headed Softshell Turtle (Chitra indica), which haunts slower waters of the Ganges, Godavari, Mahanadi, Satluj and Indus drainages. The shells of these highly aquatic turtles can exceed a meter in length. Their diet consists of fish and aquatic invertebrates along with some plant matter. The females climb onto land to lay their egg clutches, which can contain over one hundred eggs. Although it's poorly known, this turtle is threatened by water pollution and redistribution, and by extensive hunting for its cartilaginous rim or 'calipee,' which is considered a delicacy. The striking Painted Stork (Mycteria leucocephala) enjoys a spotty range, in wet areas over much of Tropical Asia. It is closely related to the American Wood Stork (M. americana). This composition is based on the Khanda, the symbol of Sikhism. Incidental subjects in the painting include the invasive Water Hyacinth (Eichhornia crassipes), Tailed Green Jay Swallowtail (Graphium agammemnon), Twin-banded Loach (Botia rostrata), Zebrafish (Danio rerio), and Skittering Frog (Euphlyctis cyanophlyctis).

SPECTRAL BAT & SMOOTH-BILLED ANIS (2012)
India ink wash on paper 20” x 15”
 
With a wingspan reaching a yard and a weight approaching half a pound, the Spectral Bat (Vampyrum spectrum) is the New World's largest bat, as well as the largest carnivorous bat and the largest member of the suborder Microchiroptera. It ranges through most of the New World tropics, but is plentiful nowhere. At dusk the bats leave their tree cavity roosts to forage for vertebrate prey, which is located by scent and sound. Among the most common prey items are the three species of ani (Crotophaga spp.), blackish, raggedy-looking cuckoos with odd, puffin-like bills, whose communal roosts are betrayed by the birds' rather strong odor. Unlike typical cuckoos, which are brood parasites, the anis nest in colonies and frequently care for their young communally. Here, a Spectral Bat stalks a group of Smooth-billed Anis (C. ani) through the foliage of a Saragundi (Senna reticulata), a small tree of the mimosa family, to which various medicinal properties are frequently ascribed.

FLORA AND FAUNA OF UPPER NACAPULE CANYON (2012)
acrylic on illustration board  24" x 16"

Situated on the southeastern front of the Sierra El Aguaje, a volcanic mountain range formed some five million years before the Sea of Cortez, upon whose eastern flank it now sits, Nacapule Canyon harbors a unique and diverse ecology, where tropical deciduous scrub forest transitions into the Sonoran Desert community. It marks the northern range limit of many tropical species and genera as well as the southern limit of many Sonoran Desert taxa. The canyon takes its name from the Nacapule Fig[1] (Ficus pertusa), one of three fig species in the canyon. The small Rock Fig[2] (Ficus petiolaris) sprawls up rock faces while the stately Ficus insipidus[3] grows near the canyon floor, which is dominated by Mexican Fan Palms[4] (Washingtonia robusta) and the smaller San Jose Hesper Palm[5] (Brahea brandegeei), which also grows on the igneous canyon slopes. The flora of the arid, south-facing slope is typical of the Sonoran Desert. It includes many cacti, including the massive Cardon[6] (Pachycereus pringlei), the Organpipe Cactus[7] (Stenocereus thurberi), and the endemic Guaymas Hedgehog Cactus[8] (Echinocereus engelmannii llanuraensis), two maguey species, Agave colorata[9] and A. chrysoglossa[10], and such desert trees as the Palo Blanco[11] (Acacia willardiana), Yellow Palo Verde[12] (Parkinsonia microphylla) and Desert Ironwood[13] (Olneya tesota). The flora of the more mesic north-facing slope is more tropical. It includes the regional endemic shrubs Zanthoxylum mazatlanum[14], a prickly-ash, Coccoloba goldmanii[15], a sea-grape, and Vallesia laciniata[16], a dogbane, and the Mexican Passionflower[17] (Passiflora mexicana). The spurge family is the most diverse of Nacapule Canyon, with nine genera and 16 species, including Dalechampia scandens[18] and the endemic Euphorbia pediculifera linearifolia[19]. Other interesting Nacapule plants include the Mescalito[20] (Hechtia montana), a lithophytic bromeliad, and the aquatic Mexican Primrose-willow[21] (Ludwigia octovalvis). A stream runs persistently through the upper canyon in all but the driest years, providing habitat for a rich invertebrate fauna that ranges from simple worms like flatworms of the family Planariidae[22] and molluscs like springsnails[23] (Pyrgulopsis sp.) to aquatic insects like the Water Strider[24] (family Gerridae), the Backswimmer[25] (family Notonectidae), and the giant water bug[26] (Lethocerus sp.), aquatic insect larvae of caddisflies[27] (order Trichoptera) and others, and aquatic naiads of Mayflies[28] (family Heptageniidae), damselflies[29]--adult[30] (family Coenagrionidae) and others. Aquatic beetles belonging to at least three different families can be found in the stream, including the lovely Sunburst Diving Beetle and its larva[31] (Thermonectus marmoratus) and the Giant Water Scavenging Beetle[32] (Hydrophilus triangularis). Amphibians include the Canyon Treefrog[33] (Hyla arenicolor) and its tadpole[34] and the Northwest Mexico Leopard Frog[35] (Rana magnaocularis) and its tadpole[36]. A number of interesting reptile species call the canyon home, including the Yaqui Slider[37] (Trachemys yaquia), which is endemic to the region, and isolated populations of the Madrean Alligator Lizard[38] (Elgaria kingii) and Boa Constrictor[39] (Boa constrictor), the latter representing the northernmost extreme of the species' range. Rarely seen is the cryptic Brown Vine Snake[40] (Oxybelis aeneus). Commonly seen birds of the canyon include the Red-tailed Hawk[41] (Buteo jamaicensis), Broad-billed Hummingbird[42] (Cynanthus latirostris), Northern Mockingbird[43] (Mimus polyglottos), Vermilion Flycatcher[44] (Pyrocephalus rubinus), and Hooded Oriole[45] (Icterus cucullatus). Most of Nacapule Canyon's mammal fauna is nocturnal. Two conspicuous exceptions are the social White-nosed Coati[46] (Nasua narica), from a tropical genus and the Desert Bighorn Sheep[47] (Ovis canadensis), from a boreal genus.



ROCK, PAPER, SCISSORS--SIDE-BLOTCHED LIZARDS
acrylic on illustration board 16" x 20"
 
Through most of the deserts of western North America, the Side-blotched Lizard (Uta stansburiana) outnumbers all other lizard species combined. The males of some populations manifest three different forms: the orange-throats, which are hyper-masculine, the blue-throats, which are moderately masculine, and the hypo-masculine yellow-throats. Each form has an edge over one other form in the competition for breeding. The aggressive orange-throats expend a great deal of energy defending large territories with multiple females, managing to keep most blue-throats out. The blue-throats effectively defend small territories with single females against the yellow-throats, which have no territories, but sneak onto the territories of orange-throats to mate with their females while the male is off chasing blue throats around. Presumably, each form has an overall breeding advantage in different years depending on conditions. It's believed that all modern Side-blotched Lizards are descended from populations that manifested all three forms. The yellow-throated form seems to be the first to disappear from a population. Incidental species in this Sonoran Desert setting include an Elephant Tree (Bursera microphylla), Organpipe Cactus (Stenocereus thurberi), Soaptree Yucca (Yucca elata) and Turkey Vulture (Cathartes aura).

MELLER'S CHAMELEON & HOUSE GECKO (1994)
acrylic on illustration board  20” x 26”Meller’s Chameleon (Chamaeleo melleri), at two feet in length is the largest chameleon on mainland Africa. Like the rest of its family, this resident of the savannas of Malawi and Tanzania nails its prey with a well-aimed, sticky projectile tongue. Being of such ample size, it can extend the normal chameleon diet of insects to include such small vertebrates as the Tropical House Gecko (Hemidactylus frenatus), a lizard that has been inadvertently introduced throughout the tropics and subtropics, including Arizona.

APRIL HIBERNACULUM (2011)
acrylic on illustration board 20” x 12”
Rattlesnakes survive cold winters by hibernating, usually communally, in small caverns called hibernacula. Returning to the site in autumn, they spend more time inside the hibernaculum as the weather gets colder, and daytime sunning sessions outside of the entrance become less frequent as they become less effective. The process is reversed in the spring, with the snakes spending a week or so sleeping in the cavern at night and basking outside during the warmest hours before finally dispersing. Until a decade ago, the rattlesnakes of much of the western U.S. were considered members of a single species, Crotalus viridis. Since then, it's become clear that C. viridis represented a large complex that taxonomists are still trying to disentangle. The Great Basin Rattlesnake, which ranges from southeastern Oregon through most of Nevada, western Utah and southern Idaho, has gone from a subspecies of C. viridis to a subspecies of C. oreganus, the first species to be split from the group. Today, it's generally given its own species, C. lutusos, which is likely to see further future splitting.


A TRICK OF THE TAIL--BLUE-CROWNED MOTMOT & LANGSDORFF'S CORALSNAKE
acrylic on illustration board 15" x 20"

Tail-thrashing behavior in snakes is not limited to rattling. It can be a prelude to battle or mating, or a means of evading predators. Some fossorial boids like Calabar Pythons (Charina=Calabaria reinhardtii) and Rubber Boas (C. bottae) wave their blunt tails about while hiding their heads. Some elapid snakes, like Langsdorff's Coralsnake (Micrurus langsdorffii) of the northwest Amazonian Basin, confuse the enemy by moving both ends simultaneously, in a display known as self-mimicry. In this painting, the coralsnake's antagonist is a Blue-crowned Motmot (
Momotus momota), a member of a family of inconspicuous but colorful tropical American forest birds. Except for one uncommon species, they are notable for their two elongated central tail feathers with a section of loosely-anchored barbs that quickly fall away, leaving naked shafts and a characteristic racket-tail. The Blue-crowned is the most widespread motmot, ranging from Mexico to Trinidad and northern Argentina. Like the rest of its family, it feeds on some fruits and a variety of arthropods and small vertebrates, including snakes. Research has shown that motmots shun the bold black, pale and red pattern typical of the highly venomous coralsnakes but it has yet to be determined how they react to the unusual pattern of Langsdorff's Coralsnake, which lacks black rings. This painting displays a hypothetical take on this situation. Incidental species include an unidentified snail of the superfamily Helicoidea, ants of the genera Allomerus and Paraponera, a fulgorid planthopper (Pterodictya reticularis) and a Long-billed Starthroat (Heliomaster longirostris).

AN ATLANTIC BRACKISH SWAMP
acrylic on illustration board 20” x 15”An Eastern Garter Snake (Thamnophis sirtalis sirtalis) disturbs the glassy surface of an Atlantic brackish swamp in an inadvisable advance toward a Common Snapping Turtle (Chelydra serpentina). Incidental subjects include a Blue Crab (Callinectes sapidus), shoreline wolf spider (Pirata sp.), Dragonhunter (Hagenius brevistylus), mosquitos (Culex sp.), Banded Killifish (Fundulus diaphanus) and Belted Kingfisher (Megaceryle alcyon).

CREEKSIDE CONCLAVE--VARIED HARLEQUIN TOADS (2009)
 acrylic on illustration board  24” x 18”
During the dry season, over 100 populations of Varied Harlequin Toads (Atelopus varius) once congregated along forest streams in Costa Rica and western Panama to breed. Cloaked in a wide variety of colors and patterns, these beautiful amphibians ranged from cream to lemon yellow, to lime and scarlet, or various combinations of these base hues, splotched or barred with brown, green or black. Ranging in length from one to two inches, the adult males averaged about a quarter smaller than the females. Their gaudiness was probably a case of aposematic, or warning coloring, as their skin contained quantities of the toxic alkaloid tetrodotoxin. In the late 1980s, most populations began a steep decline, beginning in central Costa Rica. The Panamanian frogs didn't start to crash until about 1992. The causes of this crash are not completely understood, but the insidious chytrid fungus Batrachochytrium dendrobatidis played an important role, and is thought to have driven over half the members of the genus Atelopus to extinction in the wild, and been the direct cause of much global frog decline. It is believed that the fungus originated in Africa, and was transported around the world on the skins of African Clawed Frogs (Xenopus laevis), which were widely used for human pregnancy tests as well as other laboratory studies. Wild populations of A. varius were feared extinct, but a small population near Quepos, Costa Rica, discovered in 2003, perseveres. Incidental species in the painting include a leaf-cutter ant (Atta sp.), the butterfly Morpho amathonte, a Cloud-forest Anole (Anolis tropidolepis) and a Blue-gray Tanager (Thraupis episcopus).

EASTERN KINGBIRD & LONG-EARED OWL (2011)
India ink wash & watercolor on paper  22" x 16"<























Long-eared Owls (Asio otus) nest and roost in heavy woods, which is where we normally see them, but at night when they're foraging, they are creatures of open meadows; here in the Rocky Mountains, they frequently hunt in sage steppes. In this painting I took away the normal button-eyed expression of the Long-eared Owl and replaced it with one of dismay and abject annoyance. Eastern Kingbirds (Tyrannus tyrannus) have a red crown patch that's almost always completely obscured by black feathers. As kind of a joke, I used a touch of watercolor to show those red feathers peeking through.

OWLS OF THE USA AND CANADA (2017)
acrylic on panel  18" x 24"














Family Strigidae: Great Gray Owl [1](Strix nebulosa), Spotted Owl [2] (Strix occidentalis), Barred Owl [3] (Strix varia), Elf Owl [4] (Micrathene whitneyi), Mountain Pygmy Owl [5] (Glaucidium gnoma), Northern Pygmy Owl [6] (Glaucidium californicum), Ridgway's Pygmy Owl [7] (Glaucidium ridgwayi), Northern Hawk Owl [8] (Surnia ulula), Northern Saw-whet Owl [9] (Aegolius acadicus), Boreal Owl [10] (Aegolius funereus), Burrowing Owl [11] (Athene cunicularia), Snowy Owl [12] (Bubo scandiacus), Great Horned Owl [13] (Bubo virginianus), Flammulated Owl [14] (Psiloscops flammeolus), Whiskered Owl [15] (Megascops trichopsis), Western Screech Owl [16] (Megascops kennicottii), Eastern Screech Owl [17] (Megascops asio) Gray morph, Eastern Screech Owl [18] (Megascops asio) Red morph, Long-eared Owl [19] (Asio otus), Short-eared Owl [20] (Asio flammeus)   Family Tytonidae: American Barn Owl [21] (Tyto furcata)

TIME LAPSE FILM CLIPS

My acrylic paintings begin with a detailed underpainting, usually done in raw umber. This step establishes the forms and textures, but pays little heed to space and lighting. Next, the substrate is tinted, and the actual painting is begun. Once the subjects are established, I mask them with liquid latex, which facilitates painting the background. When I've get the values close to the way I want them, the latex is peeled off and the final details are completed.









ITINERARY


BIODIVERSITY IN
THE ART of CAREL PIETER BREST van KEMPEN

Produced by David J. Wagner, L.L.C.
David J. Wagner, Ph.D., Curator/Tour Director

ITINERARY

(Dates subject to change. Be sure to check with venues for exact days/hours of admission.)


MUSEUM OF ARTS AND SCIENCES
October 1 - December 31, 2019

352 S. Nova Road
Daytona Beach, FL 
(386) 255-0285; moas.org


THE CHICAGO ACADEMY OF SCIENCES
Peggy Notebaert Nature Museum
May 18 – September 8, 2019

Lincoln Park 2430 North Cannon Drive
Chicago, IL
(773) 755-5100; naturemuseum.org


 
SHAFER MEMORIAL ART GALLERY
Barton Community College
In Collaboration with Kansas Wetlands Education Center 
March 2 - April 28, 2019
Great Bend, KS 
(620) 792-9342; bartonccc.edu/community/shafergallery

GEORGE A. SPIVA CENTER FOR THE ARTS
May 12 - July 2, 2017

 222 W. 3rd Street
Joplin, MO
(417)623-0183; spivaarts.org


HOUSTON MUSEUM OF NATURAL SCIENCE at SUGARLAND
October 2, 2015 - February 28, 2016
13016 University Blvd.
Sugar Land, TX 77479
(281)313-2277; hmns.org/sugarland


STERNBERG MUSEUM OF NATURAL HISTORY
January 17 - May 3, 2015 (Held over through August 31)

Fort Hays State University
3000 Sternberg Drive
Hays, KS  67601
887-332-1165;  sternberg.fhsu.edu

MARI SANDOZ HIGH PLAINS HERITAGE CENTER
                                                   June 1 - September 30, 2014
Chadron State College
1000 Main Street
Chadron, NE 69337
800-CHADRON;
  sandozcenter.com
KENOSHA PUBLIC MUSEUM
August 11 - September 16, 2012
5400 First Avenue 
Kenosha, WI 
 (262) 653-4140;  kenosha.org/museum


HIRAM BLAUVELT ART MUSEUM
December 5, 2011 - March 15, 2012 (Held over through June 30th)

705 Kinderkamack Road 
Oradell, NJ
(201) 261-0012; blauveltartmuseum.com

ARIZONA-SONORA DESERT MUSEUM ART INSTITUTE
July 2 - October 31, 2011
2021 N Kinney Road
Tucson, AZ
(520) 883-2702; desertmuseum.org


WILDLING ART MUSEUM
January 8, 2006 - March 5, 2006

2329 Jonata St., Los Olivos (Santa Barbara), CA
(805) 688-1082; wildlingmuseum.org

THE WILDLIFE EXPERIENCE
November 1, 2003 – January 4, 2004

10035 South Peoria Street, Parker (Denver), CO
(720) 488-3300; thewildlifeexperience.org

THE ART OF CAREL PIETER BREST VAN KEMPEN
is available for display at art, cultural, and scientific institutions.

For tour information, contact:

DAVID J. WAGNER, L.L.C., ART AND THE ANIMAL TOUR OFFICE
(414) 221-6878; davidjwagnerllc@yahoo.com

David J. Wagner, Ph.D., Tour Director
davidjwagnerllc.comamerican-wildlife-art.com

MEMBER
American Alliance of Museums

  International Council of Museums 

CURATOR'S STATEMENT

INTRODUCTION TO BIODIVERSITY IN THE Link
ART OF CAREL PIETER BREST van KEMPEN

Excerpted from Rigor Vitae: Life Unyielding

The world is filled with artists who aspire to faithfully render nature into art. But they are either misguided or deluded. An artist cannot transcribe what he sees in nature into art; he can only translate it through his medium. As the eminent aesthetician, Ernst H. Gombrich wrote, “ . . . the correct portrait, like the useful map, is an end product on a long road through scheme and correction. It is not a faithful record of a visual experience but the faithful construction of a relational model.”

Several other insights of Gombrich set the stage for this exhibition. Of conception and perception, Gombrich wrote, “ . . . all art originates in the human mind, in our reactions to the world rather than in the visible world itself, and it is precisely because all art is ‘conceptual’ that all representations are recognizable by their style.” Of style, Gombrich said, “Styles, like languages, differ in the sequence of articulation and in the number of questions they allow the artist to ask; and so complex is the information that reaches us from the visible world that no picture will ever embody it all. That is not due to the subjectivity of vision but to its richness.”

Since wildlife is central to the imagery of Carel Pieter Brest van Kempen, he is generally thought of as a “wildlife artist.” But this is not how I think of him, nor how I think he should be remembered. I think of Carel Pieter Brest van Kempen as a wildlife artist with imagination. In the world of wildlife art, this is no small distinction. Because most wildlife artists aspire to faithfully render nature into art, they suffer from a corollary that is equally false: in order to render nature into art, a painter must paint every minute detail to perfection. For many wildlife artists today, this is pursued through heavy reliance on reference photography. While it is impossible, as Gombrich said, to render nature into art, it is possible to construct a relational model through whatever style an artist chooses. Like many of his colleagues, Carel Pieter Brest van Kempen chooses to paint in a detailed, representational style, but that’s where the similarity ends.

Because Brest van Kempen is a thinker at heart, he begins his creative process where he should, at the beginning, by using his imagination to conceptualize a painting before he ever puts pencil to paper. To transform his concept into composition and design, he works his ideas out through preliminary sketches. After he is satisfied with his concept and design, only then does he embark on the final painting. Throughout the process, Brest van Kempen employs a rich vocabulary of principles, to arrange elements in ways that give him his own distinctive, individual style. In composition and design, elements (e.g., color, value, line, texture, shape, and space) are like building blocks, while principles (e.g., balance, dominance, economy, emphasis, variety, gradation, movement, harmony, rhythm, proportion, space, variety) are like tools that artists use to assemble elements. Whereas the number of elements and principles in art is constant, the number of ways to combine them is infinite. This is important because it permits individual painters to express themselves in their own style. Brest van Kempen typically achieves his style by emphasizing elements such as line, color, space, and point of view.

Because Brest van Kempen works from nature, and nature is a miracle of infinite proportion, another important part of Brest van Kempen’s process is a constant push for new knowledge. About the ecology of his paintings, Brest van Kempen has said, “I'm really interested in what animals look like, but I'm much more fascinated by the way that appearance functions as those animals interact with one another and with their environment. Ecology is the motivating force not only of evolution, but of my artwork.”
Brest van Kempen’s reaction to the world around him, rather than a desire to faithfully render nature into art, and his ability to embody his imaginative concepts through well-honed technique, are hallmarks of his paintings.

Whereas these hallmarks are a giveaway for personality characteristics such as an unquenchable imagination and an insatiable need to know and understand nature, the degree to which Brest van Kempen relies on sheer talent versus tenacious hard work, is less clear. His art seems so effortless, but its richness and depth makes one wonder just how effortless it is.

In addition to imagination, there is something else about his paintings that elevates them a cut above the rest. What could that be? I think it is the pure and simple joy that comes from relishing the work that he does as an imaginative wildlife artist. In each of his paintings, there is an undercurrent of joy. Often this can be seen in the subjects he selects. Brest van Kempen’s subjects do not often include cliché glamour species like those painted ad infinitum by other artists; rather, they comprise under-represented species which give real meaning to the term, biodiversity. To make my point, here are but a few titles from Brest van Kempen exhibitions that I have had the privilege to curate: Bat Falcon & Golden Free-tailed Bat, Meller’s Chameleon & Leaf-toed Gecko, Gripping Tail--Yellow Baboon & White-Throated Monitor, Hippopotamus & Nile Softshell Turtles, Manned Wolves & Three-banded Armadillo, Reticulated Python and Masked Finfoot, and his masterful triptych, Convoy Through the Canopy--de Brazza’s Monkeys. Such titles would make any wildlife art aficionado smile. They also underscore my point, which is, no other wildlife artist that I know, consistently takes the kinds of creative risks that Brest van Kempen takes in his selection of subjects and activities.

Another manifestation of joy in the paintings of Brest van Kempen is the relationship in which he places the viewer to his subjects, or, in other words, perspective. I can think of no wildlife artist who has produced a body of work that consistently affords viewers with richer perspectives than Carel Pieter Brest van Kempen. His creative and engaging perspective is yet another hallmark of his unique style.

Brest van Kempen’s perspective, combined with his virtuosic technique and tantalizing imagination, give his paintings a richness and depth that is rare in the world of wildlife art. For aestheticians or art historians like me, these characteristics are critical for assessing art. Depth, after all, is what keeps viewers coming back and interested in more. Richness and depth are the secrets to great art. They are what makes art endure.

It is a pleasure to work with an artist the caliber of Carel Pieter Brest van Kempen and to serve as Curator/Tour Director of his exhibition, BIODIVERSITY IN WILDLIFE ART. PAINTINGS BY CAREL PIETER BREST van KEMPEN have been and continue to be enjoyed at important venues nationwide, among them, The Wildling Art Museum in Santa Barbara, The Wildlife Experience in Denver, and The Arizona-Sonora Desert Museum in Tucson.

Carel Pieter Brest van Kempen lives and works in Salt Lake City. He is a member of the Society of Animal Artists, and is a six-time recipient of its highest honor, the Award of Excellence, in 1994, 1996, 1997, 2004, 2006 and 2010. Other information about the artist and his art and ideas can be found on his website or his blog.

David J. Wagner, Ph.D.
Curator/Tour Director

David J. Wagner is president of a limited liability corporation that produces traveling exhibitions and provides curatorial, educational, and museum management services nationwide. Dr. Wagner wrote his Ph.D. dissertation on wildlife art history, taught museum studies at several colleges and universities, and served as a museum director for twenty years. Today he works independently as Curator/Tour Director for the Society of Animal Artists, a world-wide organization headquartered in New York, which regularly features paintings by Carel Pieter Brest van Kempen in its traveling exhibition, ART AND THE ANIMAL. In addition to numerous other group exhibitions and tours, Dr. has organized important one-man museum exhibitions by select artists which include THE ART OF ROBERT BATEMAN, EXQUISITE MINIATURES OF WES AND RACHELLE SIEGRIST, LEROY NEIMAN: ON SAFARI, and KENT ULLBERG A RETROSPECIVE. His book AMERICAN WILDLIFE ART (www.american-wildlife-art.com), which was released by Marquand Books in 2008, has been recognized as the definitive reference source on the subject.

REFERENCE: E.H. Gombrich, Art and Illusion, A Study in the Psychology of Pictorial Representation, Princeton University Press, 1960.

ARTIST'S STATEMENT

As ecology is the engine that drives evolution, so is it the motivating force behind my work. As a visual artist, I'm concerned with form, but as a naturalist it's function that fascinates me, and my work explores the relationship between the two. When I select a subject, I typically try to find a way to display as articulately as I can the qualities that make that species unique, and how those qualities function in an ecological setting. Every technical aspect of the painting – composition, palette, scale, etc., hopefully serve to emphasize this point. The motivation of the subject is an essential component of this process, and making this motivation clear to the viewer is an important objective. Each work in this exhibition is accompanied by a short statement that adds the kind of thematic detail for which painting is poorly suited.

Acrylic is my primary medium, and the one I understand the best. Each painting begins with a series of pencil sketches which eventually lead to a rather detailed pencil drawing, which is enlarged and traced onto the substrate, usually illustration board. A complete underpainting in raw umber establishes the forms and textures, and colors are added to build a sense of space and mood. This process can be observed in the time-lapse film clips. For concepts requiring a rougher look, I prefer oil paints, and for black and white I enjoy washes of India ink.

As human impact on the natural world increases, our routine awareness of that world and our active participation in its processes diminish. But whether it's visible to us or not, our lives are irrevocably dovetailed into the vibrating matrix of nature. It's my hope that the little stories told in my paintings might awaken in the viewer a heightened sensitivity to the tiny ripples broadcast throughout that natural matrix by every one of its components.

C. P. Brest van Kempen