Robert K. Abbett - The Art of Restraint -

Those of us with pets, hunting dogs or even domestic animals soon become very sensitive to their own personalities; we all enjoy those special traits they show us from day to day, and we realize, as with humans, these personalities can be widely varied. Artists fortunate enough to observe truly wild animals at length have witnessed similar clues to the animal’s make up. For centuries a major effort of outdoor, wildlife and sporting artists has been to understand and be able to paint these often-elusive qualities. Also, doing so has always been paramount in painting a successful commissioned portrait: when we see these emotions in a painting of our own animals, our pleasure is greatly expanded. So how does the artist coax his brushes to capture this extra dimension, and what part do the viewers play in this equation?

My experience with animal painting over two careers has been mostly, but not limited to, dog art, and I have of course learned at least some of the ways animals reveal the traits, which make up their personalities; and yes, these qualities can certainly be painted. Let’s take a look then at some of the nuts and bolts we can use to of put them down on canvas.

First off, we must realize the personality of a dog as well as other animals is partly activity-related. That is, the job we assign to our pets and the nature of the beast that we have assumed through history, have a great deal to do with how we may perceive its personality.

With dogs, activities such as companionship, hunting, herding, protection, showing, etc. contribute to the dog’s emotional make up from the start. Truly wild
animals have over the years collected their own aura, often quite correctly, which likewise must be considered as part of their personalities. Ferdinand the, bull who preferred smelling the flowers to tossing matadors around was a notable exception.

As a prime example, I would choose a hunting dog, a Labrador retriever. For instance if he’s good at his sport, he should exhibit enthusiasm, even when the action has yet to begin. Whether at the peak of the game or waiting by the boat, a pair of alert ears and bright compelling eyes is necessary in conveying that trait to the painting’s viewer. As a rule, I want the eyes well illuminated, and even highlighted, for they are essentially the seat of life and emotion in so many animals’ visages.

In the case of “Rocky”, his body language is another important factor in showing his enthusiasm, You’ll note the set of his back, somewhat arched - a million miles away from slouched - he fairly bristles with enthusiasm and excitement, as if to say, “Well I’m ready, where the hell is everybody”?

The painting’s setting and its props are equally important elements used to define the animal’s assignment which in turn promotes his personality: who hasn’t seen their pets wiggle or wag with expectation when we pick up their leash or put on a hunting coat. The unmistakable meaning of the water scene and hunting props - the boat and decoys - makes possible our interpreting Rocky’s emotion as that of the impatient retriever.

As with Rocky, we note the over all physical stance of any horse, dog or animal, can also add greatly to showing its emotion at the moment, which in turn helps reveal its personality. We see hounds running a few degrees off their course, their bodies out of line like badly aligned old trucks. The setter’s feathery coats enhance almost any movement and their wagging tails show us their pleasure at play just as a high tail reveals its concentration when on a point in the field. Some dogs have extreme facial expressions, furrowed brows, lolling tongues, etc. A Springer Spaniel can show us an almost human-like smile with pink tongue and some amount of teeth showing. All these helping to paint that dog’s personality as best we see it.

I must mention here, we ourselves add much to the emotional aspect of a painting by what we read into - interpret - the animal’s expression. The American Cocker who was told to “Stay” is sad because we know she would really have preferred to go along with her master. So the big soulful eyes, the gathered brows and the hanging ears are as much our version of disappointment as that of the dogs. Once labeled as ‘emotionalism’ or ‘humanization’ in animal art, this sometimes overly sweet approach was rather flagrantly practiced in times past, and later fell from favor. My personal opinion is that dogs can exhibit enough valid emotion so that employing traits, which only remind us of our own feelings, will not be necessary.

While most of us have seen Labs and Cockers, not everyone has had the experience of actually seeing a roadrunner in action in its own bailiwick. Yes, they do certainly run and they run down and/or across the road. My dad, who was raised in the west, would tell us of how the roadrunner would run in front of the family horse and buggy, positioning its self at a certain distance ahead which never varied until one or the other finally turned off. Much of what we think of them today probably stems from the Wile E. Coyote animated cartoons we have enjoyed in movies and TV. That roadrunner was fast, so we expect speed in the painting; this trait being the defining element in the expression of is its personality. The setting’s shapes and directions were also purposely designed in a manner which might heighten that speedy feeling - the bird’s feet are just a blur - he is going much too fast to reveal any details. And again, the correct background let’s us comfortably place the animal in its natural western habitat and believe it’s ‘fast Eddy’ personality.
In doing commissioned art, capturing (at least some of) these traits is not only helpful it is downright a must! I once painted an English Setter who always squinted his eyes when on point, and to do his picture with any other expression would have been criminal. Commissioned pieces should then include as many personal settings and activities as possible, some not necessarily following the breed’s original definition. An Irish Setter’s portrait might better show the pet in a corner of his back yard, especially if he is not used for hunting and is an outdoor lover like Clancy here. His body language - the rather floppy sitting pose and the set of his head do a lot to present his friendly disposition.

Having taken a good look at what goes into organizing a picture of a pet or animal with emotion and personality well presented, we realize that as a viewer, we supply the last ingredient. Recognizing how we expect a happy dog or an impatient retriever to look is definitely part of the game. Seeing them lolling typically in the back yard, or ‘helping us’ setting out the decoys makes us feel attached to its painting, as we are liable to say “That sure looks like Rocky, standing there in that boat just like he owns it.”



	Painting Animal Personality As published in the January - Febuary 2004 issue of Wildlife Art
	Those of us with pets, hunting dogs or even domestic animals soon become very sensitive to their own personalities; we all enjoy those special traits they show us from day to day, and we realize, as with humans, these personalities can be widely varied. Artists fortunate enough to observe truly wild animals at length have witnessed similar clues to the animal’s make up. For centuries a major effort of outdoor, wildlife and sporting artists has been to understand and be able to paint these often-elusive qualities. Also, doing so has always been paramount in painting a successful commissioned portrait: when we see these emotions in a painting of our own animals, our pleasure is greatly expanded. So how does the artist coax his brushes to capture this extra dimension, and what part do the viewers play in this equation? My experience with animal painting over two careers has been mostly, but not limited to, dog art, and I have of course learned at least some of the ways animals reveal the traits, which make up their personalities; and yes, these qualities can certainly be painted. Let’s take a look then at some of the nuts and bolts we can use to of put them down on canvas. First off, we must realize the personality of a dog as well as other animals is partly activity-related. That is, the job we assign to our pets and the nature of the beast that we have assumed through history, have a great deal to do with how we may perceive its personality. With dogs, activities such as companionship, hunting, herding, protection, showing, etc. contribute to the dog’s emotional make up from the start. Truly wild animals have over the years collected their own aura, often quite correctly, which likewise must be considered as part of their personalities. Ferdinand the, bull who preferred smelling the flowers to tossing matadors around was a notable exception. As a prime example, I would choose a hunting dog, a Labrador retriever. For instance if he’s good at his sport, he should exhibit enthusiasm, even when the action has yet to begin. Whether at the peak of the game or waiting by the boat, a pair of alert ears and bright compelling eyes is necessary in conveying that trait to the painting’s viewer. As a rule, I want the eyes well illuminated, and even highlighted, for they are essentially the seat of life and emotion in so many animals’ visages. In the case of “Rocky”, his body language is another important factor in showing his enthusiasm, You’ll note the set of his back, somewhat arched - a million miles away from slouched - he fairly bristles with enthusiasm and excitement, as if to say, “Well I’m ready, where the hell is everybody”? The painting’s setting and its props are equally important elements used to define the animal’s assignment which in turn promotes his personality: who hasn’t seen their pets wiggle or wag with expectation when we pick up their leash or put on a hunting coat. The unmistakable meaning of the water scene and hunting props - the boat and decoys - makes possible our interpreting Rocky’s emotion as that of the impatient retriever. As with Rocky, we note the over all physical stance of any horse, dog or animal, can also add greatly to showing its emotion at the moment, which in turn helps reveal its personality. We see hounds running a few degrees off their course, their bodies out of line like badly aligned old trucks. The setter’s feathery coats enhance almost any movement and their wagging tails show us their pleasure at play just as a high tail reveals its concentration when on a point in the field. Some dogs have extreme facial expressions, furrowed brows, lolling tongues, etc. A Springer Spaniel can show us an almost human-like smile with pink tongue and some amount of teeth showing. All these helping to paint that dog’s personality as best we see it. I must mention here, we ourselves add much to the emotional aspect of a painting by what we read into - interpret - the animal’s expression. The American Cocker who was told to “Stay” is sad because we know she would really have preferred to go along with her master. So the big soulful eyes, the gathered brows and the hanging ears are as much our version of disappointment as that of the dogs. Once labeled as ‘emotionalism’ or ‘humanization’ in animal art, this sometimes overly sweet approach was rather flagrantly practiced in times past, and later fell from favor. My personal opinion is that dogs can exhibit enough valid emotion so that employing traits, which only remind us of our own feelings, will not be necessary. While most of us have seen Labs and Cockers, not everyone has had the experience of actually seeing a roadrunner in action in its own bailiwick. Yes, they do certainly run and they run down and/or across the road. My dad, who was raised in the west, would tell us of how the roadrunner would run in front of the family horse and buggy, positioning its self at a certain distance ahead which never varied until one or the other finally turned off. Much of what we think of them today probably stems from the Wile E. Coyote animated cartoons we have enjoyed in movies and TV. That roadrunner was fast, so we expect speed in the painting; this trait being the defining element in the expression of is its personality. The setting’s shapes and directions were also purposely designed in a manner which might heighten that speedy feeling - the bird’s feet are just a blur - he is going much too fast to reveal any details. And again, the correct background let’s us comfortably place the animal in its natural western habitat and believe it’s ‘fast Eddy’ personality. In doing commissioned art, capturing (at least some of) these traits is not only helpful it is downright a must! I once painted an English Setter who always squinted his eyes when on point, and to do his picture with any other expression would have been criminal. Commissioned pieces should then include as many personal settings and activities as possible, some not necessarily following the breed’s original definition. An Irish Setter’s portrait might better show the pet in a corner of his back yard, especially if he is not used for hunting and is an outdoor lover like Clancy here. His body language - the rather floppy sitting pose and the set of his head do a lot to present his friendly disposition. Having taken a good look at what goes into organizing a picture of a pet or animal with emotion and personality well presented, we realize that as a viewer, we supply the last ingredient. Recognizing how we expect a happy dog or an impatient retriever to look is definitely part of the game. Seeing them lolling typically in the back yard, or ‘helping us’ setting out the decoys makes us feel attached to its painting, as we are liable to say “That sure looks like Rocky, standing there in that boat just like he owns it.”