Feathers

The last few days here on Cape Cod have seen a continued onslaught of Spring in all its beauty. Hesitant, (we have only daffodils and forsythia, with just a hint of buds on willows and other intrepid early-bird plant life) but definitely HERE! Despite the chilly nights (we are going to have frost tonight), the tree frogs are serenading every night. And of course, the birds.

Although we have owned our home here for more than 25 years, we have visited mostly in late summer. I have never had the chance to experience a spring on Cape Cod. For anyone interested in birds, it is a miracle. Cape Cod apparently is on an important migration flyway, and is redolent with birds passing through at this time of year. And the signs are everywhere, among permanent avian residents as well as migrants. Bird song has increased in volume and "musicality". Their behavior has changed, as well: birds that got along together at the feeder all winter are now chasing each other away.

And then their is the plumage... one of the most obvious changes is seen in the Goldfinch, which are now brilliant chartreuse. But everyone seems to have brightened and become more definitely themselves, in honor of Spring.

I have been drawn to painting animals from the time I started painting in the early 90s. Studying in the atelier of Wade Schuman, gave me the opportunity to paint taxidermic or - squeamish alert! - frozen specimens. Wade has an impressive collection of specimens, since he paints only from life (no photos), and chooses to include small animals, birds or insects in many of his magnificent paintings. Not only did this studio work improve my skill and appreciation of technique, it also captured my imagination and spoke to my particular love of animals and birds.

Over the years, I have also picked up a few specimens... careful to avoid abuses and risky practices in the world of taxidermy (re: unlawful harvesting of some species). For example, I got a wonderful American Crow that was sold from the collection of undisplayed dioramas at the Elmyra Museum. That fellow is the centerpiece of my Still Life With Crow http://www.janinekilty.com/large-view/Still%20Life/198017-3-0-916/Painting/Oil/Still%20Life.html

I have found that working from an actual specimen has made me understand and appreciate the structure and appearance of feathers in a way that photos could never have done. Seeing the bird close up, in true light, allows the artist to distinguish soft, "fur like" feathers, like those found on an Eclectus parrot or Ant Pitta http://www.janinekilty.com/large-view/Animal%20Tales/31602-12-6-885/Painting/Oil/Animals.html, from the sculpted feathers, large and small, on a bird such as the crow. It reveals how the feathers change in direct light, reflected light and shadow... and what the colors look like in these states of light. For sample, my friend, the crow, actually has no black in his "black" feathers! His feathers are sumptuous blend of browns, purples, blues, burgundies... yet how black he looks!

I think I have worked myself up into a mood to tackle another bird specimen: shall I do the jay, like the one shown here (from a taxidermy specimen from Lithuania)? Or a European starling?