“All of my inspiration and information comes directly from life.” T. Allen Lawson is drawn to the quieter side of life. Over time, he has developed a discipline of patiently observing and studying the often unnoticed rhythms and subtleties of his surroundings. In his paintings, he strives to build layers and textures with pigment to create the abstraction and nuanced depth he feels in nature and the world around him. Born and raised in Sheridan, Wyoming, the American West is an integral part of him. Tim studied drawing and portraiture at the American Academy of Art in Chicago. He furthered his formal studies attending the Lyme Academy College of Fine Arts in Old Lyme, Connecticut. A lifelong student, his dedication to and love of his profession is always evolving as his interest and influences continue to challenge him. Tim has won numerous awards to include: the Donald Teague Award at the Prix de West in 2019, the Prix de West Purchase Award and the Robert Lougheed Memorial Artists’ Choice Award in 2017, the Directors’ Choice for Outstanding Landscape in 2016, and many more.
M. W. “Skip” Whitcomb, an accomplished plein air painter, draftsman and print maker, studied at the Art Center College of Design in Los Angeles. He is the two-time winner of both the Artists’ Choice Award at the Buffalo Bill Art Show and Sale, and the Red Smith Memorial Award at the National Museum of Wildlife Art in Jackson, Wyoming. Whitcomb has also won the Grand Prize in Pastel Journal’s International Competition.His paintings have been included in exhibitions organized by the National Academy of Design in New York City, the Gilcrease Museum of the Americas in Tulsa, OK, the Prix de West in Oklahoma City, and the Buffalo Bill Center of the West, Cody, WY among many others. He is a signature member of the Plein Air Painters of America and is represented by the Simpson-Gallagher Gallery in Cody, WY and the Wood River Fine Art in Ketchum, ID. He maintains a studio in Fort Collins, CO.
Ezra’s bold, distinctive style of painting wildlife reflects acute observation and knowledge of his subject and displays an intimate and emotional portrait quality and adept storytelling. Ezra states, ” The challenge I have for myself is to present the beauty and majesty of the animal world in dynamic form to help influence the preservation of our planet’s varied species through my art.” Ezra was the Featured Artist at The Southeastern Wildlife Exposition in 2017. Ezra’s art is included in the permanent collections of The Booth Western Art Museum, The Rossignol Cultural Centre in Liverpool, Nova Scotia, Anheuser-Busch, Inc. and The Texas Rangers Historical Museum. Western Art & Architecture, Southwest Art and Sporting Classics Magazine have published feature articles on Ezra and his art in 2017.
Margie Swift is primarily a still life painter. After graduating from the University of Illinois with a Bachelor of Fine Arts, she has been drawn to the American West. It is here that her art has been significantly influenced by the rich history of western art. Her studio is in Broomfield, CO.
Matthew has been studying art since childhood from his father, then formally at Utah State University, and continues to seek out opportunities to learn and grow as an artist. He loves traveling in search of new inspiration. Matthew won Best in Show at the Utah Arts Festival and also Best in Show at the Calgary Stampede Western Showcase both in 2017. He finds inspiration all around him and is constantly looking for scenes of beauty to capture through oil paint. Whether it’s a bustling city at night, a “retired” barn, or a serene landscape, his style merges traditional subjects with contemporary brushwork and expression.
Knighted by his Imperial and Royal Highness, Archduke Andreas of Austria, for his work in conservation, John is now known as Sir John Seerey-Lester. John has received the Lifetime Achievement Award from Society of Animal Artists 2019, and the Simon Combes Award for Conservation in 2014, the Ring of Freedom Award – NRA. John is known as “The Godfather of Wildlife Art” and has also become the “Preeminent modern-day painter of Theodore Roosevelt.” John has work hanging in the White House and most major museums in the US and Great Britain. John has been the Master or Featured Artist for nearly every major wildlife show both in the US and UK, over the past 42 years.
For over a decade, I have been captivated by the mountain west’s landscape, animals and history. My aim is to capture some of the West’s spirit, strength and grace to share with others. My work harmonizes opposing forces. Traditional subject matter is presented in a modern way, balancing realism with abstraction. I have been a finalist for the past four years in the Art Renewal Center’s Annual Salon and the Oil Painter’s of America National and Regional Juried Exhibitions. I was in the top 100 finalists in London’s BP Portrait Award in 2017.
David Jonason’s work is informed by the austere beauty of the American Southwest and the aesthetics of cubism and art deco. His love of desert landscapes began in childhood on family rock hunting trips to the Mojave and Anza Borrego deserts in California. Early in Jonason’s painting career he was drawn to the volumes of architecture and the angular shapes in cubism. Jonason considers his style to be a fusion of cubism and realism. He imbues these works with the heroic quality of skyscrapers and the clean graphic qualities of travel posters from the 20s & 30s.
Michael Blessing spent his formative years in rural Montana, surrounded by the land, the people, and the experiences that small town America provided. Having discovered an inclination toward figurative painting, he favors a candid view of his modern subjects. As a rule, Michael is drawn to strong compositions, vibrant color and bold lines. His figurative work and paintings of vintage Western nostalgia are widely appealing, often reminiscent of classic Americana and have an edgy quality that is both contemporary and timeless. Michael’s work has been featured in various publications, including Western Art & Architecture, Big Sky Journal, Montana Quarterly and Western Art Collector.
By: Nicholas Coleman
Oil, 24 x 48 in.
“I think my favorite time of day is still the golden hour right before the sun ticks itself behind the mountains. The two figures are headed back to camp. I can imagine the fantastic smell of smoke and something cooking over the fire on the return back into camp. In my own travels and trips to the mountains and far away places, a warm fire is always the best place to come back to.”
By: Michael Coleman
Oil, 26 x 32 in.
By: Duke Beardsley
Polyptych, 40 x 28 in.
“Everyone has a western story. And everyone’s story adds a piece to the reality of today’s West… and it’s all changing every minute.”
By: LaQuincey Reed
Bronze, 14 x 12.5 z 7.5 in.
“Often overlooked in the narrative of the Old West is the African – American Cowboy. Historians estimate that one in four cowboys were black. After the Civil War, being a cowboy was one of the few jobs open to men of color who frequently faced discrimination. Amongst their fellow cowboys, they found respect and a level of impartiality that they hadn’t experienced before. “Ain’t a Killer but Don’t Push Me” explores the relationship between African American culture to the gun. The West was a vast open territory filled with unknown dangers; a gun could afford protection and deter harm.”
Brandon Bailey was born in 184 in Cheyenne, Wyoming. Wildlife and western art have always come naturally to him. “Seeing animals and how they react in their natural environment is key in creating an interesting scene that is true to that subject,” he states. Growing up in Wyoming it is only fitting that he has an interest in western culture. His fascination with rodeo and the old west began during his youth and has continued throughout his life. Brandon rode bulls competitively an jokes, “I figured if I can ride a two-thousand pound wild farm animal, there is nothing I cannot a least try to do!”
Greg Woodard, from Prescott, AZ, is largely self-taught. He began carving decoys and went on to become a five time Best of Show winner at the Ward World Competition. He captured the World Competition with his interpretive sculpture of birds. Greg is a master falconer and has a deep passion for understanding the raptors he studies. He carries the love and knowledge from these powerful birds into his work. Another important feature of Woodard’s work is the railroad track theme, which symbolizes the cultural impact of the opening of the American West.
By: Dennis Ziemienski
Oil, 30 x 36 in.
“The American bison has the honor of appearing on the Wyoming state flag. After observing bison in Yellowstone I decided to honor the powerful mammal, as well, by painting one charging beneath a thunderhead on the high plains of Wyoming.”
By: Greg Woodard
Bronze, 27 x 18 x 30 in.
“The connection of the continental railroad changed the west more that anything. I want the viewer to feel the power of the industrial age landing on the Native Americans and wildlife living there. I used the cube for lines and a way to break the lines to show speed and composition with a contemporary feel.”
By: Kathy Wipfler
Oil, 25 x 40 in.
“In my readings of the first person western history I learned about the area just East of present day Cody, Wyoming. The cowmen loved it for the easy river crossing and the good grass. No doubt the herds of bison also used this are in their days of glory.”
By: Jim Wilcox
Oil, 16 x 20 in.
“Despite the monumental Teton mountains to the west, sometimes the most compelling subject is in another direction.”
By: Max Werner
Acrylic, 54 x 41 in.
“As we approached the top of Carter Mountain, an old burned forest appeared behind a ridge. The trees were still standing bleached white by wind, snow, and rain. They looked like ghosts. With the Washakie Peaks looking down on us and the eerie silence, we felt the presence of the past.”
By: Paul Waldum
Pastel, 20 x 26 in.
“Winter and its tranquility is representational of western heritage. I was particularly interested in capturing a fragment of history from past generations. The lone tipi signifies a sense of winter calmness and solitude.”
By: September Vhay
Oil, 24 x 44
“My parents joke that I came out of utero asking for a pony as horses have moved my soul from an early age. ‘Chasing the Light’ is a meditation on the equine form, the transitions of the patterns and shapes, composition, and a lovely light sienna color juxtaposed with white.”
By: Karen Vance
Oil, 30 x 22 in.
“The power and sound of a vertically rushing waterfall is an exhilarating experience…and painting rushing water is very challenging, indeed. This is Adams Falls in the Rocky Mountain National Park. I painted the plein air study after encountering a large and thankfully docile, bull moose on the trail to the falls. Who ever said painting is boring.”
By: Dustin Van Wechel
Oil, 38 x 30 in.
“Crossing Paths is a piece born of my many trips to observe bison in Yellowstone National Park. These icons of the untamed west are an inexhaustible source of inspiration for me as a painter focusing on North American wildlife.”
By: Michele Usibelli
Oil, 20 x 40 in.
“Nothing beats the excitement of a rodeo! The sights, smells, and sounds bombard the senses and electricity charges the air…..an experience that leaves the observer both exhilarated and exhausted.”
By: Michael Untiedt
Oil, 40 x 40 in.
“The painting is a look at trail cattle heading for water once they have its scent…and cannot be held back, even if the water is bad. Similar to today, WE will “stampede” towards salvation, without having clearly identified what the “salvation” is needed for!”
By: Clive Tyler
Pastel, 42 x 36 in.
“In the heart of the Rockies you will find groves of aspens, tall grasses and wild flowers such as columbines and daisies. The challenge to paint such a scene is the ever changing filtering light that moves through the tall canopy of these sixty foot trees. Strong cool blue skies from 8000 foot elevations add to the color palette of summer greens accented by the purple mountains in the distance.”
By: Kathryn Mapes Turner
Oil, 24 x 36 in.
“I created this image thinking of the times when we ride from the Triangle X Ranch to the Snake River in the early mornings when the river bottoms are veiled in mist. The elk herds move silently in and out of the cottonwood forests. In the fall, the unique sound of the bull bugling echoes all around as the bulls charge one another.”
By: Joshua Tobey
Bronze, 22 x 16 x 9.5 in.
“I don’t think moose go into rut like other deer, I think they fall in love. Usually introverted, bull moose are amazing to watch during the fall as they go in search of romance. The madness of love definitely causes the giant of deer to get some personality.”
By: Karmel Timmons
Pencil, 18.5 x 17 in.
“You can draw a horse or you can paint a horse or you can draw a paint horse. Regardless, they are great fun to use as subjects, particularly these two that I have used in my pieces a few times.”
By: D. Michael Thomas
Bronze, 36 x 5 x 2 in.
“This idea did come to me in a vision so to speak. Some of my best ideas happen that way. War shields were very spiritual to the owner and tells of their accomplishments, powerful strengths, and usually a vision that came to them while fasting. This shield signifies the importance of a successful buffalo hunt and pony raids.”
By: Kathryn Stats
Oil, 18 x 24 in.
Utah still has some beautiful old dwellings from the past that are still intact, but have been over grown by weeds. Probably roses grew there once. This house seemed the perfect setting to paint roses instead of weeds.
By: Phil Starke
Oil, 18 x 24 in.
“The subject is a small ranch in Escondido, New Mexico, along the Rio Grande river. I was most interested in the moon light on the white plaster and the diffused, subtle color.”
By: Matt Smith
Oil, 22 x 16 in.
“For me, any visit to Cody should include a drive to Bear Tooth pass. This particular vista from just north of the pass is one of my favorite views along the route.”
By: George D. Smith
Oil, 24 x 36 in.
“Grizzlies are almost always on the move from one part of the mountains to another. There is nothing that shows the true spirit of the wild more than a rocky mountain grizzly on the prowl.”
By: Brett James Smith
Oil, 30 x 36 in.
“Exploring an area more vast than most countries, men that hunted and guided travelers were the first and sometime only residents of the Rock Mountains. With the exception of the Natives they were alone and were recognized for their courage and ability to subsist in a landscape hostile to newcomers.”
By: Adam Smith
Acrylic, 21 x 36 in.
“One of the best parts of being a wildlife artist is going to observe the subjects. New experiences are essential to sparking fresh ideas. Bighorn sheep have always been a favorite to spend the day watching and photographing. These mammals are creatures of habit and are often in the same places each year. If not, the scenery compensates the hike.”
By: Kyle Sims
Oil, 24 x 36 in.
“In the Absaroka mountain range you will be very likely to stumble upon some mountain goats at some point in your visit. The are a treat and a challenge to paint due to the variety of color temperature shifts that occur within the shadows on their bodies.”
By: Tim Shinabarger
Bronze, 19 x 19 x 9 in.
“Wapiti is the Shawnee term for the elk meaning ‘white rump’. It is a term that is still widely used today and adds a bit of romance to a truly regal animal. Once spread from ocean to ocean and border in the lower 48 states, they are once again being reestablished throughout much of their traditional range through the efforts of devoted conservationists. This tremendous success story in modern wildlife conservation is impressive.”
By: Robert Seabeck
Oil, 24 x 30 in.
“This particular 4th of July parade includes a number of highly regarded mules that are accented with our flag’s red, white, and blue. My friend Bill’s careful attention to grooming and cleaning Josie for the parade and to properly display our nation’s colors aroused both great patriotism and the desire to paint this image.”
By: Sandy Scott
Bronze, 23 x 20 x 12 in.
By: Greg Scheibel
Oil, 24 x 30 in.
“This ridgeline view on a large ranch south of Casper, Wyoming inspired me. I was attracted to the late afternoon shadow patterns while looking north towards Caper Mountain.”
By: David Santillanes
Oil, 40 x 30 in.
“Like most of my studio work, this painting evolved from several outdoor studies. I have found that these initial studies bring an intimacy with the scene that can not be achieved in mere passing — allowing me to “speak” with complete sincerity in the final painting.”
By: Sherry Salari Sander
Bronze, 17 x 29 x 7 in.
“It is now late autumn in the North Country. Two big bulls circle, walk, with stiff confident bearing, gauging the strength of their opponent. Their heads are held high to display the power of their impressive antlers. A serious challenge has been met, and a slash of horns can be heard. The battle will be more of intimidation than serious injury will dictate. A cow waits quietly nearly.”
By: Jeff Rudolph
Alabaster, 28 x 19 x 14 in.
“Life on the mountain whether you are a goat or a large cat is a challenge at best. Hand carving this was also.”
By: Charlie Ringer
Steel, 54 x 34 x 34 in.
“This steel sculpture portrays a native perennial prairie grass that is one of the dominant types in the northern high plains. It is a hardy strain that needs little water or nutrients. Buffalo thrive on this grass as well as settlers which used its thick sod for construction of structures.”
By: Kevin Red Star
Acrylic, 37.5 x 49.5 in.
“Stories from elders and stories from Crow friends are handed down for the young…..These power healers are the medics and doctors. This piece is to give credit to the man who not only is a spiritual adviser but a healer of wounds and setting of bones. Healers were part of a small war party as well.”
By: Linda Raynolds
Bronze, 14 x 12.5 x 7.5 in.
“Bison have been on the verge of extinction before. By the time their numbers had somewhat recovered, there was no longer wild habitat for them except in a few parks. Even there, bison populations are closely monitored and controlled. This plight is shared by all remaining large wildlife species. There’s no place for them to go. This mother bison peers into an uncertain future for herself and her calf.”
By: Heide Presse
Oil, 30 x 20 in.
“My paintings are about everyday moments. They evoke an emotional response and remind one it is the simple things in life that bring the most joy. This 1800s scene shows a woman introducing summer berries to her child. It is her first taste of how sweet summer can be.”
By: Mike Poulsen
Oil, 24 x 18 in.
“Nature is majestic. Water is life. Sometimes they blend in a moment in time that leaves me breathless. I feel cradled in God’s hands experiencing his creations as I move through the wilderness of Yellowstone. Fairy Falls is one of these places that is unique and breathtaking.”
By: John Potter
Oil, 40 x 30 in.
“Eagles occupy a very high, powerful and respected place in the heart of our Nation – in the hearts of many Nations.”
By: Howard Post
Oil, 36 x 36 in.
“I love portraying images of the contemporary west — All subjects really. I usually don’t do a lot of pieces that focus on individual in a portrait like setting. The western lady seemed a worthy reason to make an exception.”
By: Larry Pirnie
Acrylic, 36 x 24 in.
“A collector of my work asked if I had ever considered painting jumping fish like I paint jumpin’ horses….I thought I’d give it a try.”
By: Vic Payne
Bronze, 29 x 24 x 11 in.
(picture does not reflect final item.)
“These majestic, noble creatures, who can stand upward to 7′ and weigh between 1200 – 1600 pounds, are extremely powerful. I am drawn to the Bull Moose found in North America where some of the largest moose antlers have been found in the Yukon Territory.”
By: Dustin Payne
Bronze, 12 x 24 x 11 in.
“The sculpture was inspired by the thoughts of what it must have been like for the Natives of the Plains coming across the strange remains of the creatures that roamed the lands before. The riverbed captures his interest and curiosity of what is left of a Mammoth from times long gone.”
By: Julie Oriet
Pastel, 12 x 16.5 in.
“This scene is on the river near where I grew up and I have been wanting to do this piece for quite sometime. It is late afternoon and this buck is heading for a drink — with his little group of does following him.”
By: Ralph Oberg
Oil, 27 x 36 in.
‘”There are always chores to do around camp. But when you love your work, it’s only a labor of love!”
By: Rock Newcomb
Acrylic, 30 x 20 in.
‘”Golden eagle tail feathers, like those used on this 1880’s Northern Cheyenne War Bonnet were awarded to warriors for war deeds. The ‘coup” or touching, earned the highest honors. White plumes or breath feathers added to the base and tips move with the slightest breeze. Hanging ermine pelts indicated high war honors.”
By: E. Denney NeVille
Oil, 27 x 21 in.
“The awe-inspiring space and character of the environmental landscape when patterned with light and shadows from rising clouds has for centuries been inspirational to painter, poets, philosophers, and photographers. It is expressed in their work with feelings of appreciation for God’s handiwork.”
By: Blake Neubert
Mixed Media, 24 x 36 in.
“I like to combine my love for modern art and the American West through bold colors and shapes while maintaining the iconic imagery.”