Fresh off the easel, fourth in the Polar Bear Sunset Series. In the Pink is a 24” x 24” x 1.5” oil painting on canvas. This beautiful bear is both literally and figuratively “in the pink”
Although I am an experienced portrait artist, over the past few years, my online presence has evolved to that of polar bear artist. Recent followers do not know about my portrait painting service. And so recently, when out of the blue, I was contacted to paint a portrait of a very lovely Labrador Retriever, it was interesting for me to learn that one of my polar bear paintings had inspired the commission!
How does a polar bear painting possibly relate to a portrait of a beloved pet?
It lies in that fact that I regard all my subject matter as portraiture, and my polar bear art is no different. I paint with the theory the eyes are the “mirror to the soul”. Until I get the eyes “right”, until they feel alive to me, I personally don’t connect to the painting. When that magical moment of connection happens, then the painting is on its way!
All artists have their own way of approaching a painting, especially when painting from photographic reference. Some artists apply the paint inch by inch, finishing each section completely before moving on to the next.
I use the more “whole painting” approach in my technique, but I start each session with the eyes and work out from there. As each new layer of paint is added, my focus remains on the eyes, until finally, the portrait comes to life in my imagination.
I have a biology degree, a fine art degree and most of an illustration degree. As a result, I like my portraits to be realistic and anatomically correct, yet emotional, too. But my ability to draw from my imagination, honed from my illustration studies, plays an important part in this process, too. One learns to be a bit of an actor - to feel that emotion and spirit of the subject and to try transfer it to the canvas.
For example, when I was commissioned to paint Dr. Oscar Peterson (Living Arts Centre, Mississauga, ON, Canada), I was honoured and thrilled to paint the jazz great’s portrait, but I had also never seen or met him in person. This was a larger than life portrait and I was working from someone else’s photographs. .
How was I to connect to the subject and make it more than a copy of a photograph?
First, I brought the whole painting to the edge of completion. It was a large painting (larger than life) and a complex one , as in fact it was multi-portraits.. Dr. Peterson’s piano was to be accurately represented. His hands were a portrait in themselves. And his face was clearly selected in the piano top!
So with the face roughed in, I began the final painting of it as I listened to the emotion- filled, heartfelt tribute of music and song that aired on CBC Radio that day. As his teenage daughter spoke lovingly about Oscar Peterson, the father, I did the final paint of his eyes and face.
So, when I began to paint polar bears, I wondered, how to bring the bears alive? How to make them more than a reproduction of a photo I took of a polar bear at the Toronto Zoo?
So for the painting below, Polar Bear Portrait Study 1 (Wistful Bear) ( and a couple of others in this earlier series) I placed my laptop on a stool in front me, as if a portrait model on a chair. One of my polar bear photos was up on the screen. I then created the polar bear portrait as if the bear was seated there in front of me. (wouldn’t that have been fun, although short lived.) Once again, the eyes say it all in this painting. (Read more about this painting here)
So when Ottawa’s CTV news reporter and anchor, Christina Succi contacted me to paint a portrait of her beloved dog, I was flattered, but also surprised to learn that it was one of my polar bear paintings that inspired her request. But then I learned which painting and then saw a photo of her dear doggy,
Can you see the connection?
If you would like to know more about my polar bear art , or info on how to commission a portrait, please feel free to contact me here.
The Fall is a portrait of a polar bear on its solitary journey in the arctic night, unaware that a red maple leaf (Canada’s national symbol) falls before it from above. The fall colour of the maple tree isn’t part of this bear’s autumn landscape, but the frozen sea, so vital for its survival, is. Increased periods of open water from spring to fall, due to climate change, increases the polar bear’s vulnerability.
Painted in wonder and warning,The Fall pays tribute to an iconic Canadian animal, and connects Canadians in the responsibility to protect it, thereby protecting and saving ourselves.
Why the Canadian connection? Although one of the world’s most favourite animals, polar bears are only found in Canada, Alaska (USA), Russia and Norway. 60 - 80 % of the world’s population are found in Canada. The Fall has a “sister” painting, the award winning “The Canadian Flower Crown”. Read about it here
I am pleased to announce The Fall has been accepted into ARTWORKS 2018, the OCADU Alumni Show, December 2 -8, 2018. The Great Hall, OCADU. 100 McCaul St., Toronto. More Info and opening reception date & time here
Dark Water 1 is an oil painting portrait of a beautiful polar bear swimming. The water is dark, as daylight is diminished in the arctic fall.
But dark water has another implication. The earth’s bright white polar ice cap, which serves as a giant reflector for the sun’s heat, is being diminished by climate change from carbon emissions. The melting polar ice increases the darkness of the planet’s surface (hence “dark water”), decreases the sun reflected back into space, and increases the heat absorbed by the earth. More ice melts, which creates more dark water, and so the loop continues.
This loop of sea ice loss and increased dark water endangers the polar bear. Although this magnificent bear is a highly intelligent (think great ape), top-of-the-arctic-food-chain marine mammal (the only bear that is such), and is a powerful swimmer (slightly webbed front paws, highly insulated and buoyant body), it is dependant on the frozen sea for hunting (only seal fat sustains them, not berries or birds’ eggs), resting, feeding (can’t nurse in water) and denning (necessary for mother bears with cubs, semi-hibernation, and to ride out storms). The increase of the period of open water from spring to fall, and the distance between ice tops in winter, leaves the polar bear and its cubs vulnerable to starvation, attack, and drowning.
The polar bear in Dark Water 1 gazes back upon her path, her body twisted as if in question.
It is up to the viewer to imagine how far outside the picture frame the next ice floe waits, and whether or not, until this moment, her journey was a solitary one.
A Polar Bear Cub Painting
The polar bear cub painting below, is the second in my Sink/Swim series of polar bear oil paintings. This painting comments on sea ice loss and its negative effect on the polar bear habitat.
Sinking or Swimming?
Climate change has decreased the amount of sea ice necessary for the mother bears to hunt seals, feed their young, and sometimes den. The season of open water from spring to fall has increased, delaying the opportunity to hunt. Cubs do not yet have that great insulating layer of fat and so the mother bear must carry the baby bears on her back as she swims to the next ice top. These trips are not always successful. Polar bear cubs just simply vanish along the route, and sometimes the mothers do, too.
The bear cub above, does not seem distressed. Like with the experiment Schrodinger's Cat, it is up to the viewer's thoughts about what this bear's state of being is.
For my online gallery of polar bear art – paintings and portraits, please visit ChristineMontague.com