He has been represented by Collectors Covey (Dallas, TX), Russell Jinishian Gallery (Fairfield, CT), Redbone Gallery (Islamorada, FL), and Sportsman Edge (New York). In 2011, Don was chosen as the featured artist for Florida’s Coastal Conservation Association 25th Anniversary. In addition to the Society of Animal Artists Annual Exhibition, Don's work has been juried into the Florida Wildlife Expo, Game Conservation International, Pacific Rim Wildlife Expo, and Southeastern Wildlife Expo. Don’s art has also graced the covers of other books, magazines and catalogs including Big Game Fishing Journal, Cabela’s, Field & Stream, Game Fish (France), Inshore Offshore Fishing Magazine, Marlin, Marlin Magazine’ s 30th anniversary cover (2011), Outdoor Life, Penn Reels, Redbone Journal, Saltwater Sportsman, and Sporting Tales, Florida Sport Fishing (2013) among others. In a night-time forest, a burning ancient landscape, a Venetian lagoon or a windswept sea, these painted animals have puzzled, engaged and delighted viewers down the centuries.Don's paintings have been selected by the International Game Fish Association for covers of various editions of its annual publication, World Record Game Fishes. The animals in these images bring the scenes to life with their personalities and energy. It is a strange little painting, and as with the other paintings, it is the animal presence that gives it its special, magical atmosphere. This is the Renaissance imagining of a dolphin – a serpentine body with a bulbous head and human-like eyes that stare piercingly out at us. He charms a dolphin with his music, who brings him safely back to shore. During a storm, sailors threw the singer Arion into the sea because they were after his winnings from a music contest. Ovid tells the story of Arion to mark the arrival of the Dolphin constellation in the sky, in early February. The subject is taken from the ancient Roman poem Fasti by Ovid, a celebration of the myths and customs of the Roman calendar. The lions in The Forest Fire are at home in the wild landscape, but the magnificent lion in Titian's The Triumph of Love seems a little out of place against the backdrop of a Venetian lagoon – and with a small boy balancing rather precariously on his back.įrancesco Bianchi Ferrari (c.1460–1510) Ashmolean Museum, OxfordĪs with The Forest Fire, the setting is a long-distant semi-mythological world. There's a strong sense of the warm, earthy bulk of their bodies and the smoky heat of the atmosphere. Their reactions to the flames are strikingly convincing: the birds swoop out of danger to settle in the trees, the cow's tongue lolls from its mouth, and the bear pants as it staggers away from the flames. Infrared reflectography has revealed that these were last-minute additions, moments of witty improvisation.Įven without human faces, the animals in this painting are bursting with charisma. This semi-mythological setting accounts for the strangest detail of all in the picture: the little human faces on the bodies of some animals. The poem was widely read in Piero's time and evoked a distant, primitive past when humanity was still not quite separate from nature. It takes its inspiration from the Roman philosopher Lucretius, whose poem De Rerem Natura details how the power of fire led to the development of human civilisation. His spectacular painting The Forest Fire is as eccentric, extravagant and wild as he is supposed to have been himself.

Piero di Cosimo (1462–1522) Ashmolean Museum, Oxford He had 'the life of a man who was less man than beast', avoiding the company of others, letting his garden grow wild 'like his own nature.' He died having 'reduced himself to a state with his extravagant fancies.' Like Uccello, Piero di Cosimo is characterised by Vasari as an eccentric. Giorgio Vasari, in his Lives of the Artists, gives a vivid account of Uccello's love for the animal kingdom: 'he kept ever in his house pictures of birds, cats, dogs and every sort of strange animal whereof he could get the likeness.' The name 'Paolo Uccello' actually means 'Paolo of the Birds' and was given to him because he was so fond of animals. We can sense the stomp of the horses' hooves and the whoosh of the dogs as they fling their bodies through the air. The composition oscillates between order and chaos – neatly receding space and the turbulence of motion. The perspective, as always with Uccello, is mathematically calculated, but the dynamism of the scene interrupts this careful precision. A David Miller underwater or coral reef painting can. These underwater paintings capture the true essence of the rich diversity of life forms located in coral reefs and captured in paintings.

The painting is alive with raw animal energy: sleek, long-legged hounds zig-zag through the trees and statuesque horses gallop behind. His highly colorful style is ideal for bringing to life the amazing fish, dolphins and coral that are unique to coral reef and underwater environments. Paolo Uccello (1397–1475) Ashmolean Museum, Oxford

Dolphin fish paintings