Leo Paul Robert (1851-1923) - was the most highly regarded Swiss ornithological artist at the turn of the century. But he only established a reputation as a landscape painter and painter of birds later in his career.
I paused for a moment to look out over the marshy fields - a dull flat grey-green in the late autumn evening; almost night. The sun had set and white trails of mist followed the course of the river. A few Magpie were chakking noisily in some willow scrub. Starkly black and white. I counted - one for sorrow, two for joy, three for a girl, four a boy - a few more flew in - eight for a wish, nine for a kiss ... and then more - twenty, thirty, forty - from all directions. One hundred, two hundred, I lost count; now too dark to see ...
Roland Green (1890 – 1972) was one of Britain’s most accomplished wildlife artists from the 1920s onwards. Living on the Norfolk coast, in the reeds at the edge of Hickling Broad, he specialised in drawing and painting birds, both in in oils and watercolours, illustrating many books on the subject. He was a founder member of the Society of Wildlife Artists (SWLA), originally conceived by Robert Gillmor and Eric Ennion.
Carefully parting Willow, Bramble and bronzed Bracken fronds that rustled and crackled in the winter frost I could see my secret lake ... well large pond really - an old disused Flight Pond ... a few Mallard quacked and splashed noisily; a couple of Tufted Duck circled warily in the middle while on the far bank a pair of Teal rested, blending well with the pondside rushes ... a Coot called from somewhere in the reeds - well hidden - shatteringly loud ...
One early autumn evening, I was standing out of doors when the sun came out beneath a bank of dark cloud and lit up the weathered, soft blue-grey slate roof of our old barn. No sooner had the light fallen on it than a few Yellowhammer dropped down out of nowhere and sat motionless on the sun-warmed slates, with heads drawn in and plumage bunched out. It was as if the sun had poured a golden-coloured light into their loose feathers making them shine a bright canary yellow ...
Continue reading In Search of Yellowhammer, Corn and Cirl Bunting
Hugh Brandon-Cox (1917 - 2004) - This post about the Artist, Writer and Explorer, is one of a series of short biographies about artists and writers inspired by Nature and the Countryside and whose works have fostered my own love of the Countryside - especially Birds.
David Morrison Reid-Henry (1919 – 1977) - This post is one of a series of short biographies about artists and writers inspired by Nature and the Countryside and whose works have fostered my own love of the Countryside - especially Birds.
SIGNS OF SPRING
Jefferies’ field notebooks are full of references to the passing seasons. Each year he carefully noted the first signs of spring and summer and found happiness in the visible tokens of the seasons as they returned. As he wrote in The Open Air “I knew the very dates of them all—the reddening elm, the arum, the hawthorn leaf, the celandine, the may; the yellow iris of the waters, the heath of the hillside. The time of the nightingale—the place to hear the first note.”
via Signs of Spring
Gordon Beningfield (1936-98) - Another post in the series of short biographies about artists and writers inspired by Nature and the Countryside and whose works have fostered my own love of the Countryside – especially Birds.
Winifred Maria Louise Austen (1876 - 1964) - was an English illustrator, painter, etcher and aquatint engraver. She was widely admired and collected; even the naturalist Sir Peter Scott – himself so able a wildlife artist – said Austen was, ‘certainly the best bird-etcher of this (last) century’.