| Invitation Rebecca's work will be exhibited for the month of July, 2009 Birds, Botanicals,Quadrupeds & Nudes at the Robert Lincoln Levy Gallery 136 State Street . Portsmouth NH 03802 603 431-4230 Opening Reception July 3 5:00 - 8:00 pm |
Rebecca Ronstadt
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- In collaboration with New Hampshire Audubon , Rebecca Ronstadt, artist, announces the release of “The Ronstadt Edition,” of John James
Audubon's Viviparous Quadrupeds of North America. read all about it.....
Rebecca Ronstadt, New Hampshire Artist, and New Hampshire Audubon President, Richard Minard, install twelve John James Audubon mammals
in the Rosebrook Lounge of the Historic Mt. Washington Hotel & Spa, Bretton Woods, New Hampshire. read more about it
| Artist presents The Gray Fox to New Hampshire Audubon President, Richard Minard. 001/303 |
| 1 |
| 2 |
"It is of great importance that a new edition of
Audubon’s quadrupeds is in the works. Becky
has undertaken a demanding but exceptionally
worthy project."
Audubon’s quadrupeds is in the works. Becky
has undertaken a demanding but exceptionally
worthy project."
- John Silber, President Emeritus,
University Professor and
Professor of Philosophy & Law,
Boston University
After publishing The Birds of America, John James Audubon embarked upon his final great
artistic and scientific endeavor: drawing and documenting the mammals of North America.
Audubon and his son, John Woodhouse Audubon, completed the preparatory studies for the
Imperial Folio edition of The Viviparous Quadrupeds of North America in 1843; J. T. Bowen
produced approximately 300 sets of the hand-water colored lithographs between 1845 and
1848. Although rarely seen, Audubon's "Quads" are considered today to be the finest 19th
century work in the field of American mamma logy. There have been many editions of
Audubon's Birds of America. But there has never been a 2nd edition of Audubon's Viviparous
Quadrupeds of America. Until now.
New Hampshire Audubon owns a nearly complete collection of Audubon’s original, Imperial
folio lithographs, and I was asked by them to curate their collection. I eagerly agreed and set
about to document and value their collection in detail. Over time, I became an expert on
Audubon’s collection of 150 mammals. I understood his process. I had become a competent
printmaker over the years, and had access to one of the finest collections in the world. One day
during the course of my work, it dawned on me that I wanted to do my own collection of
mammals, starting with the New Hampshire and Texas species.
Through my work on his collection, I was able to observe his art “up close and personal.” I
could see where his watercolorists had applied color too heavily in some places, or had
dropped a splat of ink in the margin of the paper. I could see how he applied gum arabic over
some colors to increase the intensity of the color. As a printmaker, I recognized the technical
excellence of his work, and as a watercolorist, I could see and learn from his technique. I had
unique access to a museum-quality art collection (only 100 known to exist in the world today).
And I realized that through his collection, I was inspired to create my own.
I am using the very same process used by Audubon himself: hand-pulled (one by one) original
lithograph, then water colored by hand. But due to technological advances, I’ve moved beyond
Audubon where appropriate or necessary. For instance, I’m using the very best archival Italian
paper, Fabriano Artistico, a warm white, hot pressed paper, 300 grams, with four beautiful
natural deckle edges. As an artist, I take joy in deciding each and every element of the
lithograph: Charbonnel inks, fine mould-made papers, in a collaborative studio environment. It
is as if Audubon is looking over my shoulder, telling me what to do… but making decisions
myself along the way in response to my own set of challenges. How did he paint the squirrel’s
tail? Did he get it right? How could it be better? Look at the fur of the Marten. Did I capture it as
well as Audubon did? Do I do justice to the animal?
Each image takes about three days to print and another two or three days to paint. I develop
three images at a time usually: a New Hampshire mammal, a Texas mammal, and one which
is (or soon will be) extinct. I begin by selecting my image. I think about the status of the
mammal today . . . Is it extinct or in danger of becoming so? I analyze Audubon’s originals,
taking into consideration the difficulty and artistic challenges it presents. I think about the
mammal and the original lithograph itself. What’s its story? What is Audubon saying about the
animal’s environment and the days of the mid-1800s?
The Gray Fox tells the story of a wild animal, eagerly anticipating dinner which he will surely find
at the farm in the distant far-right of the print. The Lynx tells the story of a species that used to
roam New England, but now is rare due to over hunting for its fur. The paws of the lynx are
huge, enabling it to walk on top of the snow in search of its prey. The prehistoric looking Musk
Ox no longer roams North America; it’s found mostly in the Arctic today. Does anybody care
about these animals… the loss of their habitat and possible extinction?
Soon I’ll be working on the Black Footed Ferret which is at the very top of the endangered
species list. Many Audubon Societies are undertaking conservation efforts to insure survival of
the Black Footed Ferret. I have completed six images in the Ronstadt Edition:
never even seen nor heard of most of the mammals of North America. And so it’s no wonder
why so many of our mammals are endangered. Who cares about something you’ve never seen
or heard of before? I hope my art inspires them to care.
artistic and scientific endeavor: drawing and documenting the mammals of North America.
Audubon and his son, John Woodhouse Audubon, completed the preparatory studies for the
Imperial Folio edition of The Viviparous Quadrupeds of North America in 1843; J. T. Bowen
produced approximately 300 sets of the hand-water colored lithographs between 1845 and
1848. Although rarely seen, Audubon's "Quads" are considered today to be the finest 19th
century work in the field of American mamma logy. There have been many editions of
Audubon's Birds of America. But there has never been a 2nd edition of Audubon's Viviparous
Quadrupeds of America. Until now.
New Hampshire Audubon owns a nearly complete collection of Audubon’s original, Imperial
folio lithographs, and I was asked by them to curate their collection. I eagerly agreed and set
about to document and value their collection in detail. Over time, I became an expert on
Audubon’s collection of 150 mammals. I understood his process. I had become a competent
printmaker over the years, and had access to one of the finest collections in the world. One day
during the course of my work, it dawned on me that I wanted to do my own collection of
mammals, starting with the New Hampshire and Texas species.
Through my work on his collection, I was able to observe his art “up close and personal.” I
could see where his watercolorists had applied color too heavily in some places, or had
dropped a splat of ink in the margin of the paper. I could see how he applied gum arabic over
some colors to increase the intensity of the color. As a printmaker, I recognized the technical
excellence of his work, and as a watercolorist, I could see and learn from his technique. I had
unique access to a museum-quality art collection (only 100 known to exist in the world today).
And I realized that through his collection, I was inspired to create my own.
I am using the very same process used by Audubon himself: hand-pulled (one by one) original
lithograph, then water colored by hand. But due to technological advances, I’ve moved beyond
Audubon where appropriate or necessary. For instance, I’m using the very best archival Italian
paper, Fabriano Artistico, a warm white, hot pressed paper, 300 grams, with four beautiful
natural deckle edges. As an artist, I take joy in deciding each and every element of the
lithograph: Charbonnel inks, fine mould-made papers, in a collaborative studio environment. It
is as if Audubon is looking over my shoulder, telling me what to do… but making decisions
myself along the way in response to my own set of challenges. How did he paint the squirrel’s
tail? Did he get it right? How could it be better? Look at the fur of the Marten. Did I capture it as
well as Audubon did? Do I do justice to the animal?
Each image takes about three days to print and another two or three days to paint. I develop
three images at a time usually: a New Hampshire mammal, a Texas mammal, and one which
is (or soon will be) extinct. I begin by selecting my image. I think about the status of the
mammal today . . . Is it extinct or in danger of becoming so? I analyze Audubon’s originals,
taking into consideration the difficulty and artistic challenges it presents. I think about the
mammal and the original lithograph itself. What’s its story? What is Audubon saying about the
animal’s environment and the days of the mid-1800s?
The Gray Fox tells the story of a wild animal, eagerly anticipating dinner which he will surely find
at the farm in the distant far-right of the print. The Lynx tells the story of a species that used to
roam New England, but now is rare due to over hunting for its fur. The paws of the lynx are
huge, enabling it to walk on top of the snow in search of its prey. The prehistoric looking Musk
Ox no longer roams North America; it’s found mostly in the Arctic today. Does anybody care
about these animals… the loss of their habitat and possible extinction?
Soon I’ll be working on the Black Footed Ferret which is at the very top of the endangered
species list. Many Audubon Societies are undertaking conservation efforts to insure survival of
the Black Footed Ferret. I have completed six images in the Ronstadt Edition:
- Canada Lynx
- American Black Bears
- California Marmot Squirrel
- Musk Ox
- Marten-Fisher
- Gray Fox.
- Black-footed ferret
- Armadillo
- Collared Peccary
never even seen nor heard of most of the mammals of North America. And so it’s no wonder
why so many of our mammals are endangered. Who cares about something you’ve never seen
or heard of before? I hope my art inspires them to care.
| Artist's Statement & Explanation of Body of Work |
| Also Exhibiting ..... The Ronstadt Edition of John James Audubon's Viviparous Quadrupeds of North America |
| Rebecca Ronstadt Studios llc 603-267-7349 Rebecca@RebeccaRonstadt.com |
| This page and all text, contents and images are Copyright, Rebecca Ronstadt Studios llc, 2007. All rights reserved. |