days as an illustrator. At the time I was kind
of a specialist with sports figures. Football,
golf, baseball, that sort of thing,” Moore says.
“I knew I had to paint my son because he’s a
savant fisherman. I know I sound like a father
bragging right now, but he can catch any fish
in any water. He fishes entirely by sight. He
targets his fish and really stalks them. We’ve
fished before where, in a particular stretch
of a river, I wouldn’t catch anything all day.
And then he comes in and catches three right
away. He can see them somehow, based on
the coloration or shadow. It’s like he has
X-ray vision.”
In At Home Beneath the Sleeping Indian
Moore paints an elk refuge north of Jackson
Hole. “It’s astounding that there is still a
place like that in the West. Thousands upon
thousands of elk come to graze in one valley.
They’re not restrained or confined, but they all
gather right there. It reminds me of the Carl
Rungius painting [The Days of Bison Millions].
We think of that as days gone by, but with the
national parks and refuges, these animals are
thriving,” he says. “I’m not painting cowboys
and Indians, but it feels like I’m turning back
the clock. It feels that way with the Rungius
painting, because we can’t really see that
sight anymore. Hopefully a generation ahead
of us can still see this the way I am. Nature
is pretty fragile, and we can never take it for
granted.”
http://www.westernartcollector.comFor a direct link to the
exhibiting gallery go toIn His Kingdom, oil on linen, 30 x 30” Gallatin River Secrets, oil on linen, 30 x 40”
Stalking Shadows, oil on linen, 24 x 18”