Distinctly Montana Magazine

W W W. D I S T I N C T LY M O N TA NA . C O M 47 YOU BEGAN YOUR CAREER AS A COMMERCIAL ARTIST, SO PLEASE TELL US HOW THAT EXPERIENCE INFORMED YOUR WORK AS A "SELF- TAUGHT" WILDLIFE ARTIST. My illustration background has been extremely beneficial to my career. It helped me develop my drawing and painting skills, but even more importantly, it taught me discipline in meeting dead- lines. My annual commitments to museum shows and galleries are fraught with sequential deadlines. A common misconception about artists is that they are free-spirited and work only when the mood strikes them…not in my world. WHY WILDLIFE? WHAT HAD DRAWN YOU TO MAKE WILDLIFE THE FOCUS OF YOUR ART? Since my childhood I have always been fascinated with the natural world. My father was an outdoorsman and took me hunt- ing and fishing at an early age. I quickly realized that the best work comes from knowledge and experience, so research trips became a foundation for my career. I have traveled from Africa to Alaska and numerous places in-between. rough the years my depth of knowledge and passion has grown into somewhat of an obsession. Living in Montana has been an incredible resource and a blessing as well. My fieldwork is fuel for my passion and the most reward- ing part of my profession. OUR UNDERSTANDING IS THAT THE VAST BULK OF YOUR WORK BEGINS WITH "FIELDWORK," WITH PHOTOGRAPHY. CAN YOU EXPLAIN THE IMPORTANCE OF THE PROCESS FROM CAMERA TO CANVAS? e realism in my work takes time, discipline, and patience to execute. It mandates the use of a camera for reference, as it would be nearly impossible to work on location. I consider my camera a very useful tool but I don't rely solely on my photography. I create from my imagination and memory to enhance my compositions. My photos help me with the anatomy and detail of my subjects but it's the habitat where I usually take liberties. My typical approach is simplification of the background using light and atmosphere resulting in my subject being a strong focal point. e genesis of all my art begins with time spent in the field, experiencing firsthand the behavior and habitat of my subjects. DANIEL SMITH was born in Minnesota and now resides outside of Bigfork, Montana, where the rugged peaks of the Swan Range are the only thing separating him from Glacier National Park. One of the most rewarding and inspir- ing elements of his work is the fieldwork; it's the genesis of all of his paintings. Smith is passionate about his subjects and travels fre- quently seeking artistic inspiration. Smith's meticulous field research and insistence on directly observing the animals he paints is driven by a personal penchant to achieve greater authenticity. In 2013, Smith won the Victor Higgins Award for the Best Overall Body of Work at the Eiteljorg Museum of American Indians and Western Art's Quest for the West Show. In 2013, 2012, and 2011 he received the Buyer's Choice Award at the Small Works, Great Wonders show at the National Cowboy & Western Heritage Museum. In 2011, he won the Bob Kuhn Wildlife Award, at the Autry National Center of the American West's Masters of the American West Fine Art Exhibition and Sale and was the Featured Painter at the National Museum of Wildlife Art's Western Visions Miniatures and More Show & Sale, where he also won the Peoples' Choice Award in 2011 and 2009. He received the 2009 Harrison Eiteljorg Museum Purchase Award and the 2007 Artist of Distinction award from the Eiteljorg's Quest for the West Show. Smith has won numerous awards from the Society of Animal Artists and has been chosen Artist of the Year for several conservation organiza- tions. Smith has used his art to aid and endorse many conservation efforts. Daniel Smith is represented by Settlers West Galleries, Inc., Tucson, Arizona and Trailside Galleries, Jackson, Wyoming, and Scottsdale, Arizona. Gicleé reproductions of his work are available through Greenwich Workshop dealers. www.danielsmithwildlife.com Quintessential Red

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