Items Similar to The Honey Apprentice
Want more images or videos?
Request additional images or videos from the seller
1 of 2
Judy ScammellThe Honey Apprentice
About the Item
Adirondack artist Judy Scammell is well known for immersing her viewers in the personality and essence of her animal subjects. Her unique portraits capture the intelligence and supreme beauty of animals with reverence and masterful skill.
Scammell has a truly unconventional take on wildlife art. Her work has been exhibited widely throughout the United States and Scammell herself began winning art awards at the young age of 12, with her poster for the American Cancer Society.
- Creator:
- Dimensions:Height: 6 in (15.24 cm)Width: 6 in (15.24 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Denver, CO
- Reference Number:1stDibs: LU49833800742
Judy Scammell
Judy Scammell is well known for immersing her viewers in the personality and essence of her animal subjects. Scammell’s unique portraits capture the intelligence and supreme beauty of animals with reverence and masterful skill. Scammell has a truly unconventional take on wildlife art. Her work has been exhibited widely throughout the United States, and Scammell herself began winning art awards at the young age of 12, with her poster for the American Cancer Society.
About the Seller
5.0
Vetted Seller
These experienced sellers undergo a comprehensive evaluation by our team of in-house experts.
Established in 2000
1stDibs seller since 2016
246 sales on 1stDibs
Typical response time: 1 hour
- ShippingRetrieving quote...Ships From: Jackson, WY
- Return PolicyThis item cannot be returned.
More From This SellerView All
- Coming OnBy Gordon McConnellLocated in Denver, COCreating paintings inspired by western movies and by Remington and Russell, he is a native of the West, having been born and raised in rural Colorado. He studied art at Baylor University in Waco, Texas; at the California Institute of the Arts in Valencia, and at the University of Colorado, Boulder where he earned a Master's Degree in 1979. For two decades he worked as curator at the Yellowstone Art...Category
2010s Contemporary Portrait Paintings
MaterialsPanel, Oil
- Antelope (After Desportes)By Shelley ReedLocated in Denver, COReed's primary focus has been the rich vein of Northern European art from the mid-17th through 18th centuries, a period of enlightenment and profound interest in science, nature, and the animal world. Animals were assigned human traits (peacock:vanity; dog:fidelity), and nature itself was considered a symbol of...Category
2010s Contemporary Animal Paintings
MaterialsOil
- CowboyBy John DefeoLocated in Denver, COJohnny Defeo’s work belongs to the concept of souvenir, attempting to capture the experiences he has in the natural world, where he feels free and most at home. His paintings and rug...Category
2010s Contemporary Landscape Paintings
MaterialsCanvas, Acrylic
- CowboyingBy Gordon McConnellLocated in Denver, COThis is a framed original painting. Biography Creating paintings inspired by western movies and by Remington and Russell, he is a native of the West, having been born and raised in rural Colorado. He studied art at Baylor University in Waco, Texas; at the California Institute of the Arts in Valencia, and at the University of Colorado, Boulder where he earned a Master's Degree in 1979. For two decades he worked as curator at the Yellowstone Art Museum in Billings, Montana, before leaving in 1999 to begin work as a full-time painter and independent curator. His work is in the collections of the Buffalo Bill Historical Center in Cody, Wyoming; the Art Museum of Missoula; and the Yellowstone Art Museum; the Federal Reserve Bank in Helena, Montana; and the Deaconness Medical Center in Billings, Montana. Artist Statement For a long time, the images in my paintings have been identifiably, even iconically, western-stagecoaches and false-front main streets, poker games and gun battles, cowboys, Indians, cavalry troopers and horses, all suspended in a choreographed matrix of dancing paint. Distinct from the traditional western genre-which inventories the minutia of cowboy gear or tells sentimental stories of rangeland romance-my paintings embody something more elemental and timeless, animated and abstract. The images tend to be stark, graphic, and charged with painterly energy. Though they are derived from fugitive television images, the paintings, as paintings, are still, silent and non-ephemeral. They register the technological transfer of primal shadows onto the electroluminescent screens of our collective consciousness, a shimmering blur of perception and memory transposed in an interchange of gesture and description, painted marks simultaneously arresting and embodying movement. I've always liked what a painter friend, Marc Vischer, wrote in 1988 about an early group of my western paintings. Now, I'm fourteen years closer to actualizing my vision for this work, and his astute remarks seem more pertinent today than they did then. He wrote in part, "For McConnell, a searing light emanates from a new desert: that of television. And from that most desolate backdrop, he salvages fragments from a movie world that spoke of honor in a land that was lawless. In a romantic sense, McConnell's works are a visual seance. Figures, like specters distorted through intense heat waves, are captured from their eternity of 24 frames a second. Their shapes and shadows are brought back into a radically different world and given substance and texture. It is an impossible attempt to freeze them, to arrest the present's ceaseless molestation of the past, to close off the continuum. Sometimes this is done darkly and thickly as an emphatic gesture of permanence. In other works a few light strokes quickly applied suggest the ephemeral nature of film and perhaps the fleeting nature of our own lives." I have been examining new imagery in my paintings, drawing subjects from Mexican graphic novelas, modern women and men of romance and mystery from the mid-20th century, motorcycles and airplanes. The end titles of movies, stated in several languages, have inspired me to begin a new series of cross-media translations in both acrylic and watercolor. My paintings have long begun where the movies have left off. The elements of water and light co-mingle in some pieces from this series and in others which take the viewpoint of a swimmer, watching other swimmers from the wet side of this aqueous membrane, looking up toward the light. My arrival in Montana in 1982 brought me into intimate contact with some of the most storied places of the historic West and also gave me the opportunity to study the paintings of two of the most influential codifiers of western imagery, Frederic Remington and Charlie Russell...Category
2010s Contemporary Figurative Paintings
MaterialsAcrylic, Canvas
- Take A Moment to Look at the Moonlight, Even when Wolves Are Closing InBy John DefeoLocated in Denver, COJohnny Defeo’s work belongs to the concept of souvenir, attempting to capture the experiences he has in the natural world, where he feels free and most at home. His paintings and rug...Category
2010s Contemporary Landscape Paintings
MaterialsCanvas, Acrylic
- We Took Them for SoldiersBy Gordon McConnellLocated in Denver, COThis is a framed painted. Biography Creating paintings inspired by western movies and by Remington and Russell, he is a native of the West, having been born and raised in rural Colorado. He studied art at Baylor University in Waco, Texas; at the California Institute of the Arts in Valencia, and at the University of Colorado, Boulder where he earned a Master's Degree in 1979. For two decades he worked as curator at the Yellowstone Art Museum in Billings, Montana, before leaving in 1999 to begin work as a full-time painter and independent curator. His work is in the collections of the Buffalo Bill Historical Center in Cody, Wyoming; the Art Museum of Missoula; and the Yellowstone Art Museum; the Federal Reserve Bank in Helena, Montana; and the Deaconness Medical Center in Billings, Montana. Artist Statement For a long time, the images in my paintings have been identifiably, even iconically, western-stagecoaches and false-front main streets, poker games and gun battles, cowboys, Indians, cavalry troopers and horses, all suspended in a choreographed matrix of dancing paint. Distinct from the traditional western genre-which inventories the minutia of cowboy gear or tells sentimental stories of rangeland romance-my paintings embody something more elemental and timeless, animated and abstract. The images tend to be stark, graphic, and charged with painterly energy. Though they are derived from fugitive television images, the paintings, as paintings, are still, silent and non-ephemeral. They register the technological transfer of primal shadows onto the electroluminescent screens of our collective consciousness, a shimmering blur of perception and memory transposed in an interchange of gesture and description, painted marks simultaneously arresting and embodying movement. I've always liked what a painter friend, Marc Vischer, wrote in 1988 about an early group of my western paintings. Now, I'm fourteen years closer to actualizing my vision for this work, and his astute remarks seem more pertinent today than they did then. He wrote in part, "For McConnell, a searing light emanates from a new desert: that of television. And from that most desolate backdrop, he salvages fragments from a movie world that spoke of honor in a land that was lawless. In a romantic sense, McConnell's works are a visual seance. Figures, like specters distorted through intense heat waves, are captured from their eternity of 24 frames a second. Their shapes and shadows are brought back into a radically different world and given substance and texture. It is an impossible attempt to freeze them, to arrest the present's ceaseless molestation of the past, to close off the continuum. Sometimes this is done darkly and thickly as an emphatic gesture of permanence. In other works a few light strokes quickly applied suggest the ephemeral nature of film and perhaps the fleeting nature of our own lives." I have been examining new imagery in my paintings, drawing subjects from Mexican graphic novelas, modern women and men of romance and mystery from the mid-20th century, motorcycles and airplanes. The end titles of movies, stated in several languages, have inspired me to begin a new series of cross-media translations in both acrylic and watercolor. My paintings have long begun where the movies have left off. The elements of water and light co-mingle in some pieces from this series and in others which take the viewpoint of a swimmer, watching other swimmers from the wet side of this aqueous membrane, looking up toward the light. My arrival in Montana in 1982 brought me into intimate contact with some of the most storied places of the historic West and also gave me the opportunity to study the paintings of two of the most influential codifiers of western imagery, Frederic Remington and Charlie Russell...Category
2010s Contemporary Figurative Paintings
MaterialsAcrylic, Canvas
You May Also Like
- "Five Nearly Camouflaged Zebra" Contemporary Acrylic on Canvas Framed PaintingLocated in Baltimore, MD"Five Nearly Camouflaged Zebra" is a framed acrylic painting on canvas by Joshua Brown, depicting a dazzle of zebra looking directly at the viewer. This playful work features careful...Category
2010s Contemporary Animal Paintings
MaterialsCanvas, Paint, Acrylic
- Acrylic on Canvas -- Woman with HorseLocated in Troy, NYThis small acrylic painting shows a woman with a white horse along a beach. It is a smaller painting in which the artist Stoja shows an incredible skill in the rendering of details . The bright shades of blue of the sky and ocean create a magnetic atmosphere. The painting is sold with a wonderful gold frame. Altin Stoja...Category
2010s Contemporary Portrait Paintings
MaterialsCanvas, Acrylic
- Night Rabbit_2023, America Martin_Oil/Acrylic/Canvas_Animal Portrait_Black/GrayBy America MartinLocated in 326 N Coast Hwy. | Laguna Beach, CAAmerica Martin "Night Rabbit" Oil & Acrylic on Canvas 18 x 18 in. ; 19.75 x 19.75 in. Framed ______________ Exploring the identity of both her namesake and country, LA-based America...Category
2010s Contemporary Animal Paintings
MaterialsCanvas, Oil, Acrylic
- Run Run Rabbit_2023, America Martin_Oil/Acrylic/Canvas_Animal Portrait_BrownBy America MartinLocated in 326 N Coast Hwy. | Laguna Beach, CAAmerica Martin "Run Run Rabbit" Oil & Acrylic on Canvas 18 x 18 in. ; 19.75 x 19.75 in. Framed ______________ Exploring the identity of both her namesake and country, LA-based Ameri...Category
2010s Contemporary Animal Paintings
MaterialsOil, Acrylic, Canvas
- Purple Bunny_2023, America Martin_Oil/Acrylic/Canvas_Animal Portrait_PastelBy America MartinLocated in 326 N Coast Hwy. | Laguna Beach, CAAmerica Martin "Purple Bunny" Oil & Acrylic on Canvas 12 x 12 in. ; 13.75 x 13.75 in. Framed ______________ Exploring the identity of both her namesake and country, LA-based America...Category
2010s Contemporary Animal Paintings
MaterialsCanvas, Oil, Acrylic
- Blue Rabbit (Left)_2023, America Martin_Oil/Acrylic/Canvas_Animal PortraitBy America MartinLocated in 326 N Coast Hwy. | Laguna Beach, CAAmerica Martin "Blue Rabbit (Left)" Oil & Acrylic on Canvas 14 x 14 in. ; 15.625 x 15.625 in. Framed ______________ Exploring the identity of both her namesake and country, LA-based...Category
2010s Contemporary Animal Paintings
MaterialsCanvas, Oil, Acrylic
Recently Viewed
View AllMore Ways To Browse
Wildlife Art
Paintings In The Adirondacks
Supremes Poster
Dog Portrait Painting
17th Century Painted Panels
Antique Hunting Art
Oil Paintings Of Dogs
Butterfly Paintings Hunt Slonem
Original Horse Art Oil
Hunt Scene
Hunt Scenes
Oil Painting Tropical Birds
Antique Dog Oil Painting
Antique Dog Oil Paintings
Antique Dog Oil Painting Paintings
Dog Oil Painting Antique
Hunting Paintings
Antique Paintings Of Animals