Partners – Montana Moonrise Print

Price range: $200.00 through $1,200.00

These signed and numbered limited edition fine art reproductions are printed on 100% cotton Moab Entrada cold press fine art paper or on archival 19 mil Lyve stretched canvas.

Paper or Canvas?

Paper Print — Artwork printed onto paper. It’s flat and needs to be framed (with a mat and glass) to be displayed.

Stretched Canvas Print — Artwork printed onto canvas fabric, which is then wrapped and pulled tightly around a wooden frame. It’s three-dimensional, with the image continuing around the edges. It can hang on a wall as-is — no frame required.

Cost Difference — Paper prints are less expensive upfront, but framing costs more than a canvas print due to the addition of a mat and glass. Stretched canvas prints cost more due to the materials and labor involved. However, if you choose to frame a canvas print, the cost is less than framing a paper print because a mat and glass are not needed to protect the canvas.

Neither is inherently “better” — it really comes down to your décor style, budget, and how you want the piece to feel in the space.

For an additional charge, Bob will add an original pencil drawing of a fly pattern or gamebird feather to the bottom of your paper print. Describe the fly pattern or gamebird feather that you would like Bob to draw.

Details

Partners – Montana Moonrise is available as a paper reproduction or a stretched canvas reproduction.
• All of our fine art prints are signed and numbered by Bob, and are reproduced on archival material.
• Stretched canvas reproductions are created on demand, so require an extra week for shipping.

One of the wonderful aspects of executing a commissioned painting is that it provides me with both the opportunity and motivation to render an image I might not have otherwise considered. In this case, hunting prairie grouse under a rising moon, in the expansive grasslands of Montana, behind a wire-haired pointing griffon.

The painting, “Partners – Montana Moonrise” was commissioned by a collector of my work and is loosely based on several photographs taken by his hunting partner. Of course, the images I create are not limited solely to the reference material I work from. While the photography is helpful, decisions about composition, color, value, atmosphere and light are not subjugated to it.

As I mature as an artist, I find my brushwork becoming looser and more descriptive. I’m not interested in painting detail, as much as the allusion of it.

When painting upland and waterfowl scenes. I attempt to forget about details and let my brushwork describe the image; textures created by light upon the land, the tension of the hunter, and the stoicism of his dog.

I endeavor to stay loose and impressionistic when I can, and if it works, I end up with an image that places me into the landscape

When it’s time to paint the birds, however, I struggle. Do I maintain my loose brushwork… or succumb to the tyranny of detail and become a feather painter?

In this painting I decided to render the flushing birds as the hunter saw them, blurred shapes, in and out of focus in mere seconds.

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