In many ways, lone wolves look for love in much the same way that humans do. Finding a suitable mate, getting along well, courting and marrying and ultimately raising a family together are inherent in both species.
For the lone male wolf, however, he must leave the protection and companionship of his original pack, sometimes roam long distances and search for a female wolf who has set off on a similar mission. These quests take place during the breeding season, when scent is important and both wolves are compatible and ready to start an active courtship.
A pair might also meet quite accidentally, but most often the howling of a lone wolf, which can carry a mile or more, will signal to a potential partner that love is in the air. If that call receives a response, the two wolves locate each other by continuing to howl. Courtship ensues and there is much grinning, kissing and “talking.” If one, or neither, wolf is ready to breed at this point, they will spend days and sometimes several weeks together first, romping, playing, hunting, resting and feeding. They will wander in search of new territory, being careful not to intrude on, or invade, another pack’s territory. Love has blossomed and a new family is born.
Sizing & Pricing: Looking for Love
Greenwich Workshop Fine Art Giclée
Canvas: limited to 150 s/n.
17"w x 12"h.
Judy Larson always knew she was going to be an artist. She was surrounded by them as a child, and was particularly inspired by her father, a professional illustrator. Judy received a Bachelor of Science degree in Commercial Art from Pacific Union College in Northern California, then spent the next 17 years as a commercial artist, illustrator and art director. In 1988, influenced by her love of nature and animals, Judy devoted her time to wildlife art. Her primary focus in each of her paintings is the animal, with the horse as a recurring subject. Her unique approach to her work is through the use of scratch board--a technique that can render magnificent detail but one requiring infinite patience. Scratch board, an old, but little used medium, consists of a smooth, thin surface of hardened China clay applied to a board. The subject is then painted solidly with black India ink to create a silhouette. Now the exacting work begins, engraving the image into the surface of the artwork. While many artists use steel nibs or engraving tools, Judy prefers to work with X-acto blades, changing them ever few minutes to produce as fine a line as possible. Once the subject has been totally scratched, it is a finished black and white illustration, ready for the artist to add color. The methods of adding color are diverse. Judy prefers a combination of airbrush, gouache or acrylics for finishing, with frequent rescratching for detail. Scratch board is a demanding medium, one that Judy has used masterfully in developing her unique approach to wildlife art.