Ezra Tucker

Ezra Tucker began his award winning career four decades ago in the field of Illustration. Producing many familiar advertisements and enduring images for a multitude of America’s Fortune 500 corporations. The mass market appeal of Ezra’s artwork has been recognized by numerous gold medals and his extensive and prestigious commercial and private client list. Some of his most noted work has been his paintings of the Budweiser Clydesdales, an Illustrated novel for Lucas Films,LTD. titled, “Star Wars/Dark Forces-Rebel Agent” and his movie poster art of the “Ten Commandments.” His uniquely creative style and refreshing perspective gives his subjects a fresh appeal.

Ezra has spent many years pursuing his intense interest in nature, zoology and wildlife art. His most recognizable subjects are the animals he has painted for both commercial and private commissions. His approach to capturing a moment in time to reveal a rarely highlighted detail, an incident or fact can be a big dramatic scene or a subtle relaxed blink. He not only invites you to enjoy looking at his images, but for the viewer to be engaged and curious to learn more. Ezra’s bold and distinctive style of painting reflects acute observation and knowledge of his subject and displays an intimate and emotional portrait quality and adept storytelling. Choosing to paint almost exclusively wildlife, he paints his animals as having apparent intelligence and individual distinctive personalities. Ezra finds the art of modern wildlife artist Bob Kuhn as well as classical wildlife artist, Carl Rungius, Antoine-Louis Barye, Arthur Wardle, and other artist such as W.R. Leigh, John Singer Sargent, N.C. Wyeth and Norman Rockwell inspirational and their art has influenced his style.

Ezra states, “I get tremendous joy and satisfaction from my observation of wildlife behavior and expressions. The intelligence and uniqueness of each creature’s individual character and personality often reflect glimpses of human nature. My desire to paint wildlife in a realistic style allows me to also define the beauty that I see in their movements, subtle or overt. I am pleased when I capture the nobility of each creature with spontaneity and an economy of style. I choose to highlight the variety of color I see in the fur and textures of the surfaces that envelop their being. I find it necessary to preserve and to respect the creatures that inhabit our planet because I believe that we are more connected than humans acknowledge. The challenge I have for myself is to present the beauty and majesty of the animal world in dynamic form to help influence the preservation of our planet’s varied species through my representation of their nature through my art.”

He continues to say, “I begin my creative process by producing numerous preliminary sketches in pencil from my memory and general knowledge of that species of interest. After I select a sketch to develop, I gather reference materials to remind me of the specific physical details that will help me to capture an essence of the creature I am wanting to highlight or emphasize in my artwork. These reference materials may be photographs, taxidermy or live models. Occasionally, I will do a three dimensional study of my model in clay and light it to help me to establish desired lighting effects. I paint on 100% rag surfaces. I prime my painting surface with acid free acrylic gesso to seal the painting surface for archival purposes and to give me a textured foundation surface to build on. I paint with acrylic artist colors using water as a medium. When this foundation process has dried, I will develop my concept onto my painting surface with a sienna drawing pencil with as much detail as I feel is necessary. I will then begin to paint over my drawing with a wet into wet technique. I work on both horizontal and vertical surfaces. I paint with a palette knife, brushes and other tools to manipulate these washes of color. After this layer is dry, I begin to paint opaquely to build detail. I work back and forth with my painting tools to create desired effects until the painting is complete. My spontaneous and impressionistic style of painting demands that I use a to and fro approach to rendering my subjects. My painting technique challenges the eye to complete details that are sometimes implied. I prefer to make my own discoveries as I work thorough the finishing stages to achieve the desired viewing distance for each work of art. Finally, I use a UV rated satin varnish to seal and protect the finished art and also to reveal color and to prevent glare when the art is hung on display.”

Ezra is a member of the Society of Animal Artists.

Ezraʼs original works have been purchased by the Booth Western Art Museum, Anheuser- Busch, Inc., the Texas Rangers Historical Museum and the Rossignol Cultural Centre in Liverpool, Nova Scotia to hang in their permanent art collections. His original art is also included in many private and Fortune 500 corporate collections.

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