[acoustic guitar plays softly]
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(Lynn Maderich) When I was a little girl,
I was downtown Minneapolis with my mother,
and in the window of a shop we walked by
was a beautiful porcelain statue of a rearing Arabian.
I fell in love.
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I have drawn as far back as I can remember.
And I know early on I was trying to draw horses.
I would put horses into school assignments.
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Horses are graceful,
they're powerful, they're very expressive,
and purely artistically,
drawing a horse in summer coat
is like drawing a human nude-- you have to get it right.
You've got to find the bone structure,
overlay it with the tendon and the muscle,
and then get the movement correct.
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I'm one of those little girls who loved horses
and never got over it.
I'm an artist who wears several hats.
One is traditional oil painter,
one is teacher of traditional oil
and one is commercial designer.
I've always loved the Arabian more than other breeds,
a number of artists do, it's an exotic-looking,
beautiful and graceful animal.
What my imaginative paintings portray
is the ancient desert heritage of the Bedouin,
the culture that bred the Arabian horse.
In the academic world,
imaginative painting just means you're doing a painting
of something you never saw in front of you,
and I have found a joy in creating those ideas
that I finally realized was like being a 10-year-old again.
A 10-year-old doesn't need a photograph to start drawing.
Give him crayons and a piece of white paper
and they're off to the races.
As humans, we respond to images.
Pictures work on a couple of levels, one is the narrative,
what is the subject about, and the other is the elements
that an artist thinks about in value and movement and line.
The light in this desert painting
is entirely about the brilliance of the desert sun
and the dark, cool interior of the tent,
and trying to find a balance that I can still bring my viewer
to the focal point of the man's extended hand
and the mare reaching for the date.
What I am looking for first after the subject is light.
If you couldn't see it, you couldn't paint it,
so it has to be about light first.
[bass, keyboard, and acoustic guitar play in bright rhythm]
I was an art major in college, but at the point I went through,
the focus was very much on contemporary forms.
And I tried for a while, to see if I might be excited
by something less realistic.
What I found out is, no, what really gets my chimes ringing
is trying to replicate nature, so when I found The Atelier,
it really was the answer to a dream
that I'd had all of my life,
someone to give me genuine instruction in realist work.
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The Atelier is a wonderful little jewel in Minneapolis
that teaches classic academic painting.
They use the methods that go back to the old masters
to help current students learn
how to portray nature very accurately.
When I graduated from The Atelier,
Cyd and Dale asked if I would continue with them
as an instructor, and I have been teaching
in one way or another with them ever since.
Okay, welcome to another afternoon of figure study.
If you're still looking to find form,
to find her gesture, find her proportions,
and as soon as you've got the basics working,
then start bringing in those shadow shapes,
'cause remember, you're painting light.
From the first time I walked into The Atelier,
I loved that the critiquing was individual.
So as I'm going around the room, I will give
10 different critiques if I have 10 different students,
because each one needs something else.
By the time you get to the shoulder blades,
you're wrapping away from the light.
The Atelier training
completely changed the way I look at a subject
and begin to portray it.
Think in terms of planes, that you've got
a plane of light coming out, you're moving into her waist.
Before The Atelier, no one ever walked up and said,
I feel the subject could step off the canvas,
or you're lighting is amazing, and now they do.
I thought it was going to be mostly about learning how to paint.
What they really did was teach me how to see.
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When I get the chance to look at horses,
particularly beautiful Arabians in person,
I am more likely to be studying the light on them, the colors.
I can't trust the camera to catch it,
I'd rather try to memorize what I'm seeing in life.
I just love nature,
and if I can do a painting where I have gotten
a reasonable facsimile of nature, I'm very happy.
Cedar Ridge Arabians is
one of the best breeding facilities in the country.
Are most of your babies born April?
They certainly start like mid January.
(Lynn) I was lucky enough to meet Dick and Lollie and Lara
approximately 38 years ago
when I was first getting started in equine art.
Here you go Lynn.
So this is the frame, oh.
Look beautiful? Fabulous choice.
To be able to do a painting of Lara on Matoi,
a stallion that was so special to her
and so successful for the farm
probably is the high point of the work I've done for them.
I can do a painting, and when the frame goes on,
it becomes better; it suddenly has this presentation to it.
I am incredibly lucky to be doing what I'm doing
because there isn't a point
that you reach the pinnacle, and you stop.
You constantly grow,
you constantly try to challenge yourself.
And I still surprise myself
at what I'm able
to put on a canvas.
The ability to do what I can do now is such a joy.
For more infomation >> Here & Now Monday June 19, 2017 - Duration: 1:02:36. 
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