Prolific Impressionist Painter William "Bill" St. George & His Equine Artistry

The spirited and inspiring life of talented artist, teacher, gallery owner, and former art director William "Bill" St. George 1939 - 2015

"Petit Rhone" Oil on Canvas 30" x 40"

Few artists are able to proficiently paint a variety of subjects both in watercolor and oil. William "Bill" St. George confidently painted Boston cityscapes, portraits, floral landscapes, and dynamic horses, often running through water which was a favorite theme of his to capture on large-scale canvases.

St. George liked to share, “I wasn’t always a full-time painter. I worked as an art director and a graphic designer for many years. While doing ads and creating logos was satisfying, my desire was always to paint. On weekends, or any other time I could slip away, I’d paint. I even moved my schedule around to take classes at the School of the Museum of Fine Arts, Boston. Finally in 1991, after the success of my first one-man show, I decided to follow my dream and made the switch from advertising to painting”.

William "Bill" St. George & "Mediterranean" Oil on Canvas 36" x 48"

All along I felt that art chose me and not the other way around. It may sound like a cliché, but it really has given me a way to express my inner feelings and emotions.

"More than anything, I try to give the brightest and purest notes to my color, as if the entire personality of the painting could be found in a single brush stroke. Painting is a process of discovery. Paint, as a medium, lends itself to many surfaces. In a single painting I will use brushes, palette knives, paper towels, any method to get my feelings onto canvas. When I create, paint is the master, and I am its vehicle to the world’s eye.”

"Spain" Oil on canvas 36” x 36”

From a young age, William St. George was drawn to the power and beauty of horses. By fifth grade, his sketchbooks were filled with drawings of them, and when time was available, he rode as often as possible. Now that early love of horses has been translated into powerful paintings that capture the beauty, strength, movement and mythical nature of these magnificent creatures. “You have to know what a horse is, not just the anatomy,” says St. George, “but you need to have a feeling for the spirit of the horse.”

While the love of horses started at a young age for St. George, the animal took a back seat while working inside Boston offices for several decades. During this time, the subject matter was the Boston Public Garden with its Swan Boats and all the surrounding brownstone style buildings. It wasn’t until his fifth grandchild, Sophie, took an interest in horseback riding at the age of five that the artist’s passion for this majestic animal was rekindled. The two would spend hours at the barn taking pictures of the various breeds. These photos would serve as the subject matter for dozens of his later paintings. The more confident St. George became with painting the animal, the larger and brighter the paintings became.

"Halfinger" is an 18” x 24” Limited Edition Signed Giclee Print

You have to know what a horse is, not just the anatomy, but you need to have a feeling for the spirit of the horse.

In 1999 William St. George established the St. George Gallery on Newbury Street in Boston, Massachusetts in a 19th century brownstone building. The same building where John Singer Sargent, the leading portrait painter of his era, once maintained a studio. St. George was both inspired and influenced by Sargent's later landscapes. His gallery received first prize in the storefront category of the Boston Mayor's Garden Contest on several occasions, including three years in a row. According to short article in BostonCatalog.com, he "approached his Gallery's garden with the same imagination and striking use of colors as he does in his paintings."

William "Bill" St. George painting "Vaccares"

For more than 20 years, impressionist painter William "Bill" St. George St. George hosted his own television show "Impressions" on Walpole Cable TV. He taught on location and inspired countless artists and students. St. George’s son Mike said that his father was a lighthearted, encouraging teacher, who told his students not to be afraid, but to dive right in to painting.

Comments posted online by friends, former colleagues, collectors of his work, and former students reveal the depth of their appreciation for his generosity, humanity and talent. One student named Rachel posted, "I can't paint without thinking of Bill. He was a wonderful man and a gifted artist and teacher." A former advertising associate named Paul shared, "Besides painting which came later, Bill was also a great art director to which I owe a debt of gratitude for inspiring me early on in my career."

As the cover artist of Horses in Art in the article "Inspired Brushwork" by Sarah Crampton, St. George shared, "The ability to produce hundreds of successful watercolor and oil painting is most fascinating to me." He also expressed, "Some people might think that working with speed would be a negative for an artist, but I find it a real positive."

"War Horse" Oil on Canvas 48” x 36”

More than anything I try to give the brightest and purest notes to my color, as if the entire personality of the painting could be found in a single brush stroke.

Painting is a process of discovery. When I create, paint is the master, and I am its vehicle to the world's eye.

Liz Ichizawa, Reporter for The Town Common wrote this excerpt in the Menlo Charity Horse Show Guide, 2005 about the sensations she experienced after viewing St. George's horse paintings:

“You can almost hear the horses snort, chomp and whinny in the oil paintings by William St. George. With thick strokes of luscious color, the artist brought to life not only the horses, but the whole atmosphere in which they move. You can see sunlight and water glinting and almost hear the sound of the wind.”

On February 7, 2024 the Walpole Public Library held and opening reception "Impressions"A Retrospective-William “Bill” St. George, 1939-2015.

https://youtu.be/hnCtt0KA5ms?si=yFXgqkgebBd5JNTA

Click on any painting above in the article or below in this gallery to be redirected to the painting, giclée or canvas print on the page of St. George Gallery for pricing information and to purchase the artwork.

Three Graces 58" x 82" Oil

Homeward 36" x 48" Oil

Storm 30" x 24 Oil on Canvas

Trio 40" x 30" Oil on Canvas

Poseidon 40" x 30" Oil

Pthalo 36" x 48" Oil on canvas

Hermosa 18" x 24" Giclée Print

Media Links:

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Awards

• Special Recognition: “Impressions” - Cable TV producer and host for over 20 years

• Owner of the St. George Gallery in Boston for over a decade

• “Who’s Who” in American Art, 2008-2009

• Menlo Park Charity Horse Show - Artist of the Year, 2005

• WGBH Two Collection Best of Show, 2005

• Appeared in The Best of Acrylic Painting, Quarry Books

Corporate Collections:

• Executive Office of Citizens Bank, Boston, MA

• The Boston Globe, Boston, MA

• Mass General Hospital, Boston, MA

• Blue Cross Corporate Collection, Boston, MA

• Baupost Group, Boston, MA

• Colonial Management, Boston, MA

• Grill 23 Restaurant, Boston, MA

• The Bank of Canton, Canton, MA

• Kuhns Brothers Investment Banking, New York, NY

• Related Urban Development, New York, NY

• Executive Offices of Ackerley Communications, Seattle, WA

• The New World Power Corporation, Lime Rock, CT

• Canadian Imperial Bank of Commerce

• Office of the Undersecretary of Finance, Nuevo Leon, Mexico

St. George Gallery

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EquuStyleArt & Travel magazine appreciates Mr. Michael St. George, son of the late artist William "Bill" St. George and owner of St. George Fine Art, for providing us with information, awards, and beautiful photographs.

All images Copyright St. George Gallery -all rights reserved. Cannot be reproduced for any purpose without permission from St. George Gallery.

#stgeorgegallery #billstgeorge #williamstgeorge #fineart #equineart #horseart #equinefineart #horses #equustyle #equustylemagazine

Edgar Degas' Figurative Equine Sculptures Discovered in 1917

Horse Trotting, the Feet not Touching the Ground

During Degas' lifetime, none of the more than 150 figurative sculptures he created were publicly exhibited, a fact that reflects the artist's complex relationship with the medium of sculpture. While Degas is predominantly celebrated for his remarkable paintings and pastels, particularly those capturing the grace and movement of ballet dancers, his foray into sculpture reveals another dimension of his artistic exploration.

The sculptures, often cast in wax or clay, were typically intended as studies for his paintings or as personal expressions of his fascination with the human form and movement. This lack of public exhibition during his lifetime adds an air of mystery and intrigue to his sculptural works, as they remained largely unknown to the art world and the general public until after his death.

"Horse Galloping on Right Foot"

Horse Walking

Most of his sculptures were modeled before 1865, a period that marked significant development in the artist's approach to form and movement. The sculptures he produced during this time were not merely exercises in three-dimensional form; they were explorations of the dynamics of motion and the subtleties of posture.

By choosing not to cast his sculptures, he retained an element of intimacy and fragility that could be lost in the more permanent mediums.

Degas' reluctance to reproduce his sculptures in permanent materials like bronze or marble highlights his belief that the ephemeral nature of wax or clay better captured the fleeting moments he depicted. By not casting his sculptures, he preserved their intimacy and fragility, which might be lost in more permanent mediums. The raw wax models conveyed immediacy and spontaneity, allowing viewers to connect with his artistic process and vision.

This decision also highlights Degas' intricate connection with the art community and his personal artistic identity. He frequently viewed himself primarily as a draftsman rather than a sculptor, and his hesitance to create enduring pieces might suggest a wish to maintain a level of privacy and intimacy in his artistic pursuits. Consequently, the sculptures can be interpreted as a conversation between the artist and his materials, underscoring the ephemeral nature of life and art.

Horse with Head Lowered

Nevertheless, Albert Bartholomé, a sculptor and close friend of Degas, prepared each figure for casting, a process executed by the esteemed Paris foundry A.-A. Hébrard et Cie. It is essential to mention that Degas' heirs authorized the casting of bronze copies to preserve the compositions and sell them as finished works. In addition to the visual appeal, the use of bronze as a medium adds a layer of durability and timelessness to the sculptures, allowing them to withstand the elements and be appreciated for generations to come.

https://video.wixstatic.com/video/3ef27f_c98aa494e5794fe08e4eea0ef648972d/1080p/mp4/file.mp4

The brief video showcases just a handful of the 72 horse sculptures that were meticulously cast in bronze, each one representing a unique artistic vision and craftsmanship. These remarkable sculptures capture the elegance, strength, and beauty of horses, which have long been revered symbols of freedom and power throughout various cultures.

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Currently on display at The Met on Fifth Avenue in New York City are Edgar Degas' 72 equine sculptures. This exhibition provides a unique opportunity for art lovers and the general public to discover these lesser-known pieces. The sculptures highlight Degas' acute observation of horses in motion, capturing their dynamism and elegance. His meticulous attention to detail and fluidity of form reveal a profound understanding of anatomy and movement, developed through years of studying dancers and horses.

Horse at Trough

Visitors will encounter works that showcase Degas' technical prowess and themes of grace, strength, and the transient nature of beauty. The exhibition connects his renowned paintings with his lesser-known sculptures, enhancing appreciation of his artistic legacy. This display at The Met celebrates Degas' contributions and fosters dialogue about the importance of sculpture in his work, inviting admiration and reflection.

The fact that his sculptural works were not publicly exhibited during his lifetime adds an element of mystery and intrigue to them. Degas' sculptures from this pre-1865 period not only showcase his innovative approach to capturing movement and form but also highlight his ambivalence towards the permanence of art. His decision to refrain from reproducing them in more enduring materials invites a deeper contemplation of the nature of artistic expression and the value of impermanence in the creative process.

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Degas Sculptures at The Met