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Monday 12 August 2013

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Download Pencil Sketch Biography

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V.M. Ferguson is a self-taught wildlife illustrator with a background in biology, wildlife rehabilitation, and citrus production. She holds a doctorate in entomology and plant pathology, and previously worked as a consultant for growers and agrichemical companies as well as taught college courses in biology and environmental biology.

She gradually went from the formal constraints of scientific illustration to the freedom and creativity of her current work which focuses primarily on wildlife images, but also includes a wide range of domestic animals and plant life.

Most of her drawings are done with either graphite or colored pencil. Soft pastel and watercolor are sometimes used when working with large areas. On occasion, found objects such as feathers, sections of wasp nest, or plant material are incorporated into her compositions. Her drawings combine simplicity, a strong element of design, and sometimes an unexpected humorous twist, with the intricate details and insights of a trained biologist.

She exhibits her drawings in shows and galleries, and frequently donates artwork, and time, to conservation-related organizations. Her work has been in national and international exhibitions; been published in magazines; and is part of the City of Orlando, Florida's permanent collection. Artwork of hers submitted to a design competition was chosen for the commemorative Coolidge Park Grande Opening Celebration poster (Chattanooga, TN); and she was selected to design and execute artwork for a state-sponsored series of fish identification posters.

Aside from a husband, her family consists of a couple of chinchillas, two cats, and a large Labrador receiver (he doesn't 'retrieve' anything). When not at their home in Florida, or exhibiting in art shows, they can be found at their property in North Carolina.
Nicholas Konstantinovich Roerich was born in St. Petersburg, Russia, on October 9, 1874, the first-born son of lawyer and notary, Konstantin Roerich and his wife Maria. He was raised in the comfortable environment of an upper middle-class Russian family with its advantages of contact with the writers, artists, and scientists who often came to visit the Roerichs. At an early age he showed a curiosity and talent for a variety of activities. When he was nine, a noted archeologist came to conduct explorations in the region and took young Roerich on his excavations of the local tumuli. The adventure of unveiling the mysteries of forgotten eras with his own hands sparked an interest in archeology that would last his lifetime. Through other contacts he developed interests in collecting prehistoric artifacts, coins, and minerals, and built his own arboretum for the study of plants and trees. While still quite young, Roerich showed a particular aptitude for drawing, and by the time he reached the age of sixteen he began to think about entering the Academy of Art and pursuing a career as an artist. His father did not consider painting to be a fit vocation for a responsible member of society, however, and insisted that his son follow his own steps in the study of law. A compromise was reached, and in the fall of 1893 Nicholas enrolled simultaneously in the Academy of Art and at St. Petersburg University.

In 1895 Roerich met the prominent writer, critic, and historian, Vladimir Stasov. Through him he was introduced to many of the composers and artists of the time—Mussorgsky, Rimsky-Korsakov, Stravinsky, and the basso Fyodor Chaliapin. At concerts at the Court Conservatory he heard the works of Glazunov, Liadov, Arensky, Wagner, Scriabin, and Prokofiev for the first time, and an avid enthusiasm for music was developed. Wagner in particular appealed to him, and later, during his career as a theater designer, he created designs for most of that composer’s operas. Moreover, musical terms and analogies can appropriately be applied to Roerich’s painting. He frequently related music to the use of color and color harmonies, and applied this sense to his designs for opera. As Nina Selivanova wrote in her book, The World of Roerich: “The original force of Roerich’s work consists in a masterly and marked symmetry and a definite rhythm, like the melody of an epic song.”