If you take a look at Joanna Zeller Quentin's artwork, you will immediately recognize that the artist is a true horse lover at heart. Jo, of Moose Pants Studio, puts her passion to work by creating stunningly beautiful art in a wide variety of media. Jo first completed a portrait of a friend's mare at age eleven; she is now a professional painter, illustrator, and fine art printer.
Jo's art has appeared in a wide variety of publications including the Chronicle of the Horse, Southwest Art, and Horses in Art. She works with rescue groups and has also been a featured artist for events such as LOPE and Horse Shows in the Sun (HITS). Her HoofPRINTS NoteCard Boxed Sets are now available through Dover Saddlery.
Jo kindly answered five questions from The Equine Insider:
Can you tell us a bit about how you arrived at your current career?
I think I was drawing horses from the age I could hold a pencil! None of my family members are "horsey people," so everyone was mystified as to how and why I fell in love with these creatures, but I did, at a very early age. As I grew older and discovered I really enjoyed creating art, it only seemed natural to draw what I loved. And since I started taking riding lessons in the third grade, my art was informed by the "hands on" experience of riding lessons. In high school I decided I wanted to pursue a professional arts career and was accepted to the Ringling College of Art and Design. My degree is in illustration, but horses never really left my mind, and they crept back into my art during and after college.
Did you always know that horses were going to be a part of your career?
I drew literally nothing but horses (and occasionally birds) when I was young, and had a small "business" doing commissioned portraits of the horses at the barn during middle and high school, but it was never an "Okay, I'm going to be a professional equine artist" decision that I can recall. One of the great things about illustration is you have the ability to work in a variety of media on a wide range of subject matter. I had drifted away from horses for my first year in college, but one of my second year assignments asked us to depict something you were passionate about. "On the Bit" was the piece I created for that particular assignment and represented a return to equine-centric art for me.
What do you enjoy most about your job?
I get the biggest thrill from hearing from collectors and clients that the reason they chose my art was because it was artistic and still accurate. Horse people KNOW horses. You can't fake anatomy, tack, any of it. When a horseman tells me they purchased the art because it is "correct" ... that's the biggest compliment.
What’s one thing that most people wouldn’t know about your profession?
It can get very lonely/discouraging sometimes when a painting just refuses to come together. Just you and an easel in an empty room, staring at each other - some days it feels like Thunderdome.
What is the best advice that you have ever received?
"You should draw, not what the thing looks like, not even what it is, but what it is DOING." -- Kimon Nicolaides, The Natural Way to Draw
Be sure to check out some of Jo's stunning artwork below. Then, visit her over at the Moose Pants Studio website and Facebook page.
Jo's art has appeared in a wide variety of publications including the Chronicle of the Horse, Southwest Art, and Horses in Art. She works with rescue groups and has also been a featured artist for events such as LOPE and Horse Shows in the Sun (HITS). Her HoofPRINTS NoteCard Boxed Sets are now available through Dover Saddlery.
Jo kindly answered five questions from The Equine Insider:
Can you tell us a bit about how you arrived at your current career?
I think I was drawing horses from the age I could hold a pencil! None of my family members are "horsey people," so everyone was mystified as to how and why I fell in love with these creatures, but I did, at a very early age. As I grew older and discovered I really enjoyed creating art, it only seemed natural to draw what I loved. And since I started taking riding lessons in the third grade, my art was informed by the "hands on" experience of riding lessons. In high school I decided I wanted to pursue a professional arts career and was accepted to the Ringling College of Art and Design. My degree is in illustration, but horses never really left my mind, and they crept back into my art during and after college.
Did you always know that horses were going to be a part of your career?
I drew literally nothing but horses (and occasionally birds) when I was young, and had a small "business" doing commissioned portraits of the horses at the barn during middle and high school, but it was never an "Okay, I'm going to be a professional equine artist" decision that I can recall. One of the great things about illustration is you have the ability to work in a variety of media on a wide range of subject matter. I had drifted away from horses for my first year in college, but one of my second year assignments asked us to depict something you were passionate about. "On the Bit" was the piece I created for that particular assignment and represented a return to equine-centric art for me.
What do you enjoy most about your job?
I get the biggest thrill from hearing from collectors and clients that the reason they chose my art was because it was artistic and still accurate. Horse people KNOW horses. You can't fake anatomy, tack, any of it. When a horseman tells me they purchased the art because it is "correct" ... that's the biggest compliment.
What’s one thing that most people wouldn’t know about your profession?
It can get very lonely/discouraging sometimes when a painting just refuses to come together. Just you and an easel in an empty room, staring at each other - some days it feels like Thunderdome.
What is the best advice that you have ever received?
"You should draw, not what the thing looks like, not even what it is, but what it is DOING." -- Kimon Nicolaides, The Natural Way to Draw
Be sure to check out some of Jo's stunning artwork below. Then, visit her over at the Moose Pants Studio website and Facebook page.
Waiting Room - Gouache on Board
Whorld of Trouble - Scratchboard
Wild - Oil on Canvas
The New Horse - Oil on Paper
Patience - India Ink on Aquaboard
All artwork and photography has been provided by artist Joanna Zeller Quentin. All images are considered property of the artist and may not be copied, transferred, reproduced, recreated or used in any commercial or non commercial application without the express written consent of the artist.
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