17in x 23in | 43.2cm x 58.4cm
Oil on mahogany board
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For the story behind the painting, scroll down or click here
Available for Purchase
Original Oil painting (serious inquiries only) $180,000.00 US
The Blessing of the Animals Signed & Numbered Offset Lithograph$275.00
Limited edition of 495 offset lithograph prints individually signed and numbered by the artist. The image measures 23in x 17in. The print measures 28in x 23in and comes shipped, rolled with acid-free tissue with a Certificate of Authenticity in a sturdy mailing tube. Published by Massey Fine Arts, USA
The Blessing of the Animals Note Card$4.00
Folded note card. Blank inside, ready for any occasion. Measures 7in x 5in closed and includes an envelope.
The Blessing of the Animals Post Card$1.50
Flat post card. Blank on the back. Measures 6in x 4in.
Oil Painting Note Card Set (set of different 8 images)$20.00
Set of 8 folded note cards including, “The Blessing of the Animals”, “The Marionette Theatre”, “The Connoisseur”, “La Maison de Poupées”, “Christmas in Paris”, “The Marionette Shop”, “Day’s End”, and “The Fisherman Mending His Net” Blank inside for any occasion. Measures 7in x 5in folded, including 8 envelopes.
The British Art Prize 2022, sponsored by Artists & Illustrators Magazine in partnership with Edding, gallery@oxo, Oxo Wharf Tower, Barge House, London, UK
The Len G. Everett Memorial Award
The Allied Artists of America 105th Annual Exhibition, Salmagundi Club, New York, NY
The John Angelone Award for Excellence in Oil
American Artists Professional League 90th Grand National Exhibition 2018, New York, NY
Lawrence von Beidel Memorial Award
The Catharine Lorillard Wolfe Art Club 121st Annual Open Exh., National Arts Club, New York, NY
The Art Renewal Center’s 14th International Salon, Art Renewal Center’s Internet site
The People’s Choice Award
Placed 13th out of 15 pieces receiving over 50 votes out of over 1500 pieces
The Art Renewal Center’s 14th International Salon, Art Renewal Center’s Internet site
Best of Show
Animals 2021 (sponsored by Colors of Humanity) online exhibition
Art-Competition.net Family Members 2019 competition, Internet
Humanity (sponsored by the Cultural Center of Cape Cod), online exhibition
Visual Art Open Prize 2021 (sponsored by Visual Art Open UK), online exhibition and competition
Third Place in the Religious and Spiritual Category” (tied)
American Art Awards, Internet
Boundless (online: Sponsored by Art Fluent)
7th Annual National Art at the OPOMAC 2018, 0ld Post Office Museum and Art Center, Graham, TX
New Beginnings sponsored by the San Fernando Valley Arts & Culture Center
2018 Richeson 75 Animals, Birds & Wildlife Competition
Joint Merit Award
Animal International Juried Exhibition (online: sponsored by Art Show International)
The Excellence Award
2020 Spring Edition of the Awesome Art Prize Competition (online: sponsored by Awesome Art Prize)
Reproduced in Magazines
The British Art Prize 2022 “The Winners”, Artists & Illustrators Magazine (December 2022) UK
The Blessing of the Animals: A Figurative Art Step-by-Step (article by Ann James Massey) in Realism Today(Free Weekly Online Publication for the Realism Movement) Published April 11, 2022
“Opening Shots” Mensa Bulletin, The Magazine of America Mensa (June 2018)
“From El Paso to Paris” by Cindy Groff Cohen, The El Paso Inc. Magazine (Summer 2018)
Circle Quarterly Art Review: An Examination of Current Trends & Original Practices in Visual Art (Fall 2019)
The Blessing of the Animals: A Figurative Art Step-by-Step (article by Ann James Massey) in Realism Today (Free Weekly Online Publication for the Realism Movement) Published April 11, 2022
Video & radio interviews
Radio interview on KTEP “State of the Arts” with Monica Gomez, 2013
Radio interview on KTEP “State of the Arts” with Monica Gomez, 2018
“Tom Lea Inspiration: Featured Artist, Ann James Massey, Painter”sponsored by The Tom Lea Institute, Derek Packard, Director and Producer, 2022
Behind the painting
It has always been in my mind to pay homage to the presence of animals and spiritual support in my life (not to forget family and friends), as well as to the techniques, composition and extraordinary art left to us by the artists of the past. The seeds were planted in the late nineties for the perfect integration of these major influences when I heard of the Blessing of the Animals service in my spiritual home in Paris, The American Cathedral.
This yearly service is held in innumerable churches on or near October 4th to celebrate the feast day of St. Francis of Assisi. As legend has it, this remarkable saint also preached to the birds and is the patron saint of animals. Unlike my portrayal of the event, in order not to tempt their God-given tendencies animals may attend only with restraints, pet carriers or cages.
Though the setting is a fair rendition of the American Cathedral, my painting was never meant to be an exact portrait. Though I have kept the multiple lighting sources as is present in the Cathedral, like the artists of the past I’ve simplified, changed, and deleted some minor elements as well as altered perspective and scale quite a lot for compositional consideration to make the image more pleasing to the viewer’s eye. Moreover, this painting is not a reproduction of any Blessing I have seen, even though a few people and animals from actual ceremonies have been incorporated.
The image has been entirely created by hand with no mechanical means. It took me a year to decide on all the participants, do the sketches, create the composition and finalize the original line drawing. Since I was not drawing the image from a photograph, I had to draw the entire church background including working out the perspective for the tiles in order to place the figures realistically in the setting. The final detailed line image was drawn on vellum paper and retraced on the back; then it was taped to the painting support (prepared mahogany board) and rubbed with a blunt instrument to transfer the drawing to the board, then redrawn again on the blurred lines, followed by lifting the excess carbon with a kneaded eraser.
Note below that the central vanishing point located at the IHS symbol in the frontal piece is not in the center of the painting but is to the right, creating a far more interesting slightly asymmetrical design.
Drawn from over 26 years of my original source material (comprising hundreds of photos and onsite sketches), a list of all the characters who did become part of the painting can be found below under Subjects.
The underpainting of burnt umber on the Sapele mahogany panel unfortunately took three more years to complete due to a long hiatus caused by a minor right hand injury that morphed into a serious complication: Complex Regional Pain Syndrome. In 2013, Monica Gomez conducted an interview with me on KTEP radio that provides a little background. My hand will never return to pre “fall” mobility but the syndrome miraculously went into remission after three months of therapy. With a total of almost two years of intense physical therapy in the “torture chamber and on the rack” to unfreeze individually all the finger joints and wrist, my hand obviously manages quite well enough as evidenced by the completion of the painting.
Working with traditional techniques including mixing my paints from powdered pigments, I painted at least three more layers of full color on most of the painting followed by some final scumbling and glazing. Started in 2009, after roughly 8 years of actual work, et voila: “The Blessing of the Animals” practically finished December 30, 2017, just in time to fly back to El Paso for my mother’s 95th birthday and to send it to it’s first exhibition in New York.
Starting from the left (drawn from over 26 years of my original source material and sketches)
1st Marshall Ordish, my great-nephew (brother Frank James’s daughter Jeanette and her husband RC’s son)
2nd Annick le Sassier Boisauné (a sister of my better half Henri) holding the music box my father made for me and contains any small pet the viewer imagines: parakeet, mouse, hedgehog, gecko, hamster, tarantula, turtle, baby rabbit, etc. The hands in the painting actually belong to an artist friend, Mary Villon de Benveniste, who posed for me in the Cathedral holding the music box.
3rd The Cavalier King Charles Spaniel and…
4th the Husky are two of the hundreds of random pets I’ve photographed during my many travels; I’ve also done a miniature drawing of him and used him again in For Art’s Sake
5th Dale Moore, a second cousin’s ex-wife (and who can also be seen in La Maison de Poupées), looking down at…
6th Soleil (while a puppy). Soleil’s mother was most likely a mix of Sheltie, Corgi and perhaps Basenji, while her father was just passing through. Though I had to put Soleil down at the age of 12 due to advanced cancer in 1993, I still dream of her now and then and wake up in tears to find she is not by my side. Nonetheless, she is alive in my painting.
7th My better half, Henri Bérenger.
8th One of our cockatiels in on Henri’s shoulder. We currently have two cockatiels and one budgie (parakeet) who have the same cage as us…our tiny Paris apartment.
Nothing so ugly as a baby pigeon. I named him Phyllis for Phyllis Diller for her hair and his prickly baby feathers.
9th Phyllis is on the ground near Henri’s feet. He was the almost dead baby pigeon that I found in our courtyard, then raised and rehabbed and let him free in the nearby children’s park where I had taken him for “walkies” before he could fly. I never trained him as a pet, but notwithstanding, for years, Henri and I would go to the park, call his name, and he would fly to our feet and run beside us as we would walk to “our” bench. And yes it is the same bird on our laps; the sunlight has just brightened Phyllis’ wings as it has my brown hair.
I often give my sweet birds female names when we get them, however they are always too young to determine their sex…then they all grow up to be male. I never named any Sue, though I have had a couple of Herbirds.
10th Derek James, my nephew (brother Keith and his wife Ann’s son) and
11th Derek’s cat Cleo.
12th Sophia Zaboukos (daughter or Troy and Moya) is a child I saw attending a Blessing at the Cathedral.
13th The cat being blessed is from a photo I took near St. Severin in Paris.
14th The Rev. Jonathan Huyck, former Canon Pastor of the Cathedral, on staff from 2004 until 2010 when he returned to the States with his family to serve as Rector of Grace Episcopal Church in Providence Rhode Island.
15th The Very Rev. Zachary Fleetwood, Dean of the Cathedral 2003-2011 (9th Dean since the inauguration of the Cathedral on Thanksgiving Day in 1886). He retired from the Cathedral to become rector of St Columba’s by the Castle in Edinburgh in order to devote more time to writing, service and spiritual matters.
16th Rosie Carlson, wife of El Paso artist Robert Carlson. Her shoulder, elbow and arm belong to Sondra Sefton who agreed to pose for me in the Dean’s Garden after a Junior Guild luncheon. At my request, Sondra wore my black jacket and clutched her purse to her chest. I had changed the angle of the Rosie’s arm and needed to work out the way the suit and arm shifted realistically as Rosie is now holding the precious rescue dog, Maxine in my painting.
17th Maxine, the rescue dog was owned by Bob and Rose Ann Hoy (first collectors, then friends).
18th The puppy straining against the leash was another participant in a Blessing.
19th The cat on the steps (the only participant looking directly at the viewer) is Lizzie, another of Derek’s cats, and who was extremely shy but bonded with me nonetheless during a two month overlapping stay at Mom’s with Keith’s family (due to fire damage at their home being repaired).
20th Maxwell Moore, son of Dale – the 6th subject – and my second cousin Michael Moore.
21st Maxwell is petting a Yorkie I saw at a Blessing.
22nd The girl was based on a photo I took at the North East Falconry Centre (now the Huntly Falconry Centre) in Scotland. I’ve changed the face to my great-niece’s, Kassidy Ordish.
23rd I’ve substituted a peregrine falcon from the Centre for the owl the young girl was petting. While I was at the Centre, they let me, as an American, receive/feed the bald eagle, though they had a gentleman next to me to help support my arm underneath from the initial shock of the weight of the large bird when he swooped down and landed on my hand and wrist.
24th Celine, behind Maxwell, worked at my hairdressing salon in Paris and posed for me in the children’s park where we released Phyllis. You can also see her in the Miniature Gallery.
25th David James, nephew and son of my brother Frank and his wife Linda.
26th The impressive Maine Coon cat on David’s shoulders is Ramses and as mentioned above, also belongs to my brother Keith’s family, along with Cleo and Lizzie. The image adds the symbolism of The Good Shepherd to the piece.
27th Kennedy Ordish is another great-niece.
28th I saw this Sheltie on one of my trips to Scotland.
For more art technique details in how I created the painted, please refer to the post The Making of the Blessing of the Animals
The American Cathedral in Paris, 23 avenue George V, 75008 Paris, France
When in Paris, include a visit to this amazing Episcopal/Anglican Cathedral, consecrated Thanksgiving Day, November 25, 1886, the same day as the Statue of Liberty. The inclusive openness, the palpable faith, the fabulous music, the moving preaching, the glorious neo-gothic setting, and the “at home” friendliness will make this a memorable experience.