Horseperson Gretchen Almy Artist

For artist Gretchen Almy, the key to capturing the essence of any horse on canvas rests within the eyes. “If I don’t get the eye just right,” she says, “it feels like just another horse painting, flat and without personality. I believe that the soul of these animals is written in the eyes. Only horsepeople can really understand that deep sense of connection when you look into the eyes of your own horse —

Massachusetts. Whenever I went to visit her, I’d pet the horses, learn their names, give them carrots, muck stalls — whatever I was allowed to do. When I was six, my father’s cousin, who owned the horses, gave me a lesson on a little brown and white pinto named Pony Boy. I was hooked.

I began taking lessons at a small farm in Connecticut not long after and learned you see right into his soul, and he, in turn, peers into yours. That’s what I’m trying to capture in my work.”

We all know that special feeling, and it’s remarkably present in each of Gretchen’s paintings. Gretchen’s life with horses has informed and inspired her process, resulting in a breadth and depth of work that celebrates the equine spirit. Whether it’s a realistic portrait, an abstract original oil painting, or a brief study as she observes the nuances of a canter, that sense of connection is always present.

CH: How were horses a part of your life growing up?

Gretchen: I was a typical horse-crazy kid. I grew up in Connecticut, and my grandmother lived on a farm in Westport, the importance of good horsemanship. In high school I rode at Old Salem Farm in New York, where I rode with Robin Greenwood. I met a lot of incredible riders and talented horses there; it was an amazing opportunity with some of the best training I had experienced.

Before I went to college, I was grooming to help offset lessons. Those were long days, and I distinctly remember thinking, “This is not what I want to do with horses.” I loved horses, working hard, and showing, but what I didn’t like was the way many of these horses waited all day long for their riders. I knew that wasn’t for me, as I cherished the relationships I had with horses the most.

I attended Randolph-Macon Woman’s College in Virginia and rode hunter/jumpers with Janet McBrien. After college, I taught riding lessons at Camp High Rocks in North Carolina; I went out West and wrangled horses in Wyoming; worked with foxhunters and eventers in Kentucky; and eventually came back to the East Coast, where I managed a dressage farm in Rhode Island. These early experiences made me a versatile horsewoman and allowed me to appreciate all disciplines. I learned that at the end of the day, disciplines and breeds don’t really matter; all of us horsepeople are connected by the love of the animal, and we’re all willing to work hard for the sake of our horses.

CH: How about art? When did you start painting?

Gretchen: I started drawing horses as a child and always loved anything creative. I majored in fine arts in college and received incredible guidance from professors I am still in contact with today. I had a great experience at a small liberal arts school learning art history, the use of different mediums, and how to create and express myself through art. I became passionate about abstract expressionist painting and was inspired by Joan Mitchell, Richard Diebenkorn, and Franz Marc.

When I was working with horses after college, there wasn’t a lot of time to make art. There was a point when I realized it was unlikely that I would ride in the upper levels or have the means to pursue it, and I didn’t necessarily want to spend the rest of my life mucking stalls. With a degree in art, I decided to interview for graphic design jobs and worked at a promotional goods company for a while, then custom embroidery, and later in picture framing and design. In those careers, I wasn’t necessarily fulfilling my creative dreams, but I was developing skills that would later enhance my own business.

My father died of cancer when I was 29. He had just gone back to woodworking, which was his true passion in life. I realized that I didn’t want to arrive at the end of my life and not have pursued something I really enjoyed. That was when I returned to painting and began to make plans toward becoming a full-time artist.

CH: How did you turn your love of horses and painting into a business?

Gretchen: I started out doing pencil portraits for friends and local horse owners, and then I had an opportunity to create cover artwork for the Norfolk Hunt Club’s horse show program. In return, they offered me a vendor booth at their show, which exposed more people to my work and allowed me to make connections. I did that for several North Shore horse shows, often trading artwork for vendor space. I would show my portraiture, sell gift items with my artwork on them, and hopefully get some commissions. As with any new endeavor, the beginning was rough but very exciting, and the business slowly started to grow. As I made more connections, I received bigger opportunities that helped my work gain recognition, including artwork for the Myopia Hunt Horse Show, Fieldstone Show

Park, the Fidelity Jumper Classic, and the Silver Oak Jumper Tournament. I was getting the opportunity to paint some of the greatest show jumping riders of our time, including Mclain Ward, Kent Farrington, and Margie Goldstein Engle.

In 2007, I was asked to create a cover for the National Horse Show, which was in Wellington, Florida, at that time. I remember my mother taking me to the National Horse Show as a child, and that was always special to me. To be able to design a cover for that show was gratifying. They gave me a booth at the show, which was my first exposure to the Winter Equestrian Festival. I made some wonderful connections there, which allowed my business to grow even more, and I began to make a name for myself in painting commissions.

CH: What is your process for creating a painting?

Gretchen: For pencil and oil custom portraiture, I work closely with the client throughout my process to best portray their animal. To begin, I always try to photograph the animal myself if possible. I love to see how the animal interacts with the owner so I can create something very personal. Then, I’ll help the client determine which image is going to work best as a portrait, often creating several layouts in Adobe Photoshop to help the client visualize the final piece. I use the chosen full-size image as a reference and begin translating it onto canvas or paper. I’ll sketch freehand, and then often grid or establish measuring lines to make sure photographs at a horse show, snap pictures of horses in the field, or reach out on social media for image submissions; then I’ll comb through those images looking for moments that inspire me. I’ll play around with cropping, look at the relationships between shapes, lines, color, positive and negative space, then start to treat the images more like paintings than actual horses. I’m always trying to abstract the equestrian form while keeping the semblance of correct conformation and allowing the spirit to shine through. I’m proportions are correct and maintained. Finally, I begin filling in and building up the image; I call it sculpting on paper. Pencil is a layering process and takes time, starting with the darkest areas and slowly shading in from there. Oil is a more finicky medium that requires me to wait after applying each layer. Each portrait goes through a stage where it feels like an “ugly duckling,” or maybe a “gawky twoyear-old” in horse terms. But as I keep working, suddenly the animal begins to come to life. At that point, I know I’m in the homestretch and it’s nearly finished. The process for creating my original artwork is quite different and is based solely on inspiration I’ve gathered. I might take constantly experimenting with techniques and materials to see what makes an interesting painting. I like to work on several pieces at once to help me think creatively and to refresh my eyes. I never get tired of it!

CH: Can you tell us about some of your favorite pieces?

Gretchen: One piece that comes to mind was a bit of a fluke: it’s actually a painting done over another painting. It started out as a commission where my client wanted a portrait of her dressage horse done in a less traditional way. While looking through images for inspiration, I saw a photo of her horse that caught my eye; the horse was looking out of his stall at a bit of an odd angle. The horse’s coat was just magnificent, and I really liked the negative space the shape of his body created. It felt like a great image to paint over a painting I’d already done and try to abstract it a little. It was a breakthrough piece for me that allowed me to start thinking about painting a little looser. It’s a small piece that hangs in my studio as a reference point, and I strive to create some of that feeling in every piece I’ve created since.

One other piece that stands out is a painting based on a photograph of a horse in a field, cast in beautiful lighting. I painted this image probably ten times, and the final image I created was done using raw umber and white. I felt like I finally captured the essence of this horse, but in a style that was more abstract and expressive. It just worked. I called it Soulful, and it’s one of my all-time favorites. I entered it in the Equus Film and Arts Festival in California, and it earned a runner-up recognition.

CH: What brings you the most joy in this work?

Gretchen: Horses and dogs have been in my life for as long as I can remember, and my connection to animals runs very deep. Animals are my family, and I honor that in my art. Horsepeople can relate to that deep connection. I truly believe that the best artists in my field are the ones who are familiar with that bond and understand these animals. The paintings need to capture the presence of a horse, which is larger than any piece of paper or canvas. That’s something that only animal lovers can truly understand. Witnessing the connections between humans and their animals, and being entrusted to capture those relationships, is immensely rewarding and offers me endless inspiration.

North Kingstown