Cassens Fine Art

"This painting was completed in 2025 and shows an indigenous woman holding a bison skull. The realism of the figure contrasting against the abstract background helps you focus on the subject, yet the brushstrokes and textures keep your interest. The model for this particular painting is one that I’ve used many times. She grew up not knowing her ancestry, and it wasn’t until she was in her mid 20s that she found out that she is 75% Native American. Bison were an important part of the Native American Way of life. I wanted to portray this idea in paint. This particular painting graces the January 2026 cover of Western Art Collector." - Jeremy Winborg

"I love painting snow. There’s a stillness to winter mornings in the forest that inspired this piece, the soft drifts, the sound of a nearby brook, the calm light. This is the largest painting I’ve made and one of my strongest. It’s painted in premium oils, sealed with varnish, and set in a custom pale gold leaf floater frame. Its scale makes it a strong focal point in a spacious setting." - Scott Ruthven This painting received two honors: Award of Merit – Colorado Governor's Art Show, 2020 Honorable Mention – Art Renewal Center's 15th International ARC Salon, 2021

"Aspen Light is a portrait of a moose moving through an aspen forest, wrapped in the warm glow of autumn's golden hour." - Bailey Burton

"Capturing a singular animal moment and translating it into a contemporary original composition." - Doug Taplin This piece was part of Doug Taplin's solo exhibition, "After the Herd," 2026.

"This oil painting on linen panel captures a peaceful winter pasture at a ranch in Montana's Bitterroot Valley." - Teresa Garland Warner

This piece was part of Colt Idol's solo exhibition, "Afterglow," 2025.

"When I lived in Colorado, I had a free-standing studio about 100 yards from my house that sat on 26 acres. Many evenings at dusk, I would sit out the back of my studio and put on Debussy's "Clair de Lune" and listen to this beautiful piece of music as the sun set behind the foothills of the Rocky Mountains. It was always such a very peaceful experience that stirred my soul. This scene, located at Mad Wolf Ranch in Browning, Montana, reminds me so much of that experience." - Jake Gaedtke

"Gary Owen Blues" takes its title from the marching song favored by General Armstrong Custer and reportedly played during the attack on the Washita village. According to accounts, the music was heard, but no soldiers were seen through heavy fog and ice.

Walker employs a diverse range of materials in his work, including oil, acrylic, spray paint, graphite, and ink. His experimental approach to these combinations often yields unexpected, naturally distressed textures, an effect he first discovered by chance and has since embraced.

Jeff Weir's goal is to create art that gives depth and animation to what would be stoic and serious. He has always had a drive to focus on the brighter side of life, and his aim while painting is to do just that.

"These are our neighbors’ horses we pass by on the way to my husband’s family’s place. In better weather, they are out in the morning grazing on the hill and watching travelers go by. Every Spring, they bring their foals with them. This was sometime in late March." - Coila Evans

"Two cowboys ride the range of Montana in the early 1900s. The fading light of the sunset casts long shadows across the land, eliciting the strength, endurance, and spirit of life on the frontier." - Rick Kennington This piece was part of Rick Kennington's solo exhibition, "Painting the West," 2025.

Renee challenges the traditional image of a cowgirl, seeing it as more than the attire or the ability to throw a rope. To her, a cowgirl embodies confidence and resilience, nurturing the land and its animals. This ethos is evident in her art, where the cowgirl spirit is portrayed through the depiction of daily farm life and its characters.

"The abstract shapes of the leaves became as important as the sunflowers." - Turner Vinson

"I really liked the composition of this piece. It came together nicely and just has a feel of a crisp fall day going to open camp for the season." - Ed DuRose

"When I am not in my studio working on large-scale still life and landscape paintings, you can find me out on location gathering reference materials, from the backcountry of Montana, to the deserts of the Southwest, or on the cobbled streets of various European cities. I love to travel and meet people of different cultures, taking inspiration from a myriad of sources." - Richie Carter

"I have recently been exploring the themes of home and place through the imagery of horses and farmhouses. In this painting, I sought to portray the calm of a warm September morning at a farmhouse, where someone has left a gate open, inadvertently letting the horses into the yard." - Nate Closson

"'Willing and Able' is my love letter to the ranching community. So many of my works are inspired by real-life working agriculturalists who graciously welcome me to their pastures, stock pens, and brandings so that I can most genuinely bring their stories to life at the easel. This painting honors timeless cowboy ethos- dedication to their stock, closeness with nature, endless work ethic, and self-respect." - Kelsey Rae Morris

"Wings of a Man" began with a dream that Gilleon couldn’t fully remember, only a sense that a shadow needed to exist at the bottom of a very large canvas. From there, the rest of the painting developed through improvisation. The focus became the contrast between light and dark, using a strong silhouette so the shadow could hold its true weight. Wings appear often in Gilleon’s dreams, making them a natural symbol here. In this case, they are based on a nighthawk that had died the day before the dream. The figure holds an almost spilt peace pipe, a gesture that suggests warlike action. The circular form behind the figure is not a halo, but a war shield marked with Ghost Dance symbols, giving the piece a many-layered meaning rather than true resolution. | January - August, 2024, Western Spirit: Scottsdale's Museum of the West | November, 2024 - March, 2025, C.M. Russell Museum | April, 2025, Sold By Cassens Fine Art

Launder begins each piece with a layered foundation built from collage, acrylic, marker, and pen. These materials are assembled gradually, with each stage chosen to add narrative weight or visual tension. Archival fragments such as book pages, vintage signage, and aged canvas are often embedded into the surface, allowing the materials themselves to speak to the story being told. His compositions center on bold focal points; from a first impression, the viewers eye is drawn into subtler details. Textured surfaces, clipped headlines, and visual echoes of American history and mix together.