Drawing has always been integral to the young Coleman’s art. “The only way to depict a subject with any authority is to thoroughly study that subject at length.” A recently completed painting of a Great Horned Owl, is a result of several instances from his youth, times when he went with a friend of the family observing owls and hawks…Coleman’s art seems to be an outcropping of his fervent interest in natural history and his intimacy with the outdoors and the rugged Utah countryside.
A voracious reader (given the slightest provocation, he segues into a historical dissertation), Coleman draws on his historical knowledge of history to replicate Blackfoot camps and villages in his paintings. Native American Artifacts that his father and he own provide additional historical accuracy.
The lighting in his Western and Native American scenes is what Coleman sees from his home during different times of the day. “Light adds dimension, which can allow you to see further back into a painting,” Coleman says. “Often it’s that last ray of light in the evening that make a painting come to life.”
Nicholas Coleman was born in Provo, Utah. Brought up in an artistic environment, Coleman has been painting and drawing for as long as he can remember. He has traveled extensively through North America, Africa, and Europe and New Zealand. Coleman has found much of his inspiration in his travels, hunting and fishing along the way. Winslow Homer, Bruno Liljefors, Carl Rungius have been influential to Coleman’s work, and of course his father, Michael Coleman. Coleman uses a traditional academic approach in his painting, using gouache and oil. His work definitely has a feel of realism, there is a certain amount of spontaneity and a slight impressionistic feel to his paintings that let the viewer bring their own experiences to the work. Coleman endeavors to create a connection between his paintings and the observer by invoking a mood that the viewer can walk into.