Adrian Rigby

Adrian Rigby's talent was recognised quite early by his teachers and they encouraged him to go through the usual exams. Luckily he achieved top grades at school and college and went to study Natural History Illustration at Blackpool College, which offered the only course of its kind in the country. Here for the first time two of his great passions were combined- art and wildlife. Adrian Rigby passed with top grades and was flattered to be asked to return the following year and teach part-time.

In 1996 Adrian Rigby swept the board at the annual show for 'The Wildlife Art Society' in London. It was through this that his work came to the Attention of Solomon & Whitehead Publishers. Though often labelled as a Wildlife Artist, his new Publishers quickly realised his scope was wider and they have since concentrated on his marine and aviation work. This work has one primary object, which is to transport the viewer to another time and place and feel that they are having a first hand experience of the view: a spitfire has to look 'used and abused' as it was: a working machine in combat. The Titanic must 'cut' through the water like the 'heavyweight' giant she was. The finished result should look like a piece of history, frozen in full colour for the viewer to examine in detail.

In 2001 one of Adrian Rigby's wildlife works was selected for exhibition in the prestigious 'Birds in Art' event at the Leigh Yawhee Woodson Art Museum in America. The works were produced as posters to promote the exhibition. It was at this time that Solomon & Whitehead were also achieving incredible success with 'Titanic's Last Sunset'. Proof if ever it was needed that two totally different subjects can run side by side from a singular Artist.

Adrian Rigby feels research is the key to the success of an aviation piece; over the years he has built up a large personal library of books to make sure he gets all of the facts right. He tries to portray a particular aircraft on a particular day, this even involves getting the weather right! Squadron codes, markings and camouflage must be correct, serial numbers are researched thoroughly.

By combining all of these elements a painting is created, once the research has been completed the 'real' work begins starting with the sky and the background- the setting in which the aircraft is flying is slowly built up. The light of the backdrop must consistent with the light falling on all elements of the picture- if the lighting is not correct the aircraft will look as though it does not belong on the background. Eventually the aircraft begins to take form, scratches and dirt are added where the aircraft would have accumulated such things, machine and gun ports, exhaust and ammunition streaks are all included to add reality to the piece.

(VAT included on all paintings on this page)