Theodore Waddell is a third-generation Montanan who has deep roots in both the West and American art. His pioneer grandmother moved west in a covered wagon, and his grandfather was an acquaintance of notable western artist Charles Russell. Born in Billings, Montana, Waddell grew up in Laurel, a small railroad town on the Northern Pacific line about 15 miles west of his birthplace. His father painted railroad boxcars and enjoyed working on paint-by-numbers during his time off. One of Waddell’s earliest memories is the smell of oil paint on his father’s clothes, and his love of the medium continues today.

Although Waddell set off for Eastern Montana College (now Montana State University-Billings) with an interest in architecture, he flunked a math test which derailed his plan of study. Instead, he enrolled in a studio art class offered by western landscape artist Isabelle Johnson, a decision that he cites as one of the most important and influential of his career. Within a month of meeting Johnson, Waddell decided, “I didn’t want to be alive and not make art.”

Waddell spent a year in New York City in the early 1960s, attending art classes at the Brooklyn Museum Art School and immersing himself in the work of abstract expressionism that artists like Jackson Pollock, Robert Motherwell, and Clyfford Still had developed in the 1950s. The energetic splashes, drips, and fields of oil paint on their canvases added to his lifelong love of the medium.

Despite the excitement of New York, home beckoned, and Waddell returned west to complete his degrees in studio art and education. He taught for several years at the University of Montana, and from 1976 to 1996, he settled down as a rancher, making art alongside his ranching duties. He would rise out of bed at 3:30 a.m. and paint until 8:00 a.m., when his ranch work began. During the winter—calving season—he would check on the cows at 2:00 a.m. and stay up to paint!

Waddell feels a strong connection to his home, saying that “Montana has caused me to be who I am, and I love this place,” and “I have to be where I am to paint what I paint.” He also loves animals and has spent decades of his life surrounded by cattle, sheep, horses, dogs, and other furry friends. He sees the animals and landscapes that he paints as inextricably connected; the cattle “give a focus to the landscape that can’t be perceived any other way.”

Winter is one of Waddell’s favorite times to paint. In winter, the landscape changes quickly and the snow reflects colors of light that are rarely found naturally in other seasons. Waddell also recalls that winter was one of his most productive artistic seasons when he was a rancher. Though he did need to check on his livestock, his fields required less attention during winter, giving him more time to paint.

Waddell often titles his paintings in honor of artists who have inspired him. While living and studying in New York City in the early 1960s, abstract expressionist artist Robert Motherwell was Waddell’s “all-time favorite.” Waddell was drawn to the flattened surface, textured application of paint, and abstracted forms of Motherwell’s canvases. Waddell completed a total of 25 paintings of cows in homage to the artist. This canvas is #6 of the series. Other homages to artists include Monet’s Sheep and Vincent’s Angus (after Vincent van Gogh).