My favorite piece of paleoart is now for sale

Sobia “helping” Brian Engh draw Ornatops.

I’ve written here before about Donald Glut’s The New Dinosaur Dictionary and the looooong shadow it cast over my adolescence. That book introduced me to a lot of artists I’d never heard of. The Dinosaur Renaissance was named two months before I was born, so I grew up with a mix of old school paleoart from the 1960s and before, and newer restorations by the likes of Bob Bakker, Greg Paul, William Stout, and — fatefully — Mark Hallett. Among the older artists that I first encountered in The New Dinosaur Dictionary was Neave Parker. Parker was active in the middle of the 20th century, painting dinosaurs and other prehistoric animals for the British Natural History Museum, the Illustrated London News, and books by Edwin Colbert and W.E. Swinton (see this page at the old Love in the Time of Chasmosaurs, and this almost comically ungenerous piece at the NHMUK).

Parker’s work was oddly evocative for me. It’s true that little of it holds up today in terms of anatomical accuracy, but the execution really worked for me — especially at the small scale and relatively low resolution (by modern standards) of the reproductions in The New Dinosaur Dictionary, which compressed the brush strokes into invisibility, lending the work a near-photographic crispness. Combined with Parker’s penchant for bright light and stark shadows, the work had a documentary-like air of reality, like I could step into the scenes and squint up at the sun.

I realize this is a highly personal take, and you may feel completely differently about Parker’s work. I’m not describing my objective assessment of his work in 2024, but its subjective effect on me in the early 1980s. I imprinted on Parker’s vision of the past, as I did on the work of William Stout and Mark Hallett and the rest. Specifically, I internalized from Parker’s work that when I stepped out of the time machine, the Mesozoic would be sun-drenched, and there would be palm trees.

This is Brian Engh’s painting of the hadrosaur Ornatops (McDonald et al. 2021) on display at the Western Science Center in Hemet, California. It’s phenomenal, but like almost all pieces by my favorite artists, I prefer the original pencil sketch, for reasons I explained back when. Here’s my print of it, awaiting a frame:

This resonates for me on so many levels. The sun, the shadows, the (paleobotanically correct) palm trees, the sense that I could step through and run my hands over the animal’s skin and feel each bump and wrinkle. The sheer technical virtuosity on display. Perhaps most of all, the way that it collapses all the time between 1984 and 2024, letting me play chrononaut both in the Cretaceous and in my own life, a gangly kid in my dad’s recliner, The New Dinosaur Dictionary open in my lap, plummeting down the rabbit hole. And that is why this goofy horse-faced no-vertebral-pneumaticity-havin’ hadrosaur is, in fact, my favorite piece of paleoart ever.

Do you encounter flat surfaces in your daily life? Do the right thing.

Brian Engh recently launched his new website for Living Relic Productions, and there’s a store where you can buy his art. Both Ornatops pieces are there, the color painting because it was one of the first things he put up as a test article, and the pencil sketch because I requested it and he accommodated me (thanks, fam!). He also has some sweet stickers, so you can class up the joint with sauropods. Go have fun!

References

• Glut, D.F. 1982. The New Dinosaur Dictionary. Citadel Press, 288pp.
• McDonald AT, Wolfe DG, Freedman Fowler EA, Gates TA. 2021. A new brachylophosaurin (Dinosauria: Hadrosauridae) from the Upper Cretaceous Menefee Formation of New Mexico. PeerJ 9:e11084 https://doi.org/10.7717/peerj.11084