"Kudu,
Kudu!"
Oil on panel, Sold
Giclée canvas prints are available:
16" x 20", edition size - 100 s/n
$775 unframed, $975 framed
If one is to believe that Hemingways
book The Green Hills of Africa is based on actual
events, and there is no reason one shouldnt, then bagging
a Kudu had become an obsession for the author on his first trip
to Africa in December 1933.
This ghost of the bush has
been an illusive trophy for many hunters. Indeed, I have only
sighted one in thirty years of extensive travel in Africa. So
when I read the authors intriguing account of his mission
to find Kudu, I could sympathize with his frustration and perseverance
in his quest. His ultimate encounter in the penultimate paragraph
of his book inspired my painting.
As the narrative goes, it was early evening
when the writer and his fictional followers headed out from camp,
acting on a hot tip through the bush telegraph, for their destined
encounter with Greater Kudu.
Their guide was a native East African,
possibly Maasai or Somali, but described as Romanesque, who obviously
impressed and intrigued the author. Wearing nothing but a toga
of white muslin, the classic featured native led the party through
the wet and muddy terrain. Exhausted and soaked to the waist,
Hemingway describes finally coming upon the Kudu. The guide
pulls him back and pushes him down while pointing across a stream
to the gray, white-striped trophy on the far bank. He motions
the hunter to wait. Its this moment in the famous story,
which I have chosen to paint. Hemingway, Springfield in hand,
readies himself to take aim at the animal, which is now standing
broadside. Trying desperately not to spook the bull as he gets
into a good position and carefully sights the animal. The author
claims to have had a good shot just below the top of the shoulder
as he squeezed the trigger. He apparently knew he had hit the
animal, despite it taking off; now he and his followers are
running in leaps and bounds to follow the tracks and blood trail,
which they loose and pick up again. Eventually some 100 yards
ahead in a clearing they see the magnificent animal looking back
at them over its shoulder, seemingly unhurt. The hunter gathers
his breath, and this time taking more care, squeezes off a shot.
Now the Kudu goes down. As the hunters move in to claim their
trophy, Hemingway describes tripping over another down. There
had been two, and he had bagged them both.
In my painting the two Kudu are in view,
but the young Hemingway may only be able to see one. Hence the
title: Kudu, Kudu.
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