Award winning equestrian artist Booth Malone remembers the parting advice of his old boss at Coca-Cola, then President Donald Keough: "Do one thing; do it the best you can, and market the hell out of it!" "I took that to heart and concentrated on horses and put my best into each painting. The marketing I've left up to word-of-mouth which, in our small world of horses, has been more than enough."
Receiving his B.A. with a Visual Design major, Booth worked for The Coca-Cola Company in Atlanta. His positions there afforded him a unique opportunity to travel extensively and he used his spare time to broaden his art education. Seeing some of the finest collections in the world infused him with the desire to be an artist himself: "Regional museums were my first real exposure to Remington and Russell --they didn't exactly receive a lot of coverage in 'Art History 101' and I was completely captivated by [Remington's] use of light and Russell's narrative compositions. I also saw Russell's studio in Montana and his earliest works -- which were quite raw -- and discovered he developed his talent as an adult. So it was an encouragement to me. To Start!" In a portent of things to come his first professional painting was an equestrian portrait of a friend from work. "It was a small painting and rough, and a small check, but I got more pleasure from that than from all the salary I received from Coke -- I never looked back!"
Booth studied the techniques of portraitist John Singer Sargent and equestrian artist Sir Alfred Munnings. "They're really twin souls. If Sargent had gone outside more he would have painted like Munnings and vice versa. They were both known for bravura brushwork but I also noticed they went for nuances and subtle gestures and that appealed to me -- good paintings should be more than photographic accuracy." He says he also picks up ideas from the great illustrators like N.C. Wyeth, Rockwell and Leyendecker.
Moving to Columbus, GA in the mid 1980's, "I was lucky early on to fall in with the Midland (GA) Fox Hounds when Ben Hardaway was Master, and through them I was exposed to Olympic level Eventing, and high caliber steeplechasing and polo. My wife, when we first met, worked in bloodstock and her knowledge of racing and its players, on both sides of the Atlantic proved to be a tremendous resource."
Booth has been a member of the American Academy of Equine Art since 1994, and since 2016, President of its Board of Directors. He showed regularly at Rolex CCI**** from 1997 to 2010 and made his international debut with the prestigious Frost & Reed Gallery. He has been the official artist for numerous steeplechase meets, as well as The Virginia Gold Cup and the 2006 Breeder's Cup, and you find his work regularly on the covers of The Chronicle of The Horse and other equestrian magazines and catalogs. He enjoys a close association with The United States Pony Clubs (USPC). He is a Signature member of Oil Painters of America (OPA), Society of Animal Artists (SAA), and the Portrait Society of Atlanta (Member of Merit). In 2012 Green Island Country Club chose him to portray 1987 Master's Champion Larry Mize. His most recent exhibition was held jointly with sculptor Kathleen Friedenberg at the Aiken (SC) Art Center.
"The best sporting artists have an eye not only for detail, but for the telling detail - the nuance of gesture, of motion, of light and gear which reflects an insider's grasp of the outdoor world."— Booth Malone