Wild Art - A Brush with Nature

Joe Marais Art


"African Wildlife Art — The Heartbeat of Africa on Canvas" image
  JOE MARAIS – My Journey

African Wildlife Art — The Heartbeat of Africa on Canvas
By South African Wildlife Artist, Joe Marais
Joe Marais is a South African wildlife artist whose work is defined by authenticity, field experience, and a deep, lifelong connection to the African wilderness. For more than 30 years, he has dedicated his career to capturing the wild, unfiltered essence of Africa — not as an observer from afar, but as someone who has lived its rhythm, its silence, and its unforgettable moments.
Joe’s artistic journey began not in a classroom or studio, but in the bush itself. With no formal art training, he developed his own distinctive style through intuition, passion, and countless  hours spent in the presence of Africa’s wildlife. His work includes a wide range of African wildlife paintings, inspired by the landscapes and animals of Africa. His preferred medium, acrylics, allows him to work with precision and realism, bringing to life the dramatic light, textures, and emotion that define his paintings. Every artwork he creates is rooted in personal field observation and reference photography — moments witnessed firsthand, often under challenging or thrilling conditions.
His research trips across South Africa, Botswana, Zambia, and Zimbabwe form the backbone of his creative process. Joe and his wife, Ilse, frequently camp in remote regions of Botswana, sleeping in a small ground tent while elephants, lions, and leopard move quietly around them at night. Days are spent at waterholes, observing animal interactions, sketching, and photographing the “magic moments” he later brings to canvas. These experiences give his work an unmatched level of accuracy, intimacy, and emotional depth.
Joe’s art has been exhibited internationally for decades. His career includes notable appearances at Washington Square Outdoor Art Exhibition in New York, galleries across Canada, major South African art venues, Tuscany in Italy, Mauritius, Paris, London, and the Abu Dhabi Hunting Expo. His life-size 6m × 3.2m bull elephant — a monumental project requiring more than 500 hours — remains one of his most ambitious achievements and now belongs to a private collector. Over the years, his paintings have also supported conservation initiatives through numerous donations to African wildlife projects.
Collectors value Joe’s work for its honesty. Whether depicting an elephant bull, a zebra herd, or a scene at a dusty Botswana waterhole, his paintings are known for capturing the true spirit of Africa — its power, its fragility, its diversity, and its timeless beauty. Many buyers describe his art as a way to reconnect with the places they have visited and the memories they treasure.
Today, from his studio in Meerensee, Richards Bay, KZN, South Africa, Joe continues to paint the wildlife he knows intimately and respects deeply. His mission remains unchanged: to share with the world the extraordinary beauty of Africa, and to preserve its legacy through art that speaks from the heart.

Email: art@joemarais.co.za
Email: art@joemarais.co.za Cell: +27 76 4944 356
Website:                 https://www.artbyjoemarais.co.za/                  
My Blog (3): Plein Air Painting in Le Marais, Paris
Some places carry more than beauty; they carry memory. Le Marais is one of those rare quarters in Paris where history, culture, and human energy exist side by side, layered over centuries. Long before I ever set foot there with a paintbrush in my hand, Le Marais had already earned its place on my bucket list — not only as an artist, but as a descendant of French Huguenots whose journey began here before departing to The Cape of Good Hope in 1688.
On this particular morning, my wife Ilse and I left our hotel fairly early. Experience has taught me that plein air painting (*plein air - painting outdoors with the artist's subject in full view) requires time — time to observe, to feel, and to settle into a place before the crowds and the day fully unfold. We took the Metro towards Le Marais, and from the moment we stepped out onto the street, something shifted. I felt it immediately: a quiet but unmistakable spiritual connection. Le Marais was alive.The air was filled with sound — people talking animatedly, music drifting from open doors, the clinking of coffee cups, footsteps echoing along cobbled streets.
 
Cafés were already busy, art galleries preparing to open, museums welcoming visitors. It was vibrant without being overwhelming, energetic without losing its intimacy. Ilse and I instantly loved the atmosphere. It felt welcoming, layered, and deeply human. As we walked through one of the side streets, away from the broader avenues, I saw it. An old, weathered doorway stood quietly against a textured façade, its surface marked by time. Above it, a small balcony overflowed with red flowers, framed by shutters that hinted at countless stories lived behind those walls.

 A streetlamp stood nearby, and a bicycle rested casually against the wall — details so ordinary, yet so distinctly Parisian. I stopped in my tracks. I knew immediately that this was what I had been looking for.What made it even more perfect was the wide sidewalk. For a plein air artist, practical considerations matter, and this space allowed me to set up my easel without obstructing the flow of people. It felt as though the street itself had invited me to paint. Once my equipment was in place, Ilse stepped away to fetch us coffee from one of the many cafés just around the corner. In Le Marais, coffee is never far away. 

As I began sketching the initial outlines, the feeling of connection deepened. There was something profoundly moving about standing there, brush in hand, painting in a neighbourhood tied so closely to my ancestry. It felt less like observation and more like dialogue — between past and present, place and painter. As the composition took shape, people began to stop. Some were tourists, curious and enthusiastic, cameras in hand. Others were locals, strolling by with an easy familiarity. They watched quietly, offered comments, asked questions. I welcomed the interaction. Painting in public is an exchange; it brings art out of isolation and places it back into the rhythm of daily life.

Ilse returned and stood beside me, holding an umbrella to give us some shade from the strengthening sun. The day had become warm — unusually warm for painting — and the light was strong, almost unforgiving at times. Still, I worked steadily, responding to the textures of the wall, the contrasts between shadow and sunlight, and the rich colours that defined the scene.The weathered surface of the building fascinated me. It told its own story — layers of paint, wear, and time, all of which I tried to honour in my brushwork. I was not interested in perfection or polish. What mattered was character. 

Le Marais is not pristine; it is authentic, lived-in, and deeply expressive. That was what I wanted the painting to convey. As the afternoon progressed, the sunlight became more direct, and the heat intensified. Eventually, I knew it was time to stop. Plein air painting teaches you to listen — not just to the environment, but to the painting itself. There is a moment when continuing would mean losing the freshness that gives the work its life. We packed up, tired but satisfied, knowing the essential spirit of the piece had been captured. Back in my studio in Meerensee, Richards Bay, I completed the final finishing touches. 

Studio work allows for reflection and refinement, but the heart of the painting was already there — embedded in the experience of that day in Le Marais. Every brushstroke carried the memory of sound, warmth, conversation, and connection. Bringing that painting home felt like bringing something tangible back from Le Marais — a fragment of history, atmosphere, and personal meaning. There was a sense of relief, even gratitude, in knowing that I had honoured both the place and my own journey as an artist. This painting is more than an image of a Parisian street. It is a tribute to ancestry, to the enduring power of place, and to the quiet moments when art allows us to feel rooted across centuries and continents. Le Marais gave me that gift, and through this painting, I am able to share it.
 
My Blog (2): Plein Air Painting Arc d'Triomphe, Paris


 How I Created Paris Street Art: A Rainy Day at the Arc de TriompheParis has an extraordinary way of revealing itself to artists. No matter how many times one visits, the city always offers a new mood, a new light, or a fleeting moment that demands to be captured. On this particular day, Paris revealed itself through rain, reflections, movement, and human connection — all of which became central to the creation of one of my most memorable Paris street paintings.The day began early. My wife, Ilse, and I left our hotel room just after sunrise. I knew instinctively that if I wanted to paint the Arc de Triomphe plein air, I needed time — time to find the right vantage point, time to observe the atmosphere, and time to allow the city to awaken around me. Paris in the early morning has a quieter energy, even along a grand avenue such as the Avenue des Champs-Élysées. The rain had already begun to fall softly, creating a silvery sheen over the pavement.Many artists avoid painting in the rain. I embrace it. Rain transforms a scene. Colours deepen, edges soften, and reflections appear that simply do not exist on a dry day. The wet surfaces of the Champs-Élysées became a mirror — reflecting lampposts, passing figures, umbrellas, and the muted glow of Parisian architecture. I knew immediately that this was the day to paint.I positioned myself on the sidewalk with a clear view of the Arc de Triomphe. Setting up my equipment in a busy public space always requires a degree of adaptability, but over the years I have learned to work efficiently and unobtrusively. The rain did not deter me; in fact, it heightened my focus. There is a certain intimacy that comes with painting outdoors in challenging conditions — the artist becomes completely absorbed in the moment.As I began sketching the composition, the city moved around me. People hurried past, umbrellas in hand, coats pulled tight. Tourists slowed their pace, drawn by the sight of an artist at work. Some stopped briefly, others lingered. Very soon, a small crowd began to form.What followed was one of the most rewarding aspects of the day.People from all over the world gathered — couples, families, solo travellers — speaking a variety of languages. French, English, German, Italian, Spanish, and many others blended into a gentle hum of conversation. Despite the rain, there was warmth in the air, not from the weather, but from human curiosity and kindness. Strangers asked questions about my process, my materials, and my inspiration. Many were fascinated by the idea of plein air painting in such an iconic location.I welcomed every conversation. For me, painting is not a solitary act, even when working alone. It is a dialogue — between artist and subject, artist and environment, and often, artist and observer. Sharing the process with onlookers adds another dimension to the work. Their reactions, comments, and curiosity subtly influence the energy of the painting without ever dictating it.The rain intensified at times, but I did not mind. The reflections on the pavement became more pronounced, adding movement and rhythm to the scene. Figures walking toward and away from the Arc de Triomphe created a natural flow, leading the viewer’s eye through the composition. I worked quickly but deliberately, aware that light and atmosphere change constantly in outdoor painting.At one point, the crowd grew so large that Ilse could no longer reach me to hand over a cup of coffee she had thoughtfully brought. We laughed about it later. It was one of those moments that perfectly captured the spirit of the day — unexpected, slightly chaotic, and utterly delightful. Ilse watched from a distance, witnessing not only the painting taking shape, but also the interaction between art and public life.As I painted, I listened. The blend of languages, laughter, questions, and passing footsteps became part of the experience. These sounds, though not visible on the canvas, influenced my brushwork and colour choices. The painting became less about architectural precision and more about atmosphere, emotion, and movement — the essence of Paris street life.Eventually, as the afternoon progressed, I felt the painting had reached its natural conclusion. Plein air work teaches an artist when to stop. Overworking a piece risks losing the spontaneity that gives it life. I packed up my equipment, grateful, slightly tired, and deeply fulfilled.That evening, Ilse and I sat together in our hotel room, reflecting on the day. We spoke about the people we met, the conversations we shared, and the privilege of creating art in such an extraordinary city. There was a quiet sense of gratitude — for the opportunity, for the experience, and for the memories we had created together.Paris never disappoints. It challenges, inspires, and rewards those who are willing to engage with it fully. That rainy day at the Arc de Triomphe was more than just a painting session; it was a reminder of why I paint. Art, at its best, connects people — across cultures, languages, and moments in time.This painting will always carry the echoes of that day: the rain on stone, the shimmer of reflections, the hum of voices from around the world, and the simple joy of being present in a place where art and life intersect so beautifully. 


What Makes a South African Wildlife Artist Unique? Africa is not merely a subject for a South African wildlife artist; it is a unique personal experience. The rhythms of the bush, the quality of light, the dust carried on a dry-season wind, and the quiet intensity of wildlife encounters shape the way African wildlife art is conceived and created. This depth of connection is what distinguishes a South African wildlife artist from those working purely from photographic reference or distant observation.

 Africa as Classroom and Mentor For artists who have grown up or worked extensively in Southern Africa, the landscape becomes a teacher. Time spent in reserves, rural areas, and remote wilderness regions develops an understanding of animal behaviour, movement, and presence that cannot be learned second-hand. A zebra standing alert in fine dust, an elephant’s slow, deliberate stride, or the stillness of predators at rest all carry subtleties that are absorbed through observation rather than instruction. This immersion allows the artist to depict wildlife not as static subjects, but as living beings within a dynamic environment. 

Understanding Light, Atmosphere, and Space African light behaves differently. It is sharper, more directional, and often unforgiving. A South African wildlife artist learns how early morning haze softens form, how midday sun compresses colour, and how late afternoon light enriches tone and contrast. These elements are critical in African wildlife paintings, where atmosphere plays as important a role as anatomy. Dust, heat shimmer, dry grasses, and vast open skies contribute to a sense of space that defines the African aesthetic. Capturing this environment authentically requires familiarity with the land itself.

 Movement Over Detail One of the defining characteristics of African wildlife art is its emphasis on movement and energy rather than photographic precision. Wildlife rarely poses. Animals shift weight, react to sound, and move through their surroundings with purpose. South African wildlife artists often prioritise gesture, posture, and flow — allowing the painting to convey life rather than perfection. This approach results in work that feels immediate and emotionally engaging, inviting the viewer into the moment rather than presenting a static image. 

Cultural and Environmental Context Wildlife in Africa exists within a broader cultural and conservation narrative. For many artists, painting African wildlife is inseparable from an awareness of conservation challenges, land stewardship, and the relationship between people and nature. This context informs the work subtly — not through overt messaging, but through respect, restraint, and authenticity. The artwork becomes a visual record of place and time, reflecting both beauty and vulnerability. 

From Field to Canvas A South African wildlife artist’s process typically begins long before brush meets canvas. Field observation, sketching, photographic reference, and mental note-taking all contribute to the final composition. Once in the studio, planning gives way to instinct, allowing unplanned elements to emerge — much like nature itself. This balance between preparation and spontaneity is central to wildlife art, resulting in paintings that feel both considered and alive.

 Why Authentic African Wildlife Art Matters In an increasingly digital and fast-paced world, original African wildlife paintings offer something rare: a connection to the natural world that is honest and enduring. Collectors are drawn not only to the subject, but to the story, experience, and integrity behind the work. A South African wildlife artist brings more than technical skill to the canvas — they bring memory, environment, and understanding. This is what gives African wildlife art its lasting power.



The Silent Challenger - Cape Buffalo by South African Artist, Joe Marais

Cape Buffalo

The Cape Buffalo is regarded as one of Africa’s most formidable and unpredictable animals, earning its place among the famed “Big Five.” Despite its heavy build, it is remarkably agile and fiercely defensive, particularly when threatened or wounded. Cape Buffalo live in large, tightly bonded herds, relying on collective strength to protect their young and injured. Their massive, fused horn bases—known as a boss—serve both as protection and a symbol of dominance. Revered and respected by wildlife enthusiasts, the Cape Buffalo embodies raw power, resilience, and an unyielding will to survive in Africa’s wild landscapes.

Nguni Majesty

Zulu Royalty

The Nguni cattle, iconic to Southern Africa, are renowned for their striking beauty, resilience, and deep cultural heritage. Their distinctive patterns and gentle yet powerful presence have made them symbols of wealth, pride, and identity among the Zulu people for centuries. Bred for endurance and adaptability, these cattle thrive in harsh African conditions where few others can. Each Nguni’s markings are as unique as a fingerprint, creating a living canvas of nature’s artistry. This particular Nguni bull, captured near Hlabisa, in the heart of Zululand, embodies both strength and serenity — a tribute to Africa’s timeless spirit and the harmonious bond between land, people, and animal.

Martial Eagle - Sentinel of the African Skies by Joe Marais

80 x 60cm Box Mounted canvas

The Martial Eagle is Africa’s largest and most formidable eagle, a true apex predator of the skies. Renowned for its immense wingspan, piercing yellow eyes, and powerful talons, it commands respect wherever it is seen. Often perched high above the landscape, it surveys its territory with calm authority, embodying patience and precision. This species is capable of taking surprisingly large prey, reflecting its strength and hunting prowess. Encountering a Martial Eagle in Mkhuze Game Reserve is a rare privilege, as its presence signals a healthy wilderness. In this painting, I attempted to capture the eagle’s poised stillness, its majesty, and quiet dominance.

Protea - Timeless Crown of the Western Cape

Original Acrylic Painting on Canvas Measurements: 800 x 600mm Block Mounted The Protea is far more than a flower; it is a powerful symbol of South Africa’s natural resilience and diversity. Thriving in some of the harshest conditions on earth, the Protea has evolved to withstand drought, fire, and poor soils, yet it produces blooms of extraordinary strength and beauty. Its bold structure and luminous colours speak of survival through adaptation, making it a fitting national emblem for a country shaped by endurance and renewal. Each Protea flower tells a story of ancient landscapes, wild fynbos plains, and the quiet strength found in nature’s ability to endure and flourish against all odds.


                       THE ART OF PRINTING
"Bring the beauty of the African wilderness into your home with our collection of limited edition very large canvas prints. Measurements: 825 x 1025mm. Each print is a high-quality reproduction of an original painting by Joe Marais, a wildlife artist from Zululand, South Africa. Our prints are printed on premium canvas and professionally block-mounted, making them ready to hang as soon as they arrive at your doorstep.
We pride ourselves on providing affordable, high-quality prints that are perfect for any budget.
Order now and add a touch of the wild to your home and office decor!"




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  • 100 Krewelkring, Meerensee, Richards Bay, South Africa

Please feel free to send me a WhatsApp for any questions. Kind regards. Joe