GALLERY NEWS

In Resonance at Ann Korologos Gallery, Veryl Goodnight brings a commanding physical presence to the exhibition through her masterful bronze sculptures. With a six-decade career grounded in traditional realism, Goodnight’s work reflects a deep understanding of anatomy, movement, and form—particularly in her depictions of horses. In this conversation, she reflects on artistic legacy, the enduring power of realism, and the influences that continue to shape her evolving practice.

Sculpture introduces a physical presence into the Resonance exhibition. As a painter and a sculptor, how do form, movement, or material contribute to the emotional impact of your work? 

I am dedicated to creating traditional realism in both painting and sculpture. I have been a professional artist for 60 years and taught sculpting the horse for about 30 years. During this time, I have seen various trends come and go, but realism has always remained as a pinnacle of artistic achievement. Understanding anatomy is, to me, like having a key to the treasure chest of creativity. This knowledge allows great artists such as Donna Howell Sickles to pursue very unique visions of the west with a contemporary flare that still falls within the category of “Realism.”

Tell us about Liberty and the symbolism or role of horses in your work?

Liberty depicts a horse trotting in place, a movement called the Piaffe. Dressage competitions often feature this as the pinnacle of training. The best horses can do the Piaffe without a rider. They work at Liberty. 

This exhibition highlights the women artists represented by the gallery. Are there women, artists or not, historical or contemporary, who have influenced your work?

The women artists that have influenced my work are Rosa Bonheur and Anna Hyatt Huntington. I consider Bonheur’s “The Horse Fair” one of the finest paintings ever done by anyone and throughout history. I keep an image of it next to my easel as a “carrot” to reach for.

One of my sculptures, Cares For Her Brothers, was installed at Brookgreen Gardens early in my career. Brookgreen is the largest collection of American sculpture in the world and was founded by Anna Hyatt Huntington. The entrance to this extraordinary sculpture garden is Anna Hyatt Huntington’s “Fighting Stallions.” In researching this for you, I was thrilled to learn that she did this monument when she was 74 years old and completed another piece almost that large when she was 91. The reason this excited me is this week I was commissioned by the Texas Historical Commission to enlarge my bison bronze, The Sage, to over life-size. The monumental bull bison will be placed at the Charles and Mary Ann Goodnight Ranch State Historical Site and accompany “Back From the Brink,” which I did 25 years ago. 

What perspectives do you bring to contemporary Western or landscape art that may have historically been overlooked?

I have observed the evolution of “Western Art” from its iconic representations of cowboys and Native Americans to encompass subjects from the entire continent of North America. Over a span of 15 years, I dedicated myself to researching the pivotal roles played by sled dogs and their drivers in the development of America. This extensive research culminated in a nine-month exhibition at the Western Spirit Museum in Scottsdale. Ann Korogolos emerged as one of the few art dealers who genuinely supported this lesser-known subject. I deeply regret that she passed away before witnessing the realization of my vision. 

What can we look forward to coming out of your studio?

You will be receiving a brand-new bronze of a mule deer fawn as soon as the bases arrive. “Discovery” has a long story that may someday be a book. The result is what I feel is the best sculpture I have ever created.