Read this Wildlife Art Journal article

There are a zillion different ways to draw comparisons between artists. Bill Kerr, who has been collecting art a long time and who, together with his wife, Joffa, assembled a collection that is a cornerstone of the National Museum of Wildlife Art, says that each piece must stand on its own merits.  And yet, for the collector, many are embued with enhanced richness when one has the opportunity to know the creator.

A few years ago, Kerr said that he would be hard pressed to find an artist who is more sincere and honest than Wyoming animal painter Laney.

The signature on her stylized work bears only one name, and though her brushstrokes spell out “Laney” in cursive, the woman behind the scenes, who dwells in the shadows of the Absaroka-Wind River Range, asserts her presence in a different way.  In person, she is quiet, reflective, introverted, always hard on herself, self-deprecating, but with the mind of a trained naturalist, packing in miles on horseback and exploring the vast hidden corners of her backyard, her art has a confident voice.

Realism in the context of Laney's work means real contact with subjects, living next to them, and her interpretations are what set her work apart.

Although she lives at times—and by her own admission—a hermetic existence in the forests near Crowheart astride of the Wind River Indian Reservation, she has a direct, enduring link to the veteran scientists of the world who came of age...