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Profuse. Profound. Transcendent. Jubilant. In his life as in his art, Hunt Slonem is all of these things and more. He is an inveterate collector of the inanimate (chandeliers, furniture, candlesticks) and animate (a menagerie of exotic birds), and his art, too, is accumulative; a governing principle of his painting and sculpture is multiplicity—of subject and of pattern.

In The Worlds of Hunt Slonem author Dominique Nahas delves deep beneath the decorative surface of Slonem’s work to reveal the fascinating sources of and influences on his art. The chapter, “Set Out on a Journey,” examines the places in which he lived and worked in his youth, from his boyhood in Hawaii to a formative sojourn in Nicaragua as a teenager to his training at Tulane University, and how his early experiences impacted his development as an artist. “Multiplicity,” presents a visual lexicon of the innumerable creatures he has celebrated over and over in his paintings, starting with his early Broadway Bug Series (c. 1974), and including rabbits, ocelots, monkeys, butterflies, moths, frogs, turtles, fish, and insects, as well as all manner of birds: cockatoos, toucans, Cordon Bleu finches, macaws, magpies, mynahs, eagles, and rhinoceros hornbills. In “Let There Be Light,” Nahas shows how Slonem works with and invokes light in his art, using techniques that allow light to refract, multiply, and radiate, exhilarating the senses. “The Grid: Structure as Image” focuses on his painting techniques and his use of grids, repetitive patterning, and multiples as an organizing principle of expressivity. The last chapter, “Saints, Boddhisatvas, and the Celebrated,” is devoted to his portraits, including icons of the church (St. Francis), Hollywood (Valentino, Bette Davis, et al.), and Washington (Abraham Lincoln).

This major retrospective concludes with a biographical timeline, an extensive listing of Slonem’s solo exhibitions and works held in public collections, and a Selected Bibliography. Slonem is represented by the Marlborough Gallery.