painted many birds, but for sheer stage presence, his great gray owl is hard to beat. Perched on a rotten branch, it turns halfway, as though disturbed, and fixes the viewer with an imperious stare. The yellow eyes glow, their intensity magnified by concentric ringlike markings that spread outward, like a feathery vortex. The plumage is regal — thick drapery, in a gray and brown pattern, falling in soft folds. The owl exudes the heavy solemnity of one of Velázquez’s popes or Holbein’s portrait of Thomas More.
The owl has stiff competition in “Audubon’s Aviary: The Final Flight.”
