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The concept behind this painting was inspired by the new Millennium. The execution of it was propelled by artistic ego.

Throughout 1999 and into 2000, the sports and entertainment industries were making their "Best of the Century" lists. So I asked, "Why not the Thoroughbred racing industry, as well?" After all, we have the same spirited arguments over who were the all time best horses. The only problem was, I couldn't include 100 horses in a painting! Quite the opposite. I had to narrow it down to 5 flat trackers and 3 steeplechase jumpers. This was the maximum I had room for in the composition.

I consulted with friend and legendary Daily Racing Form columnist, Joe Hirsch, for the Thoroughbreds, and writer and former jump rider, Sean Clancy, for the jumpers. Mr. Hirsch actually suggested about 15 or 20 horses, but I quickly had to remember that selling my artwork is how I pay my mortgage. If I didn't include the greatest AND most popular, I wouldn't sell a picture. Clancy kindly supplied all 3 jumpers as I know virtually nothing about the sport. If it were up to me, however, I would've included a jumper named Yaw who was an offspring Seattle Slew. Yaw is now retired and owned by Bill & Christine Entenmann of the famous Entenmann bakery products. Yaw twice won the prestigious New York Turf Writer's Cup in Saratoga and the Entenmann's commissioned me to paint him. He became a running and jumping powerhouse once they involved him in that type of racing. However, Sean Clancy didn't feel that Yaw accomplished quite enough to be included in an all time top 3 list.

So after settling on the 8 horses, the next consideration was: How to show them? This is where the fun began. They're all in horse heaven, so I decided to portray them as ghosts. Moreover, since they were the best of the best, I felt they should have their race at America's greatest racetrack --- Saratoga Race Course, in upstate New York. It's the birthplace of American racing; the sport having started there in 1863. Last, since the annual Saratoga race meeting only operates during the heat of August, I decided this fantastical race should transpire in secret, in middle winter.

From there, I asked old friend and Saratoga Springs resident, Dave Smith, to photograph the track for me in the wintertime. Dave is a wizard CPA by trade, but a superlative photographer by hobby. They have some brutal winters up there, and he compiled an amazing array of photos of "Saratoga under snow" from every conceivable angle. I then went to the late, great Jerry Frutkoff for photo reference on old starting gates.

Note: Jerry passed away in the summer of 2003 at the age of 80. He had been Maryland racing's track photographer for over 50 years. No equine photographer on earth has a better inventory of photos. Jerry was a courteous, genteel and generous man. He was also extremely supportive of my art endeavors. As a representational painter, photo reference for authenticity purposes is vital to my process. I consider myself extremely fortunate to be a Marylander and to have had Jerry Frutkoff as an immediate resource. He always made me welcome to his unparalleled photo collection. It goes without saying that Jerry Frutkoff is terribly missed by all in Maryland Racing. I digress. I wanted to "split the difference" on starting gate eras. At the atrt of the century they didn't even use them, and I didn't want one from the 1990s. I described the angle I needed, and Jerry supplied me with a perfect photo of an old Anderson Starting Gate from the 1950s.

Next I went to photo libraries at the National Racing Museum and the Selima Room Racing Library in Bowie, Maryland. As an interesting note, author Laura Hillenbrand did a lot of her research on Seabiscuit from the Selima Room. It's an extensive collection of historical Thoroughbred books and magazines. I've heard only Keeneland racetrack's fabled library can top the Selima Room. Again, luck o' the Irish, I suppose, on being a Marylander. I live 20 minutes from the Selima Room library and found almost every photo I was looking for there.

Once I ascertained I wanted to show the field of ghosts breaking from the gate on the backstretch (so the steepled and open-air Saratoga grandstand was evident) I wanted to show each individual horse being included in the scene. I did not want "types" or just suggestions of ghosts with abstract lines, I wanted to use pictures of the actual individuals. And one by one, I located photos of all 5 great horses breaking from a gate.

The remaining challenge was: How best to "ghost" them? Again, I wanted to maintain the identity of each horse, yet I also wanted the viewer to "see through" them. It was a constant battle of give-and-take; of how much to show? My goal was to have the viewer, at first glance, not see the horses, but be disturbed by something in the scene. Then, on closer examination, notice the specters of the 5 leaving the snow covered gate. Then, say "cool!"

To make this happen, I illustrated each horse from a different position leaving gate. They had to be staggered enough to show plenty of each horse. I worked hard to maintain the true identity of body shapes, color of each horse, color and style of silks, and jockey faces. It may not be noticeable at first blush, but I have depicted the likenesses of Ron Turcotte, Eddie Arcaro, Jean Cruguet and Jacinto Vasquez. Every individual horse's tack and any head and leg markings are correct, too. Finally, I have to admit, I placed them breaking in the order that I think they would finish if the race were actually run. This is my Artistic License, as some like to say.

It was the most challenging and fun painting of my career. I may consider additional ghost images of other great horses in other settings in the future. I have to have a lot of time to make it happen, however, as the research on this one took 3 years!

sing, let me emphatically underscore that if you want a "can't miss" conversational piece for your home, office, waiting room, restaurant or bar -- wherever -- this is the art print for you. To date, I've only offered this image during my annual on-track exhibit at Saratoga Race Course. However, without fail, I receive at least one call or note a month from someone who purchased "Memories of Legends." They graciously remark what a great conversational piece the print was at a party, as a gift, etc. I couldn't be more flattered.

I appreciate your time in reading the story behind the painting. ( ... Bet you never thought so much went into the composition of a painting, huh?) If you have any questions or comments, please don't hesitate to e-mail or call. Thank you for your interest in my artwork.