"Sittelle, l'envol" 

Behind the scene / Naturalistic view / Exhibitions and Awards / The Original / Fine Art Prints

The Eurasian nuthatch is one of the regular visitors to my garden. Every year, a pair returns to nest in a hollowed-out tree or branch, carefully selecting the perfect spot. I’ve spent countless hours observing them and following every stage of their nesting process: the male singing from the treetops while the female lines the cavity with twigs, the entrance hole sealed with a paste of clay and saliva to fit just right, the laying of eggs, the feeding of the chicks, and finally, the fledglings’ first flights.

Over time, a quiet trust developed between us. These clever, alert birds seemed to understand that I meant them no harm. One winter, during a particularly bitter cold snap, I set up a hide inside the old chicken coop, placing a few sunflower seeds inside a hollow stump just a meter away. The nuthatch was the first to arrive. She carefully inspected the stump, found the seeds, picked one up, and flew off in an instant.

Blue tits, great tits, and a robin came next, collecting seeds and retreating to a hazel tree to eat in peace. The finches, meanwhile, stayed put and methodically shelled their seeds. But whenever the nuthatch swooped back, the others scattered without hesitation.

She never lingered. She would choose a seed with great care, then take off again, wings stretched forward in the winter light. That image—her delicate shape in mid-flight—stayed with me. After several days in hiding, I finally managed to take a few usable photos, despite the low light and the bird’s swift movements. My lens captured what the eye couldn’t: translucent wing feathers spread like a fan, fine details under the wings, and the exact tones of her plumage.

With those images in mind, I began composing the painting. I worked on raw MDF, using acrylics first to build the scene, then enhanced the contrasts with oils to bring out the texture of the stump, the structure of the primary feathers, and the atmosphere of the background.

— Laurence Saunois