Read this Wildlife Art Journal article

I first began paying attention to Stanley Meltzoff's art in 1986 when he offered to display his baroque painting, Orca and Tuna #2 in Wildlife In Art, an exhibition I envisioned as a companion to Birds in Art, while I was director of the Leigh Yawkey Woodson Art Museum.
Two years later, when I joined the Society of Animal Artists as tour director, I gained the opportunity to see Meltzoff's new work on an annual basis, and it never failed to blow me away.  But what I saw then was only the tip of the iceberg. 
Thanks to Mike Rivkin, the world can now enjoy the full spectrum of Meltzoff's art—his portraiture, his allegorical and historic and science fiction paintings and illustrations, his trompe-l'oeil masterpieces and other feats of virtuosity, his fish paintings which pre-occupied Melzoff during the second half of his career, and his writing.  
Rivkin, who undertook the publication of Stanley Meltzoff: Picture Maker as a personal mission, organized the book's arch more-or-less chronologically, and unified it with two narrative threads: Meltzoff's gritty autobiographical yet often philosophical writing in counterpoint to Rivkin's own page-by-page interpretative analysis.  
By way of introduction, the book features a forward written in 2001 by the eminent aesthetician, author of The Story of Art, and long-time friend of Meltzoff, E.H. Gombrich.  Gombrich, of course, being a pillar in the world of high art who couldn't possibly be surpassed for this purpose.
During their lives, Meltzoff and his second wife, Diane Pogrant, had...