Carl Clemens Moritz Rungius (1869-1959) was born in Rixdorf, Germany and first learned to draw animals alongside his grandfather, who pursued drawing, painting, and taxidermy in his retirement. Later, Carl's academic and artistic studies were conducted at the Berlin Kunstakademie (Art School) in preparation for three winters at the Kunstakademie (Academy of Art). Many hours were also spent studying and sketching live animals at the Berlin Zoo and the bones, muscles, tendons, and tissue of carcasses at a local glue factory. These early forays, combined with his love of the outdoors, resulted in a realistic painting style that would ultimately garner him awards and recognition as America's most important big-game naturalist painter and sculptor. He also holds the distinction of being the first career wildlife artist in North America.

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In 1896, Carl emigrated to the United States. He married his first cousin, Louise Fulda and began working as an illustrator for many sporting books and magazines then popular in the country. The etchings on view in this exhibit were a direct result of the artist's development during this period. The newlyweds lived on the top floor of her father's house in the space that Rungius had occupied for a decade as a suite and studio. Due to their familial status they agreed to a childless marriage and focussed on Rungius' career as an artist. Carl painted; Louise did the rest.

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Rungius first visited Banff in 1910 on the invitation of local guide, trapper, and outfitter Jimmy Simpson. Simpson, himself an amateur naturalist painter, was so impressed by Rungius' ability to accurately draw the form and structure of big game he invited Carl to the Rockies for a complimentary sheep-hunting expedition. That invitation was the beginning of Rungius' forty-seven year annual April to October pilgrimage to Banff. As be became familiar with the region, and more experienced as an artist, his Canadian paintings evolved from pictorial stages for his animal portraits to award-winning canvases of Rocky Mountain lakes, glaciers, and ranges. These high alpine settings were prominently captured on canvas with brighter and bolder hues suffused with light to strengthen perspective.

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As an avid sportsman, Rungius spent more time in the wilderness than other artists of his day. By direct observation he was able to gain exceptional insight into the animals and the environments they inhabited. He situated animals in their natural environment, a practice that was new to painting in early twentieth-century North America. Of the artist's work, Belmore Browne commented that Rungius couldn't paint hooves and therefore they are always concealed. Regardless, Rungius acquired numerous prestigious international prizes and awards of distinction for his unique interpretations

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Louise and Carl Rungius enjoyed the friendship of other outdoor enthusiasts such as Philip and Pearl Moore, Jimmy and Billie Simpson, Peter and Catharine Whyte, and the Belmore Browne family. Rungius and Browne often crossed paths when painting in the high country. Even Canada's J.E.H. MacDonald painted with Rungius in 1924 at Lake O'Hara. Rungius' Banff neighbour and friend, sculptor Charlie Beil and his wife Olive, as well as Jim and Fern Brewster, rounded out their circle of close Banff friends.