Press release from U.S. Marshal Monitor by Historian and Public Affairs Officer David Turk.
From Marshal to Master Painter
Once the Chief of the Eastern District of California, Michael Nelson traded in his badge after three decades of service with the USMS in 1999 and pursued his long-standing desire to paint. Though he never kept a paintbrush in his holster, Nelson was always drawn to art, beginning with simple pencil sketches of western marshals.
Nurturing Artistic Talent
Nelson’s transition from law enforcement to art began at age forty, when his wife encouraged him to hone his clear talent. He enrolled in night painting classes at a local high school but found himself uninspired by the curriculum, which focused on mundane still lives. Disenchanted, Nelson left those classes, determined instead to paint landscapes and seascapes.
It was artist Gary Langdon from Madera, California, who truly guided Nelson’s hand. After critiquing Nelson’s early oil paintings but recognizing the promise in his sketchbook, Langdon brought Nelson into his advanced class. For three years, Nelson attended weekly sessions, absorbing as much knowledge as he could—until Langdon acknowledged his student’s growth and suggested it was time for Nelson to paint independently. The two remain in contact to this day.
Exploring New Subjects and Success
Nelson’s artistic journey expanded when he met marine artist Robert Taylor. Under Taylor’s mentorship, Nelson refined his technique, especially in color and glazing, and began to depict the vibrant life of the underwater world. Taylor became Nelson’s agent, producing three limited-edition prints and helping place Nelson’s work in the Seaside Fine Art Gallery in Wailea, Maui, and the Center Art Gallery in Honolulu—a rare feat for a non-local artist. Nelson’s portfolio diversified to include golf courses, seascapes, and wildlife.
A passionate golfer, Nelson painted famous holes such as those at Augusta National and Pebble Beach. His commission work includes a California State Capitol scene and a memorial piece for a late state politician.
Legacy and Recognition
In 1988, Director Stanley Morris commissioned Nelson to create a painting for the US Marshals Service bicentennial. Unable to find a fitting depiction of marshals, Morris entrusted Nelson with the task. The resulting oil painting, “One to Bury, One to Hang,” now hangs in the Director’s lobby at Headquarters. The artwork captures three marshals returning with two wanted criminals—one alive, one draped over a saddle. The title which Nelson labored over has become as celebrated as the painting itself.
A thousand prints were made, with over 700 sold to marshals nationwide. Despite the original’s value, Nelson kept print prices affordable for his colleagues. Today, the artwork is recognized across the service and is displayed in the majority of marshal offices, and has been part of a Smithsonian traveling exhibition.
A Continuing Artistic Pursuit
Nelson now spends about forty hours a week painting in his Fair Oaks, California, studio. His art has won numerous awards, been featured in prominent magazines and calendars, and highlighted by local media. Despite accolades, Nelson remains humble, moving from one painting to the next without attachment, always considering his latest work his favorite—until he completes the next. He notes, “The day I’m satisfied with my art is the day I’ll hang up my brushes alongside my gun.”