Suffolk Showcase Exhibition

July 18, 2009 By Leave a Comment

This year, I have had a portrait painting accepted for the Suffolk Showcase Exhibition.

It is now a firmly established event in Bury St. Edmunds Art Gallery calendar and attracts a large number of entrants. 259 paintings were submitted but only 52 were accepted for hanging.

It is an exhibition which contains a huge diversity of styles, and techniques, many of which i have to confess I had never heard of! We have the traditional to the avant-garde. There are oils, acrylicsand photographs. But there are also giclee prints, screen print and blind etching boss, archival digital prints, lambda c-type prints, as well as work created in cement or porcelain and textile

I am exhibiting a portrait in oils, clearly at the more traditional end of the scale.

"Granny McLeod 2"

Granny McLeod 2

I attach also some work by other exhibitors.

Mandala

Mandala

This is a work by Claire Cooper. It consists of hundreds of tiny figures made in cement. Certainly something to contemplate!

Still Life with Pink Wafers and Jammy Dodgers

Still Life with Pink Wafers and Jammy Dodgers

A painting in oils by Lucy Crick.

The Sea at Boyton

The Sea at Boyton

A collage of inkjet prints by Catherine Lindsay-Davies.

Playing at the Beach

Playing at the Beach

A digital print with embroidery by Amy Spreull.

Sugar Factory

Sugar Factory

Oil on canvas by Stuart Jarvis.

The exhibition runs from Saturday, 4th July-Saturday, 29th August.

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Painting a Colourful Portrait in Oils – 2

July 13, 2009 By Leave a Comment

Today, I had my second portrait sitting with Judy lasting around 2 hours. As previously stated I focused on painting her head and hands.

"Judy"

Portrait of a Kenyan Lady

Initially, I concentrated on the eyes. I looked at the shape of the lids, both upper and lower. For the cool highlights on the upper lids I introduced some Kings light blue into my basic fleshtone. The lower lids in the corners were a mixture of raw sienna and alizarin crimson. I again used the light blue as these turned into the light. I darkened the intensity of the pupil and iris with a combination of burnt umber and ultramarine.

I modified the shape of the mouth, widening it slightly. On both upper and lower lips I used a mixture of light blue and rose dore for the highlights. For the shadow cast by the upper lip burnt umber and magenta were emloyed with below this a touch of cadmium red light.

I then tried to soften the various fleshtones in the face. The basic colour was raw sienna +yellow ochre + white. At other times I added a little touch of cadmium red or light blue depending on whether it was warmer or cooler. For the shadow areas, I used ultramarine or magenta mixed into the sienna.

By now, time was running out. Quickly the hands were blocked in using the same mixtures as above, but a lot more cad. red to capture the reflection from the dress.

Detail of Hands

Detail of Hands

As I said in my previous blog, it was my intention to do more work on the costume prior to today’s sitting. This has been very slow as there is simply no fast way of achieving the effect I want. As you will see I have started blocking in the various patterns. The collar in particular requires a huge amount more work to show how it comprises of hundreds of beads catching the light and is not simply a flat shape. This will be the task for the coming week.

" Portraitof Judy" ( stage 2)

Portrait of a Kenyan Lady ( stage 2)

My next “live” session is on Thursday 23rd when I will be trying to bring head and hands to near completion. I am also considering my options for the background. But more of this in my next blog!

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Suffolk Art Society Exhibition

July 12, 2009 By Leave a Comment

An exhibition of work by the Suffolk Art Society is now taking place at the Church of St. Peter and Paul in Lavenham.

IMG_9399

It is a popular venue in an elegant setting. There are oils, acrylics, pastels, watercolours, pencil, and pen/ink  drawings covering a wide diversity of subject matter from popular local scenes to animals, figure studies, still life and portrait.

Exhibition in Lavenham Church

Exhibition in Lavenham Church

I am showing three paintings, all acrylics.

The first was done purely for fun, a far cry from the normal rigours of portrait painting. In the recent scorching summer heat I set up my easel in the garden and attacked the canvas with abandon. I used palette knife , glitter glue, acrylic inks, gold and silver paint as well as the usual pigments and mediums. I intentionally heightened the colour to express the warmth of the day. It was not a photographic representation of the scene before me, but rather my emotional response to it

Summer Garden

Summer Garden

My second painting is of an old hulk I discovered whilst teaching a painting holiday in Kirkcudbright earlier this year. Marvellous textures of wood and rusting metal. Most of the painting was done thickly with a palette knife and the fine detail added in the form of glazes or fluid pigment.

Old Hulk

Old Hulk

My third painting is of “Venetian Rooftops”. I loved the interlocking patterns and richness of colour of this scene.

Venetian Rooftops

Venetian Rooftops

The Exhibition in Lavenham runs until the 20th July. The Society’s next exhibition is in Holy Trinity Church , Long Melford from 1st-17th August.

For further details of the Suffolk Art Society and its members visit www.suffolkartsociety.co.uk

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Painting a Colourful Portrait in Oils – 1

July 9, 2009 By Leave a Comment

On occasions you meet someone you  just love to paint. This happened on Monday when I met Judy, a beautiful young woman from Kenya. She arrived for the portrait session  dressed, very simply,  in blouse and jeans. She  tentatively suggested, however, that I might be interested in seeing her in her traditional costume which she had also brought. I readily agreed.

When she reappeared, my immediate reaction was “Wow!” Such fantastic colours, patterns and shapes. A million miles from the  jumpers, cardigans or business suits I am normally requested to paint. No contest.

This first sitting lasted two hours. It is a large canvas measuring 30″ x 40 ” and is in oils.

Judy

Portrait of a Kenyan Lady

I did not do any preliminary drawing, but went straight in with the brush and paint diluted with turps. Initially, I was planning how much of the figure to include and having done so , concentrating on positioning it on the canvas. It was then down to getting the scale of the head in the correct relationship to the rest of the body and checking the position of the hands. When I was relatively happy with that I focused on the head , and established the various proportions. My normal guidelines, however, were rapidly abandoned as was my usual palette. No more yellow ochres and cadmium reds, but wonderful mixtures of burnt umber, raw sienna, ultramarine, viridian green, purple and orange.

At the end of the two hours, the painting was as above. I was happy with my morning’s work. The composition had been established and the likeness was beginning to appear.

Judy

Portrait of a Kenyan Lady

Since then, I have been working on the costume, blocking in the large patterns and vibrant colours. At this stage it is still fairly crude. There are such wonderful textures of material and beadwork , I really must do them justice.

Judy

Portrait of a Kenyan Lady

Over the next few days, I shall continue to work on the costume. My next “live” sitting is on Monday when I will focus on painting head and hands. At the moment, we have four sittings planned, but it may take more. I shall chart the progress of the painting over the next few weeks.

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Watercolour portraits

June 25, 2009 By Leave a Comment

To attempt portraits in watercolour is not for the faint hearted! Watercolour is a notoriously difficult medium to work in, and is, in comparison to other media, fairly unforgiving. Whatever technique one is using, whether it be wet into wet or a more considered approach, careful planning is required if your painting is to be a success.

Maureen

The above sketch was done in about one hour using a wet into wet technique. No preliminary drawing was done. Although initially it looked chaotic to the group I was demonstrating to, I was, even at the earliest stage, planning and allowing for my highlights to be preserved. If things go wrong there is still the possibility of lifting out with a sponge or tissue.

Catriona

The same approach was used in this sketch. Having established the position of the features I started to build up the depth of tone. At various points I dried the painting and went in with a dry brush technique, as in the eyes.

Mary

The above was a preliminary sketch I did for a more finished portrait. Again this was completed in less than an hour.

"Mary"

“Mary.”     A portrait in watercolours.

This more finished portrait took considerably longer, requiring as it did layer upon layer of transparent glazes to achieve the detail I wanted.

I find watercolour the most amazing medium and one which offers a luminosity and delicacy unrivalled by others.

In a later blog I will demonstrate a watercolour portrait from start to finish and will describe the materials, techniques and colour mixes I use.

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John Glover’s Open Studio

June 23, 2009 By Leave a Comment

For the last three weekends, my studio has been open to the public as part of Suffolk Open Studios. It was a busy but fascinating time.

John Glover's Open Studio

I had lots of visitors, from friends to students, to others who had either seen my work in the preview exhibition at Blackthorpe Barn or spotted my work in the brochure.

It is an ideal opportunity for people to see the “artist in action” and to have a chat about art, materials, and techniques.

John Glover's Open Studio 2

Apart from showing “work in progress”, I like to mount an exhibition of a variety of work. This  I feel is much more interesting for any visitor.

As can be seen from the photographs, my main interest lies in portraits, figurative painting and landscapes. For these, I work in all manner of mediums, from oils to acrylics, gouache, watercolour, pencil , charcoal and pastel.

John Glover's Open Studio 3

The comments and discussions ranged far and wide from specific paintings to general chat about materials, techniques, and the classes I run.

From the artist’s point of view the feedback is invaluable and it is always fascinating to see which particular paintings prove to be the most popular.

But the “holiday” is over and it is time to get back to the solitary business of being a working artist!

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Suffolk Open Studios

May 28, 2009 By Leave a Comment

Last week I took part in the Showcase Exhibition for Suffolk Open Studios. It was held in a spectacular medieval barn, set in the heart of the Suffolk countryside.

Blackthorpe Barn, Rougham.

Blackthorpe Barn, Rougham.

Over 130 artists who will be opening their studios to the public during June took part. It was an ideal opportunity for people to see their work and decide which studios they wish to visit.

I had two paintings on display, one a portrait in oils, the other a large gouache painting which I am delighted to say I sold.

Borage Fields, Lavenham.

” Borage Fields, Lavenham.”

For further details of Suffolk Open Studios, go to  www.suffolkopenstudios.co.uk

My own studio will be open the weekends of June 6/7, 13/14, and 20/21 at 3 Ley Road, Barrow, Bury St. Edmunds, Suffolk.  (11a.m.-5 p.m.)

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Sketching in gouache

May 27, 2009 By Leave a Comment

Gouache is a marvellous medium for doing quick sketches. I often use it when working on portrait commissions and wish to present a series of ideas . In a previous blog, I showed a portrait of Tony Langford, Managing Director of John Smedley Ltd. (2003-9)

This was only arrived at after various other alternatives had been considered.

Tony in his workshop

Tony in his workshop

Whilst it was great fun to paint , this was not really a portrait suitable for the Company Boardroom.

Tony is also a passionate sailor, so I was taken on board his motor launch and given a trip along the Orwell. Fortunately, it was a calm day as I am no seafarer! This voyage resulted in the following sketch.

Tony at the helm.

Tony at the helm.

One of the previous Chairmen, however, also had a nautical theme as background, so this alternative was rejected.

Finally, we decided on a Cambridge setting as Tony grew up there,went to University there and now lives there. Hence the idea of having his old College, Clare, as the backdrop. A couple of alternatives were considered.

Tony, with Clare College in the background.

Tony, with Clare College in the background.1

Also

Tony with Clare College in the background 2

Tony with Clare College in the background 2

This second version was chosen as the design for the finished portrait. Whilst indicating the Cambridge connection  the pose was also intentionally relaxed and casual. As such it was a good foil to previous portraits now hanging in the John Smedley Boardroom.

The finished portrait .

"Tony Langford, Chairman, John Smedley Ltd. (2003-9)"

“Tony Langford, Chairman, John Smedley Ltd. ( 2003-9)

oils  38″x 30″

The advantages of gouache as a sketching medium.

It is water based and dries instantly but remains soluble if you wish to work back into it. You can paint with a thick impasto or using a wash technique. It is opaque so you can paint light over dark . As such it is a very forgiving medium. It is much underrated and is well worth experimenting with if you’ve never tried it before.

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Clare Art Club

May 7, 2009 By Leave a Comment

Last weekend, I took part in an exhibition of work by members of Clare Art Club. It is always a most enjoyable event. The atmosphere is warm, friendly and unpretentious and members all “muck in” to get the show on the road. There is a lot of laughter and joking despite the serious  business of getting the exhibition together- erecting screens, juggling and moving paintings , sorting out craft work. After a couple of hours, however, it is time to retire to the Bell Hotel next door for a meal and liquid refreshments!

Clare Art Club

There was a huge diversity of work on show from traditional Suffolk scenes to foreign landscapes, figurative paintings,  portraits both human and animal,  to bold bright abstracts, jewellery and craftwork. Something for everybody to enjoy as they wandered round the exhibition or sat sipping tea and eating cake.

The art experts

The following are some of the Club members and their paintings.

Sue

Sue Eaton

Jan Couling

Jan Couling

Kevin Franks

Kevin Franks

I had two paintings on show in the exhibition, both oils.

Tina

“Tina”    (40″x30″)

Granny McLeod

“Granny McLeod”   (20″x16″)

Clare Art Club is around 23 years old and was formed by its President Irene Corless. It has 99 members. As well as having two exhibitions a year, in the Town Hall at Clare in Suffolk,  the Club meets at the Bell Hotel for “demonstrations” on the 4th Tuesday of each month.  Anyone interested in joining should contact Jan Couling the Membership Secretary.

Shadow

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Sam Motherwell's Exhibition

April 30, 2009 By 1 Comment

In previous blogs I have spoken both of charcoal techniques and working “en plein air”.

In his new exhibition at the Barnabas Gallery in Cambridge, Sam Motherwell manages to combine the two. There are over 30 charcoal drawings done on the spot in Iceland, Scotland, Finland, India, Nambia, Spain , Egypt and Greece.

Sam Motherwell

Dr. Sam Motherwell.

Done quickly, Sam’s drawings retain a freshness and spontaneity that can so easily be lost when using charcoal as a medium. He has a very individual style which reminds me of the work of Paul Hogarth. Like Sam, Hogarth  worked almost exclusively in black and white, illustrating books by Brendan Behan and also those on his own travels around the world. Both artists balance line and mass, shift perspective and create almost abstract patterns out of everyday scenes and people.

Sam & Pat Motherwell

Sam and Pat Motherwell chat to Colin Hayes at the Private View.

Private view

Other guests.

As well as showing Sam’s drawings, this exhibition offers the rare opportunity to view a working studio and print workshop, and to discuss  other processes such as lithography, etching and linocut.

Sam Motherwell's studio

Sam’s studio within the St. Barnabas Press.

Sam Motherwell’s Exhibition runs from 25th April- 16th May at the Barnabas Gallery, Coldhans Road, Cambridge CB1 3EW. Mon-Frid. 10-6, Sat. 10-4

Also worth checking out is Sam’s recent publication – “Mill Road stories without words”.  It is a book of 114 evocative linocuts of Mill Road, one of Cambridge’s most colourful streets.

Finally, Sam in  flamboyant  mode. Behind him, a portrait I painted last year as his term of office as the President of the Cambridge Drawing Society drew to a close.

dr-s-motherwell

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