About alan

British artist Alan Reed, was born in Corbridge in the North of England into a family with a history of painting. "I have been passionate about painting all my life and committed to helping others through my paintings". Alan trained as an illustrator / graphic designer in the North of England and spent the early part of his career doing artist impressions of new building projects for architects. Alan Reed specialises in landscapes, cityscapes and portraits both in watercolours and oils. His unique, fluid style captures the atmosphere of different settings from the drama of city life to the serenity and beauty of a rural landscape. Alan Reed has had many successful exhibitions both in the UK and abroad including those at the Mall Galleries in London, Malcolm Innes Gallery in Edinburgh, Italy, the USA and the Middle East and has been a regular exhibitor of rowing scenes in the Stewards’ Enclosure at the Henley Royal Regatta. 2013 Winner of "The Artist's Prize" in the Royal Watercolour Society Competition 2013 with his painting "Jebel Akhdar, Oman". The painting was exhibited at the Bankside Gallery, London.   2011 Alan Reed - Winner of the "Circus Painting Prize" in the Bath Prize. Alan Reed's painting of  “Pump Room in the Snow” was highly commended in the Bath Prize. 2011 Alan Reed - One of the finals with his painting of "Grey Street" in the "Show me the Monet" programme shown on BBC2. 2010 Alan Reed - 1st runner up in "The Bath Prize" with his original painting of "The Royal Crescent, Bath". Alan Reed's painting of the "The Roman Baths by Torchlight" was also highly commended in the Bath Prize. Artist Alan Reed's approach to painting is described in a book
entitled "Landscapes in Watercolour" by Theodora Philcox, an inspirational book which features the work of 23 leading watercolourists from around the world. The Middle East is an area to which Alan has given his artistic attention thanks to a series of ongoing commissions for the government of Oman. Alan’s work has become increasingly collectable and is widely represented internationally through private and corporate commissions including those for Royalty, Coutts Bank, Rolls Royce, Northern Rock PLC, several client’s private and corporate properties both in the UK and worldwide. We supply to Interior designers, Cruise ships, Corporate companies and galleries providing the perfect solution to meet all your needs. Portraits, Gift Vouchers, Sherree V-Daines, Sketchbook, Reviews, Painting Tips and Paintings for the Queen Worldwide Shipping www.alanreed.com
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Paintings of Tiree

Alan Reed

Sketchbook watercolour of Scarinish, Tiree

2017 has been a very busy year for Susan and I both with business and family. Our son was married 13th May so as a way to relax after the build up to the wedding we planned a painting trip to a Scottish Island called Tiree. Some friends of ours bought a holiday cottage there called An Caladh ( meaning rest place by the sea ) so we arranged a three night stay and hoped that the weather would be favourable and that its name would live up to expectations.

As we left from Glasgow Airport in a Twin Otter we hit thick cloud so it wasn’t until we descended below cloud level that we caught our first view of this small island, only about 8 miles long. We landed on the tiny airstrip that was once used by Coastal Command during WW2 to be greeted by our friends.

First port of call was Scarinish Harbour to purchase lobsters, crabs, fresh langoustines and local steaks for our evening meals which were exquisitely prepared by Susan. Whilst these were being discussed at the local fish van I launched into my first sketchbook watercolour of the picturesque harbour set against the backdrop of an ominous sky.

Alan Reed

Tiree Lobster & Crab

 

Alan Reed

Langoustines from Tiree

Fortunately the ominous sky was more of a show than a shower so after lunch we were able to enjoy a sunlit walk along Balephil Bay where I painted the beautiful white sands. This just whetted my appetite for more beach paintings so before our evening meal I went down to Balevullin Beach only 5 minutes walk from An Caladh.

The beach is a favourite haunt for surfers and I could see why as the waves rushed in. I found a suitable vantage point and tackled two watercolours of the beach, one in my sketchbook, the other on a 12″ x 9″ Arches Block.

Alan Reed

The beach at Balevullin, high tide

The next day I returned to do another sketchbook watercolour, this time changing the format of the composition to include the foreground rocks. Due to the strong sunlight and low tide, the sea became more turquoise in colour which made for a completely different painting. I was already starting to build up a mini collection of Paintings of Tiree to be developed into more finished pieces.

Alan Reed

The beach at Balevullin, Tiree

The pattern for the weather was rain in the morning, sun in the afternoon and great sunsets in the evening so on the Monday morning I was confined to painting a view from one of the windows of An Caladh. The distant white houses highlighted against the threatening sky and the palm tree made for an interesting composition.

Alan Reed

View from a window, An Caladh, Tiree

Producing Paintings of Tiree is just one of the many activities I enjoyed during our three days on the island.

Did I mention the bike rides, watching thirty seals playing very close to the shore of Balephetrish Beach, wonderful walks and spotting very large hares, feasting on local produce, bird watching and a visit to the museum about Skerryvore Lighthouse?

As we took off, the skies were clear so we were able to enjoy stunning views of the inner Hebrides including Staffa, Mull and Iona, a reminder of some of the paintings I have produced in the past of these islands.

Visit alanreed.com to get updates on new Paintings of Tiree.

Alan Reed

Tiree Sunset

 

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Painting Holidays in Italy

Alan Reed

Chiesa del Carmine watercolour

We have just returned from another wonderful week in Umbria where we ran another Painting Holiday. Once again Chiesa del Carmine was the venue. For some of the guests it was their 3rd and 4th Painting Holiday in Italy with us and they have already re-booked for 2018 along with some our new guests this year.

This time we decided to make the holiday even more relaxing by hiring a luxury coach to enable stress free transfers for guests travelling from Newcastle Airport and for our day trips out to the hilltop towns of Assisi, Cortona, Todi and Perugia.

We added wine tasting and a fun trip around the nearby vineyards to our itinery which everyone loved.

The painters responded well to the challenge of painting “en plein air” throughout the week and were pleased with their results. It was a delight to see them develop their skills and grow in their understanding of drawing and painting.

As usual, I would often paint alongside the painters to aid tuition. Sometimes I would do a simple pen drawing in my sketchbook to help resolve the composition.

Alan Reed

Pen & Ink drawing of a vineyard near Chiesa del Carmine

Alan Reed

Sketch book pen drawing of Todi, Umbria

On other occasions I would either paint a sketchbook watercolour on hand made watercolour paper in the new batch of leather bound sketchbooks I had made myself at the Literary and Philosophical Society in Newcastle. It’s so rewarding painting in a sketchbook you have made yourself.

Alan Reed

Sketchbook watercolour of a vineyard

Or I would produce a larger painting on an Arches Watercolour Block. Sometimes I would do all three!

Although there is always lots to paint around Chiesa del Carmine, when you are running Painting Holidays in Italy, it’s always fun to break up the weeks activities by visiting other nearby places. The hilltop town of Todi has easy access for the guests who are less mobile. Park at the bottom of the town and take the funicular to the top where you can get terrific views of  the town which are fascinating to paint.

Several of the guests had a go at painting the scene below. What could have been quite a daunting cityscape for many was simplified by breaking down the complex array of gable ends, eaves and rooftops into more manageable horizontal and vertical shapes. A light wash of Lemon Yellow and Rose Madder for the sunlit areas and a gentle purple mix for the shadows helped to capture the higgledy piggledy nature of the Medieval town without resorting to lots of fussy detail.

Alan Reed

Todi, Umbria

It was a very satisfying trip on so many levels, summed up beautifully by the lovely testimonial below from one of our new guests who has already re- booked for 2018.

 

“Of all the many and varied holidays I’ve had this was one of the very best.  So many aspects of it will stay with me:  the beauty, tranquility, flora and fauna of the valley; the superb reverentially restored church and farmhouse; the attention to detail and comfort (who would have thought of building a fridge and glasses cupboard into an ancient wall surrounding the swimming pool?); the wonderfully talented chefs and friendly staff; the lovely and unspoiled local towns and cities and, most importantly of all, the thought and care that goes into combining all of these into a perfectly balanced week with something for everyone and lots of choice.
 
What about the painting? you’ll be thinking. This was a very personal experience for each of us. As someone with a love of art and no experience of creating any I learned something very important. How to look and how to see. I love Alan’s style and very much enjoy the paintings of his I own. A treasured possessions is one of his exquisite notebooks.
 
He is a sensitive, encouraging teacher at the same time as being an honest and helpful critic (not an easy balance to achieve). I confess to being frustrated by my own crass attempts at producing an actual painting of something recognisable but was not discouraged. I learned about mixing colours, appropriate brushes and something about the techniques I’d be so proud to master. I do have a drawing of an olive tree I’m quite happy with.
 
It was an absolute joy to watch those more skilled (and dedicated!) on site, in cafes, churches and viewpoints learning, sketching and painting. The finished works are more than inspiring.
 
I’m much better at shopping.  And Susan is a highly skilled mentor and adviser in this respect. Local knowledge and networking is something else that is a huge bonus in so many aspects of this holiday.
 
Good conversation, laughter and fun were in abundance last week. I’m missing that already – and the sun. Did I mention the sun? It shone all the time and sometimes with a gentle cooling breeze. Perfect. Everything was, actually, perfect.
 
 Thank you Susan and Alan so, so much”.
Maggie C

We have already set one of the dates for our Painting Holidays in Italy for 2018, 2nd – 9th June. There is now only one double room available.

Due to growing interest, we are considering running another one of our Painting Holidays in Italy in either September or October 2017. You can register your interest for 2018 at reedartholidays.com or alanreed.com

 

 

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Paintings of olive trees

Alan Reed

Olive Grove, Spring Light

I’ve been painting “en plein air” in Italy since 1991 when Susan took me to Venice. I fell in love with its architecture, the light, atmosphere and culture. However, it was not until our first visit to Umbria in March 2002 that I started to make sketchbook studies of olive trees.

We were staying in the Relais il Canalicchio hotel, perched on a hill commanding stunning views of the Umbrian countryside. During the first night of our stay, having enjoyed a fabulous meal at their restaurant, there was a heavy fall of snow. We awoke to complete silence and total white out. We were literally snowed in until the following day. Once the snow had cleared we began to explore Umbria in earnest, taking in hilltop towns like Orvieto, Todi, Perugia, Assisi and Norcia.

On one occasion we drove to the Fabriano paper factory and I purchased several leather bound sketchbooks containing their wonderful hand made watercolour paper that is so lovely to paint on. On our return to the Relais il Canalicchio I wasted no time in testing the first sketchbook by painting the view from our room as the sun was going down.

Alan Reed

Sketchbook Watercolour from the Relais il Canalicchio

It was during this period that I began to develop a sketchbook painting style in watercolour where I would deliberately avoid drawing out beforehand the scene in pencil. This meant that the brush marks became more considered, fluid and direct.

I also began to make sketchbook studies of the olive trees that surrounded the tiny hill top town of Canalicchio. These became the inspiration for a number of studio paintings including the one below of the Relais il Canalicchio available as a limited edition print.

Painting of Relais il Canalicchio

Relais il Canalicchio

On our reedart painting holidays in Umbria we stay at Chiesa del Carmine. The gardens have plenty of olive trees for the guests to paint. They have fun painting and drawing their twisted branches and beautifully shaped leaves. I also join in the fun with my own sketchbook watercolours. These days I make my own sketchbooks using paper from Khadi Papers and leather from a local supplier.

Alan Reed

Sketchbook Watercolour of Olive trees

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Clifton Suspension Bridge

Alan Reed

Clifton Suspension Bridge in the Mist

In 2013 I entered the Bristol Prize. The organisers of this new painting competition had also run the Bath Prize for several years where I was runner up in 2010 with my painting of the Royal Crescent. I also won the Circus Prize in 2011 with my watercolour of The Circus.

I was keen to visit Bristol and spent a day painting on location which was one of the criteria for entry. Each artist was given a location to paint “en plein air” which can often be quite a challenge. However, you were also allowed to paint scenes of you own choosing so I wasted no time in finding an appropriate view to sketch this famous bridge which spans the Avon in dramatic fashion. It was opened in 1864 based on Isambard Kingdom Brunel’s initial designs, completed several years after his death.

In this watercolour of Clifton Suspension Bridge I decided to keep the colours quite neutral to create a sense of mood and drama. Painting it in the mist provided areas of contrast both in tonal values but also in the way you have sharp, hard lines verses soft, gentle edges. It’s these kind of elements that one needs to be conscious of when painting this kind of subject, otherwise the overall effect can end up looking sterile and mechanical. The way that the man made tower emerges out of the natural uncut rocks provides further contrast and interest too.

“Clifton Suspension Bridge in the Mist” is now available as a limited edition print online from alanreed.com and from our Gallery in Ponteland.

 

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Royal Albert Hall

Alan Reed

The Royal Albert Hall

I’m always been attracted to fine, beautifully designed buildings. Painting them means that you end up looking much more intensely to their architectural features and appreciating them all the more.

I first painted the Royal Albert Hall, London in 2005 and sold the original watercolour to a famous opera singer. I recently decided to paint a much larger study which is now available as this limited edition print.

As it was almost 12 years since I first painted the Royal Albert Hall, I decided to re-visit the scene early autumn last year to remind myself of its scale and majesty but discovered that the trees either side of the fine steps leading up to the monument had grown much taller and were obscuring the building. Fortunately I still had the research studies I’d made 12 years previously so I could refer to them.

On a painting of this kind of scale the danger is to really tighten up with the brush marks to the point of making the painting look like a photograph. I had to keep stopping myself from going too detailed to keep the painting looking bright and fresh.

I also made sure that I didn’t go too dark with the shadow areas which could have caused the colours to go muddy. Keeping the effect of autumn sunlight hitting the golden architecture was an important element to the painting too. A light wash of Cadmium Yellow and Cadmium Lemon at the start provided a good base for all the other colours. The wash was intensified around the area of the Royal Albert Hall.

A large size 20 brush was used for much of the painting to avoid going too tight although I did use a smaller brush for some of the architectural details and the figures.

You can watch a short video of me painting 2two of the figures on YouTube.

Music has always been a huge part of my life. Since I’ve started to learn to play the piano in 2015, it has become even more influential to my daily routine. For anyone who has fond memories of seeing concerts at the Royal Albert Hall, this painting will no doubt trigger off recollections of their favourite music.

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World Encephalitis Day

Alan Reed

Behind the Smile

The 22nd February 2017 is World Encephalitis Day, the global awareness day for people who are directly or indirectly affected by encephalitis. I had no idea what encephalitis was until Sarah was diagnosed. I’d watched Sarah grow up from being a little girl for over 20 years so I was deeply shocked to hear of her illness.

Sarah has found painting and writing poetry a way of raising awareness of her illness. I’ve had the privilege of giving Sarah some drawing lessons to help her develop her growing skills in this area. Earlier this year I asked Sarah if she would like to sit for me to have her portrait painted so that I could play my part in helping folk understand more about encephalitis. The portrait was painted in oils over three sittings using a sight size method. I’ve used a very limited palette of only 4 colours using Old Holland Paints. For those wishing to try oil painting here is an excellent independant blog post reviewing many different brands.

We decided together that Sarah would wear her laboratory coat as a reminder of her training as a chemist and that we would keep the background stark and clinical as a reference to her illness and treatment.

I’ve asked Sarah to write a few words about her story so that we can try to understand what it must be like for her. As it’s World Encephalitis Day 22nd, the Millennium Bridge is going to be lit red. I’ll be joining Sarah and her mum at 7pm as they hand out flyers.

Behind the Smile by Sarah Galloway

A picture says a thousand words, though a thousand words may be insufficient to paint the picture of my story. I’ll try sticking to roughly five hundred instead.

I am 26, a chemist by training though dabbling in art myself as a trade. This portrait was painted after four years of serious illness. Four years of psychotic episodes, spontaneous self-harm and memory loss. Four years of utter hell.

So what’s the problem? A portrait seems quite fitting for this as it is quite literally all in my head. My body has been attacking parts of my brain causing it to swell. This is known as encephalitis.

At 22 I found myself lost and utterly undone. It is hard to go into detail about the events of that time, partly because I genuinely don’t remember, and partly because it is simply too shocking to want to think about. Let’s agree on one thing…psychosis sucks. It is a thief that drags away your security, identity and stability and leaves you hollow, confused and empty.

I have spent the last four years battling hallucinations and dramatic emotional outbursts. I have seen and felt spider’s legs on my torso, worms in my mouth and teeth on my neck. My sequencing became so bad that I would shower with my clothes on by accident. Socially I was unable to focus or remember what people were saying. It has been frightening and frustrating.

I was incredibly moved when Alan asked to paint this portrait. Raising awareness about encephalitis has been my main motivation this year and it was amazing to see this shared by a friend.

As I was part way through a relapse and also experiencing nerve pain down one leg I found it very challenging to sit still for the actual painting itself. Holding a smile is also quite difficult!

The smile was deliberate. Encephalitis can be like having an invisible illness. Most of the time, to most people, I can seem perfectly normal. My natural setting is a smile and it has sometimes become like a mask. Encephalitis can be very personal and painful to talk about so it is better to deflect then have to delve into it all with everyone.

Some people however have been complete rocks in my life. My family and my closest friends have been sources of comfort and confidence. My faith has been another stable place in which I can stand against encephalitis. For these I am eternally grateful.

The more people that know about it the easier it will be to find and fight this disease! Encephalitis is happening all the time. I, like many others, was misdiagnosed at first. My recovery is based on a fortunate research trial. The right treatment at the right time can literally save a life.

 

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Painting on Gold Leaf

Oil Painting by Alan Reed

“Buckingham Palace from Green Park” painted in oils on Gold Leaf.

I first started painting on gold leaf in 2009 when I was working on a large painting commission. As part of the project I worked on some small boards about 19″x 15″ which were primed with gold leaf. I used these to produce some experimental paintings, one of which was a portrait of my wife Susan. The whole experience was challenging but very rewarding. Difficulties can arise in trying to get the right colours when the gold comes through the initial coat of paint. You have to build up the tonal values and colours to balance them against the gold. This can take time.

Painting on gold leaf creates effects which can change quite dramatically depending on the lighting. This can bring an almost 3D quality to the painting, especially when viewed with a spotlight.

In the oil painting of “Buckingham Palace from Green Park” I decided to use my limited edition print of the same scene as a basis for the idea. However, instead of using a wider range of tones and colours, I chose to use just 6 colours in a flat art deco style, leaving the gold leaf itself as an extra colour for the sky and reflections and highlights in the foreground.

The overall effect is both engaging and dramatic. You get a strong sense of light and warmth coming through from the sky which is emphasised by the shadows being cast by the trees and the lamp post. I’ve stylised the scene to simplify it as there is a lot going on with the leaves, architecture and trees.

Both the Buckingham Palace painting and the portrait of Susan can be seen at my Studio & Gallery in Ponteland as part of my Christmas Exhibition which runs until the 24th December 2016.

Alan Reed

Susan, Oil on Gold Leaf

 

 

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Tree of the Year

Painting of Robin Hood's Tree, Hadrians Wall

Sycamore Gap, Hadrians Wall

Sycamore Gap on Hadrian’s Wall in Northumberland was voted Tree of the Year this week by a public vote for the nations best loved tree, organised by The Woodland Trust. 

The winning tree will now receive a grant of £1000 for some “Tree LC” and will compete against trees from all over the Continent for the title of European Tree of the Year, organised by the Environmental Partnership Association.

I recall painting a watercolour of the tree in snow as a Christmas Card for the Marie Curie Cancer fund over 10 years ago. This stretch of Hadrian’s Wall is bleak but spectacular in its barreness and stark beauty. As I’m writing this I’m feeling compelled to go for a walk along the wall and do a spot of sketching!

Sycamore Gap is also known as Robin Hood’s Tree for its appearance in the film Robin Hood, Prince of Thieves starring Kevin Costner.

I’ve since painted the famous tree of the year again in winter sunlight. My viewpoint is taken from the Military Road which shows the tree of the year nestling in the famous gap in the wall. Sunlight is catching the clouds behind and creating an overall feeling of warmth to the painting.

The painting forms part of my Christmas Exhibition at my Studio & Gallery in Ponteland which finishes on the 24th December 2016.

 

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San Gimignano

Alan Reed

San Gimignano, Afternoon Sunlight

Susan and I first visited San Gimignano in February 1999. We were staying in Florence for several days and having seen San Gimignano featured on a holiday programme, we decided to go there for the day. A local bus took us to nearby Poggibonsi then after a short wait, another bus to our destination, the medieval hilltop town of San Gimignano.

From a distance it looks like a mini Manhattan with its 14 towers gracing the Tuscan skyline. Apparently it did boast 72 towers, built by the Patrician families who controlled the town. The bigger the tower, the greater your wealth! I remember painting a watercolour by the well in Piazza della Cisterna whilst Susan went off to buy some wild boar salami for an al fresco lunch. Even though it was February, it was bright, warm and sunny, ideal conditions for painting “en plein air”.

After lunch I spent the afternoon wandering about gathering further reference to do a studio painting to add to my Italian Collection of Limited Edition Prints. As the sun began to set and we made our way to the bus I noticed that the stonework began to turn a beautifully warm pink with hints of orange. I logged the colours in my mind and decided that this would be mood and atmosphere I would aim to capture.

The studio painting of San Gimignano which was reproduced as a limited edition print was an immediate success. I still sell copies of it online and from our gallery in Ponteland. More recently I’ve painted a portrait version of a similar view which is also available as a limited edition print.

You can see a short video on YouTube of the original watercolour “San Gimignano, Afternoon sunlight” which can also be seen at my Studio & Gallery.

 

 

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Christmas Cards

Christmas Cards available to purchase online www.alanreed.com or from Alan Reed Studio and Gallery in Ponteland

Our Christmas Exhibition is now on where you can visit us and see a large collection of Paintings, Prints, Christmas Cards and Gifts.

Grey Street in the Snow

Christmas Cards

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