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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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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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Faded Prints

Alan Reed

Correct colours against a faded print

I have been having my original paintings published as limited edition prints since 1993. Initially it was through a publisher that was based in Edinburgh called Di Rollo Ltd. The publisher would organise the printing and ensure that the colours were as close to the original watercolour as possible. I would make the final approval then sign and number each print.

I also began to publish some of my work too and would over see the whole process. In the 1990’s all my prints were printed through a 4 colour lithographic process. In the last 15 years or so, the giclee method of printing has become much more popular with artists. The popularity with publishers and artists has grown for several reasons:

  1. The set up costs are not as high as the lithographic prints.
  2. Although the unit cost per print through giclee is significantly more than a lithographic print, publishers don’t have to print the whole edition in one go, so they don’t have to carry huge amounts of stock.
  3. Publishers can test the market with just one or two prints rather than being left with hundreds of prints if the image is not as popular as expected.
  4. The quality of the inks is far superior through the giclee process than with the lithographic prints so you are less likely to get faded prints.

Today I still sell both lithographic prints and giclee prints, however all my new prints are giclee because of the reasons outlined above.

Since my first paintings were published, I’ve been able to monitor the light fastness of the prints as I’ve seen them hanging on the walls of family, friends and clients. I can conclude that if the prints are hung away from sunlight, the colours remain strong. My sister in law has at least six of my prints which I see on a regular basis. She has been careful to hang them away from strong light. Only one has faded which was close to a large window.

Over the last few years, several clients have brought to me faded prints which they have hung in direct sunlight. The most recent is this lithographic print of the Grand Canal, Venice. I’ve recently replaced it with a giclee print for the client. Indeed, the lithographic version is no longer available, only the giclee.

Even though it is the full responsibility of the client to ensure that ALL their artwork is hung away from strong light, I like to show goodwill with any customer who has a faded print of one of my paintings, even if it is not one that I actually published.

I can replace faded prints at a trade price with a giclee print and I will sign and number it the same as the faded one. I can also put the new print in the frame for a small charge of £20- £30 depending on the size of the frame.

If you feel as though one of your Alan Reed prints has faded, please contact me on 01661 871 800 or email art@alanreed.com

 

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Behind the Scenes – Holidays in Italy

Holidays in Italy.

Having stayed at the Villa Capanne in 2014 and fallen in love with the refined rusticity of their accommodation, Alan, Susan and their guests were certainly in for a treat in 2015 when they returned to Umbria for a second Reedart Italian Painting Holiday, this time in the newly-renovated Chiesa Del Carmine: a stunning, no-expense-spared ancient church and adjoining farmhouse nestled deep in the heart of a picturesque valley.

Far enough from civilisation to sit and enjoy the silence of the unspoilt Italian countryside, but close enough to the spectacular Robert Trent Jones Championship golf course at the Antognolla Golf Estate and nearby hilltop towns, Chiesa Del Carmine was the perfect spot for Reedart Holidays to settle into………Reed more here

Alan Reed Painting of Gubbio

Sketchbook Watercolour of Street scene in Gubbio.

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Summer Exhibition July 2015

Summer Exhibition

All are welcome to join us on 11th July 2015 for our Summer Exhibition.

Enjoy luscious strawberries and Prosecco whilst browsing beautiful paintings.

Today we have been packing up invitations and brochures to send out to our valued customers.

If you are not on our mailing list and would like to receive one then please contact us and we would be happy to send one out to you.

The brochure displays new paintings and prints, also information about commissions and news of our Painting Holiday.

 

 

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Jesmond Dene Painting

Jesmond Dene in Winter

Jesmond Dene in Winter Painting

My 30th Anniversary Christmas Party starts on the weekend of 15th-16th November. It’s one of several events we’re organising over the following year to celebrate my 30 years as a full time artist.

The featured painting on my invitation is Jesmond Dene in Winter. The original watercolour has already been sold, however I’ve decided to publish the painting as a limited edition giclee print with only 30 prints in the edition.

I’ve also reproduced the Jesmond Dene Painting as a Christmas Card which is available online in packs of 5 and at my Studio & Gallery in Ponteland.

The Jesmond Dene Painting was inspired by an afternoons sledging with my grandchildren one winter in Jesmond Dene. I managed a small sketchbook watercolour before the light faded and took a number of photographs which I used to compose the painting. Already, I’ve had a number of customers contacting me saying that the painting reminds them of times they have spent sledging with their own children.

The exhibition which runs until 24th December includes a number of new paintings including scenes of Newcastle, Northumberland, Scotland, Italy and the Middle East.

As a special thank you to the customers who have supported Alan Reed Art over the last 30 years, there will a Christmas present for the party guests attending the weekend preview. There will also be a Christmas Bran Tub along with festive refreshments!

If you are unable to attend the Christmas Exhibition Party but would like to be informed of future events please subscribe to our newsletter which we usually send out once a month.

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Spring Exhibition

Ponte Vecchio Painting of Italy

Ponte Vecchio, Firenze

Florence is possibly my favourite Italian city. I’ve been fortunate to travel there several time since my first visit back in 1998 when I sat on one of its bridges under the warm autumnal sun and painted a watercolour of Ponte Vecchio in an Arches Watercolour Block.

During my last visit there in 2011 I did a small sketchbook study of Ponte Vecchio from Piazza Michelangelo, a view which I’ve also reproduced as a very popular limited edition print.

This new original watercolour takes elements from the sketchbook study which I painted on location to depict the famous bridge stretching over the River Arno and the surrounding buildings.

I’ve also made this painting available as a small limited edition print.

Both the print and the original can be seen at my Spring Exhibition at the Studio & Gallery, Ponteland.

Some of the links on this post are affiliate links to products which I personally use available from Amazon. If you click on the links and buy any of these products then I will receive a small percentage of the sale from Amazon at no extra cost to yourself.

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Durham School v St Paul’s School

Durham School v St Paul's School

Durham School v St Paul’s School Watercolour Painting

One of the commissions I had in 2013 was Durham School v St Paul’s School in the Veterrimi IV final on 3rd November 2013.

This was a historic event that saw the oldest rugby clubs in the world play off in a fantastic tournament which is one of a kind and only happens every two years.

The painting of such an event is not only a once in a lifetime opportunity to capture the event itself, but even more so for the parents whose sons featured in the match.

An opportunity to possess a painting of them playing is unlikely to occur again in their rugby careers.

I spent the weekend at Sherborne where the tournament was being held so I could gather the necessary reference to do the painting. The standard of rugby was very high and Durham School came out as winners in a competitive final.

The original watercolour painting can currently be seen at my Studio & Gallery in Ponteland.

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Christmas Exhibition 2013

Painting of Dunstanburgh Castle-Spring

Dunstanburgh Castle, Spring

Painting of Windmills, Amsterdam

Windmills, Amsterdam

Royal Opera House, Oman at night

Royal Opera House, Oman

Painting of Qantab fishermen, Oman

Qantab fishermen, Oman

Pantheon Rome

The Pantheon, Rome

Painting of Florence from San Miniato

Florence from San Miniato

My Christmas Exhibition Preview weekend started 29th November. The exhibition continues until 24th December and is a collection of recent original watercolour paintings.

Subjects include the Northumbrian coastline depicting famous landmarks like Dunstanburgh Castle.

Paintings inspired by a trip to Amsterdam can also be seen, in particular this new limited edition print of Windmills seen in early morning light.

Over the last few weeks I have been working on a couple of commissions for a client in Oman, so I also have on view an original watercolour of The Royal Opera House in Oman at night and a small study of fishermen in Qantab, Oman.

I’ve been unable to travel to Italy this year, however the last 2 places for our painting holiday scheduled for May 2014 were booked up over the weekend.

A number of paintings of Italy can be seen including The Pantheon, Rome and Florence from San Miniato.

The exhibition also features gifts for Christmas including Christmas Cards, Magnetic Bookmarks and hand made glass, along with my Sketchbook of Oman, all of which are being purchased. Please feel free to call in over the weekend for a glass of wine or coffee and a mince pie.

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