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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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Roman Forum

Alan Reed

Roman Forum, First Light

For over a year now I have been working on a number of painting commissions for an overseas client who has a passion for Roman history and paintings depicting Roman architecture. To paint these subjects with the kind of insight and integrity that they deserve, I make sure that I gather sufficient original reference by going on location to the exact places that have been requested.

Considerable time is spent surveying the subject from different angles and at different times of day to get the best composition and lighting. For this particular view of the Roman Forum I awoke when it was still dark and walked briskly from our hotel room along the deserted streets of Rome to capture the first rays of sunlight striking the ancient columns of the Temple of Saturn. I have to say, if you are visiting any busy city, it’s well worth the effort to get up early before the rest of the tourists take to the streets.

I wasted no time in whipping out my leather bound sketchbook to do a rapid watercolour study to get a feeling of the mood, light and general atmosphere of the Roman Forum.

Alan Reed

Painting on location in Rome

After taking several photographs from my first view point of the Roman Forum, I then made my way to another vantage point to tackle another possible painting. By then however, the sun had risen considerably higher so the lighting was not as interesting. I decided to return again the following morning. Fortunately I’m used to getting up early, so another visit was very much a pleasure than a chore. In the end, it was the second painting which the client was delighted with and which has been added to his growing collection of Alan Reed original paintings.

I’m pleased to say that my original painting of the Roman Forum titled First Light has been published as a limited edition print available online and from my Studio & Gallery in Ponteland, Northumberland. The original watercolour is also currently on view as well.

 

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Mount Street Gardens

Mount Street Gardens is a very quiet, peaceful public garden in Mayfair, London created in 1889. When I first came across it I was immediately struck by its calm, tranquil atmosphere. The warm afternoon sunlight was forming dappled areas of sunlight and shadows. There was little sound of the traffic, only the birds which have made Mount Street Gardens their home.

I wasted little time in getting out my sketchbook to make some simple watercolour studies to capture the scene which you can see below. A light wash of Cadmium Lemon over most of the page has added warmth to all the other colours. As with the majority of my sketchbook watercolours, there is no preliminary pencil drawing. I prefer to draw with the brush with paint so that all the brush marks are loose and have a directness to them.

Alan Reed

Sketchbook Watercolour of Mount Street Gardens

The studio painting is a 12″ x 9″ watercolour available from my website and has been painted on Arches watercolour paper. I’ve deliberatly chosen to keep the same palette as the sketch and avoided the temptation to tighten up with extra detail. I did take several photographs that afternoon and decided to base the composition on a viewpoint where I was standing up, rather than the seated position for the sketch.

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Paintings of Umbria

Alan Reed

Via Roma, Montone

It’s the time of year when I’m busy working on commissions and fitting in time to paint new works for my Christmas exhibition. One of my latest works is this street scene of Via Roma in Montone, Umbria available as a limited edition print.

When we were taking our guests on the Painting Holidays in Italy this year, we spent an afternoon in the delightful hilltop town, Montone. It’s a lovely place with plenty of subject matter to paint. I did a couple of watercolours “en plein air” which were the inspiration for this A4 painting on deckled edged paper.

Over the years, my Paintings of Umbria have resonated with many customers, particularly those who have properties there. I’ve been very fortunate to have received a number of commissions to go out and paint original paintings of clients homes throughout this beautiful region, described as the “Green Heart of Italy”.

Often with my Paintings of Umbria, I deliberately choose to use a limited palatte to create mood and atmosphere. I will refer back to my studies painted on location to ensure that I retain the lively brush marks and looseness of the original sketch. This studio painting of Via Roma follows that pattern. There’s a strong feeling of light and movement running throughout the painting, even in the shadow areas.

This is one of several Paintings of Umbria that will go on display for my Christmas Exhibition later on this year. Please sign up to our newsletter to receive updates on new paintings and events.

 

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Painting Holiday

Alan Reed

Spello, Umbria

It’s only a few days now until our first Painting Holiday in Italy for 2016. All of the guests from our trip in 2015 have re-booked for another week in the 5 star luxury accomodation Chiesa del Carmine a beautifully restored ancient 13th century church.

Due to the popularity of the Painting Holiday, we have hired Chiesa del Carmine for a second week 4th – 11th June and we do have late availability.

Guests will be able to receive instruction on how to paint “en plein air” in watercolour, taking in the stunning views around the valley. We will also be going out for day trips to some of the picturesque hilltop towns and villages like Spello seen in the sketchbook watercolour above.

There are non painting guests too who are happy to enjoy relaxing in the fabulous grounds, the day trips and a round of golf at the nearby championship golf course Antognolla.

Alan Reed

Chiesa del Carmine

Bed, breakfast and evening meals are included in the price of the Painting Holiday. To find out more visit reedartholidays.com or to see a brochure click on this link.

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Sketchbooks

Alan Reed

Sketchbook watercolour of Mont Blanc from Chamonix

I’m often asked “which is my own favourite painting?” It’s a question which I find so difficult to answer. Over the years I’ve painted many different scenes which I’m really pleased with and on so many different levels.

In more recent years I’ve been painting portraits of people, which again, I’ve become attached to. However, if I had to choose examples of my work to ponder over and reflect on, it would have to be my ever growing collection of hand made leather bound sketchbooks that I take with me on our travels.

Alan Reed

Leather Bound Sketchbooks

Although I’ve been painting on location in watercolour “en plein air” for almost 30 years it was not until a painting trip to Umbria, Italy in 2002 that I began to paint “on the spot” in these precious sketchbooks. My wife and I visited the Fabriano Paper Factory in the Marches region and I fell in love with the small leather bound books containing their lovely paper that they were selling in the factory shop. I purchased several.

When we returned to the Relais il Canalicchio where we were staying I tentatively decided to put brush to paper and painted the view out of our window. You can see my first watercolour of an Umbrian sunset in the image below.

Sketchbook watercolour

View from the Relais il Canalicchio

Unusually for me, I decided not to do any preparatory pencil drawing, choosing to “draw” with the brush, painting directly onto the beautifully textured paper. It’s a discipline that I’ve continued with ever since. It’s not something that I would advocate for a beginner if I was teaching them on our painting holidays in Italy but it is a discipline that a more experienced water-colourist would find both challenging and rewarding.

Alan Reed

Sketchbook watercolour of Aiguille du Midi

When we took our daughter and grandchildren to Chamonix in France in July 2015 and the grandchildren watched me paint Aiguille du Midi (above) and Mont Blanc, the value of my sketchbooks became apparent, even to the grandchildren. They could see how I was recording in paint some of the special aspects of our holiday in a way that photography cannot. They even started asking me if they could have certain sketchbooks when I die!

I now have an ever growing collection of sketchbooks which document our travels to countries like Italy, Oman, Kuwait, USA and of course throughout the UK. I’ve even started to make them myself which is even more rewarding.

The guests on our painting holidays to Italy are encouraged to paint both on watercolour blocks or pads of watercolour paper but also in sketchbooks so that they too can have a record of their travels.

If you would like to find out more about working in sketchbooks “en plein air” or coming on a reedart painting holiday then please contact me.

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Gullane Gallery

Alan Reed

Crail, Coming Home

For the last three years I’ve been exhibiting my paintings at the Gullane Gallery, East Lothian. I’ve been invited again to show a selection of new works as part of their easter exhibition starting 12th March.

For over 20 years I’ve enjoyed painting in Scotland so for this exhibition I decided to revisit some of the fishing villages that I’ve painted in the past along the East Neuk of Fife. The weather has been dreadful over the winter months which hindered my plans right up until early February when I was finally able to travel with the promise of sunny weather.

I managed to visit three of the fishing villages which I have painted before and have published as limited edition prints, Pittenweem, Anstruther and Crail.

Even though it was sunny, it was still very cold but I was still able to do a sketchbook watercolour at each one of the harbours. The one of Crail was painted from a high vantage point looking into the low winter sun.

Alan Reed

Sketchbook Watercolour of Crail

For the larger studio painting I tried to keep the palette as simple as the sketch and the brush marks as lively, however I couldn’t resist adding some of the details found in the nearby buildings which overlook the picturesque harbour.

The exhibition at the Gullane Gallery will also feature another painting of Crail as well as paintings of Pittenweem, North Berwick and Edinburgh. The exhibition continues until 3rd April 2016.

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Mont Blanc and Manganese Blue

Alan Reed

Mont Blanc & Manganese Blue

On 29th January I was notified that my new watercolour titled Mont Blanc and Manganese Blue had been selected Royal Watercolour Society Contemporary Watercolour Competition 2016. It’s the second time one of my paintings has been chosen. In 2013 my painting “Jebel Akhdar, Oman” won the Artists Prize in the same competition. It’s very difficult to do justice to the grandeur and majesty of a mountain range in a small watercolour painting, however when you are actually up a mountain with a box of paints and a sketchbook you have to give it a try.

Such an occasion arose in July 2015 when Susan and I took our daughter and her children to Chamonix in France. We bought passes for the cable cars in the region and went up Aiguille du Midi which overlooks Mont Blanc. I did a sketchbook watercolour which was the inspiration for a studio painting “View from Aiguille du Midi”. This is currently on view at my Studio and Gallery in Ponteland. We were so taken by the stunning views that my daughter and I returned again, very early morning. I did a second sketchbook study which became the catalyst for “Mont Blanc and Manganese Blue”.

Alan Reed

My Sketchbook Watercolour of Mont Blanc from Aiguille du Midi

The clarity of colour and crispness of light meant that when painting the sketch, I had to strip back my palette to basic colours. I used the white of the paper to indicate the snow on Mont Blanc and neat Manganese Blue (with a touch of French Ultramarine) for the sky. I added the smallest amount of purple for some of the shadow areas and Raw Sienna and Vandyke Brown for the dark foreground rocks. When it came to painting the studio work I made sure I maintained the simplicity of the sketchbook watercolour, even laying it over the larger original whilst it was in progress to ensure I wasn’t making it too tight.

Alan Reed

Mont Blanc and Manganese Blue original and sketchbook

The title of this painting comes partly from using the lovely colour “Manganese Blue” produced by Winsor and Newton which I have been using since the late 1980’s. It’s a brighter blue than Cerulean which I personally find a little flat in comparison. When used in conduction with French Ultramarine and Winsor Blue, you can achieve some beautiful deep blue skies.

My painting “Mont Blanc and Manganese Blue” goes on show at the Bankside Gallery, London Friday 4th – Wednesday 16th March 11am – 6pm and will be available to purchase from the exhibition.

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