Head of an Arab

Head of an Arab

Head of an Arab

Head of an Arab is my study of John Singer Sargent’s oil sketch which he would have painted around 1890-91 when he toured Egypt, Greece and Turkey. It was probably painted abroad, however, he may well have painted it from a model when he returned to London. Sargent was commissioned by the Trustees of the Boston Public Library to paint a mural. He was planning a frieze depicting Old Testament prophets, so this painting is relevant to his preparation.

Having worked in the Middle East since 2007, I’ve had the opportunity to talk to Arabs on a number of occasions and I’m quite struck by their distinctive, fine looking features which are fascinating to paint. In copying John Singer Sargent’s oil on canvas, I’ve tried to make the same direct, confident brush marks as Sargent, painting directly from observation, without relying on any tracing techniques. Also, I’ve kept to a very limited palate to ensure that the colours are as close to Sargent’s as possible. Of course, I’ve had to work from a photographic copy rather than the original painting, so there will be obvious differences in colouring.

The value in making such studies of the great masters works can be seen when one looks at Sargent’s own studies of the artists he admired such as Diego Velazquez and Frans Hals. This particular study was made on board and can be seen at my Studio & Gallery in Ponteland.

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Pump Room in the Snow

Pump Room in the Snow, Bath

Pump room in the Snow, Bath

“Pump Room in the Snow” is a large studio watercolour based on studies I’ve made on location in Bath. Over the last two years I’ve entered the Bath Prize, a painting competition  held annually in Bath where contestants are given a specific location in Bath to paint “plein air”. Once they have painted their allocated scene before the competition deadline, they can enter other paintings they may have done of Bath.

In 2010 I came runner up with my painting of the Royal Crescent and in 2011 I won first prize for the best painting of the Circus in Bath. In 2011 Kingsmeade Square was the place I was given to paint on location. On the day I went to Bath to paint there was heavy rain, however I was able to turn the elements to my advantage by using some of my studies of figures holding umbrellas in this painting of the Pump Room in the snow.

Over the years, I have often painted snow scenes, so I drew on my experience to render the snow falling from the heavy clouds to create wet reflections in the pavements. By keeping the palette quite monochromatic, I was able to make the whole cityscape feel cold and moody. The little girl dressed in a bright red coat (my eldest granddaughter Emily) added an important focal point to the composition. The original watercolour can be seen at my Studio & Gallery in Ponteland.

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End of a Perfect Day

End of a Perfect Day

End of a Perfect Day

End of a Perfect Day is the title given to this delightful study of two little girls returning to the beach after exploring the shallows of the sea. In the background, looking into the late afternoon sunlight, are some simply rendered architectural features of a pier indicating the locality of the scene, Brighton.

This is one of my favourite paintings by Sherree Valentine Daines who is one of the UK’s leading figurative artists. I love the fresh, lively brush marks which capture, not only the movement of the sea and the sunlight dancing on its surface but the translucency of the girls dresses and highlights in their hair.

One of only 195 hand embellished  canvas prints, signed and numbered, which is available framed from the Alan Reed Studio & Gallery in Ponteland or online at alanreed.com

 

 

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Carnevale Venezia

Jester, Carnevale Venezia

Jester, Carnevale Venezia

The Venetian Carnival is an occasion of colour and spectacle held during the month of February, starting 40 days before Easter and ending on shrove Tuesday. Decorative masks and costumes are very much part of the festival and a prize is awarded for the best mask. Susan and I have been three times during the Carnival so that I can paint the costumed figures set against the backdrop of the Venetian architecture.

The weather is usually sunny, however it can be very misty and extremely cold, often below freezing, which somehow adds to the drama and theatre of the occasion. For this particular painting I noticed a costumed figure dressed as a Jester, posing on a jetty. I was able to take some photographs with him standing under the lamp. I’ve often painted gondolas, so using some of my other reference material of Venice, I added in the gondola to give extra depth and interest to the composition.

Jester is now available as a limited edition print with only 25 copies in the addition.

 

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John Martin APOCALYPSE

John Martin Apocalypse

John Martin Apocalypse

This week I went to London to see the Da Vinci Exhibition at the National Gallery, (more on that on another blog post) but I also decided to take in the John Martin “Apocalypse” Exhibition at Tate Britain. This show was actually on last year at Newcastle’s Laing Art Gallery but I missed it. I almost missed it again as it finishes on the 15th January.

John Martin’s paintings were phenomenally popular. His spectacular paintings of Biblical scenes and vast landscapes attracted great crowds who would flock to exhibitions of his paintings to be enthralled and moved by the scenes and visions he portrayed. They would pay for tickets for the shows as the paintings went on tour, rather like we do today to see concerts or movies. Indeed, John Martin’s work continues to provide inspiration today for science fiction films, Hollywood blockbusters, video games, manga comics, musicians and artists.

I was particularly impressed by The Last Judgement Triptych depicting chilling scenes from the book of Revelation and the promise of eternal life for those who have put their faith in Jesus Christ as their Lord and Saviour. The viewing of these three paintings was made even more relevant by a 10 minute light show every half hour with appropriate readings which I assumed were originally read when the paintings were first shown.

Last week I went to see the Turner Prize at the Baltic in Newcastle. The work on show there was about as relevant to 21st Century life as the Easter Bunny. John Martin’s paintings on show at Tate Britain are “right on the nail” today with the message they first communicated back in Victorian times. The exhibition finishes 15th January, so if you can make it, try to make the effort.

 

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The Turner Prize 2011

Morning Eye

Morning Eye

Last week I decided to pay a visit to the Baltic on Gateshead Quays to see the Turner Prize Exhibition. I must confess that I’m not at all inspired by the kind of work that is chosen for this particular competition but I thought I would try to go with an open mind. To be perfectly honest, I’ve not been inspired by any of the exhibitions that I’ve seen on display at the Baltic either. The only one I found interesting was one of some bridges made out of Meccano by Chris Burden back in 2002. I’m sure there must have been some decent shows since then but I must have missed them.

The Baltic is a fantastic exhibition space. The rooms are grand and spacious and have the potential to house great artwork. I wandered through the rooms in search of some and came out disappointed. Warmest congratulations to the 4 artists Karla Black, Martin Boyce, Hilary Lloyd and George Shaw who captured the judges imaginations with their efforts for the Turner Prize 2011. Clearly they are sincere and genuine about the work they produce and I respect and admire them for it but it’s just not the kind of work that tickles my fancy.

I’m off to London this week to see the Da Vinci Exhibition at the National Gallery and one or two other exhibitions. I won’t be disappointed. By the way, the image above is a view of the Eye and the Baltic seen from Newcastle’s Tyne Bridge, early morning. It’s available as a limited edition print.

 

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John Singer Sargent

Sketchbook Studies in Charcoal

Sketchbook Studies in Charcoal

TIP 11. Studying the work of other artists is a great way to improve your artistic skills, however there are a number of different levels of study that one can tackle. I’ve recently purchased several books about the American artist John Singer Sargent which I have studying. My initial approach is to quickly look at the plates and marvel at the imagery. I then go back to the start and read the text which is always a help in understanding the context and social background in which the artist was working.

Finally, with sketchbook and either pencil or stick of charcoal in hand, I start to make observational drawings of some of the images in the book. Although this is no substitute for making ones own studies from life, it is a great way of gaining a much closer insight into some of the working methods of the artist. One can see how tonal values and composition have been realised as well as gaining a deeper appreciation of some of the mark making techniques. One can take this a stage further and copy their paintings too. I’ve done this in the past which you can see on my website.

Instead of being glued to the TV in the winter evenings, why not re-visit some of your own art books and do some drawings of some of the great masters works?

 

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Angel of the North

Angel of the North

The Week the Angel Went Up

Most folk have strong opinions about the Angel of the North, they either love it or hate it. Personally, I like it, as it’s always a reminder that I’m not too far from home if I’ve been travelling from the South.

One of my favourite paintings of the Angel is based on studies I made during the week the angel was erected. There had been heavy rain, the skies were overcast and the whole area was like a scene from World War 1 with the mud, the foreground pond and broken palettes  lying about.

The view I’ve taken places a stronger emphasis on the more attractive lines of the body than the rather slab sided wings and the figure standing at its feet provides a sense of scale and drama. The overall mood is heightened by the dark, threatening sky.

I’ve also painted a similar version which is available as a limited edition print.

This painting forms part of my Christmas Exhibition at my Studio & Gallery in Ponteland which continues until the 24th December, open Tuesday-Saturday 9:30-5pm.

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Portrait Painting in Oils

Andrea

Andrea in oils

One of the hardest things to learn when painting in watercolour is knowing when to stop. The most common problem that most beginners in watercolour have is overworking the painting and in doing so, killing the freshness and translucency of the paint. Fortunately I find that I’m always able to stop just in time.

Working in oil paint however is completely different, particularly when painting a portrait. When the sitter isn’t there in front of me, I can usually see various elements which need to be changed during the next sitting and oil paints allow you the freedom to do so.

A recent portrait commission is this one of Andrea painted over several sittings. Andrea has been a great model and the painting is almost finished. There are a couple of small changes to be made to complete this project and I’m looking forward to the next commission which is one of her husband.

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Portrait in Charcoal

Margaret in Charcoal

Margaret in Charcoal

Although I’m best known for my watercolours of cityscapes, landscapes and seascapes, I’ve painted a number of portrait commissions, going back to the mid 1980′s. I’ve recently found myself being drawn back to the artistic challenge of capturing people’s portraits from life. This particular drawing of Margaret was made over three sittings in charcoal and was a preliminary study for an oil painting that can be seen below.

The oil painting took four sittings and I have to say that Margaret was a lovely model to paint. She was able to sit motionless for a couple of hours at a time and has beautiful features that are a delight to paint. Her family and those who know her say that both pictures are a very good likeness and that I’ve really captured her personality. I’m looking forward to painting her again soon.

Margaret in Oils

Margaret in Oils

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