Art Exhibition at Leatherhead Theatre

Leatherhead Theatre Exhibition May 2018

A new venue for me in a new town, which is always exciting. Leatherhead is about twenty miles from the Woking/Guildford area where I usually exhibit, so this should be a good opportunity to address an audience which as yet is unfamiliar with my work

Leatherhead is a smaller town than Guildford, but prosperous nonetheless, a commuter town with a busy shopping centre. The theatre is in the middle of town, and open all day, so not just with performances but also with conferences, classes and clubs, so we are told quite a heavy footfall

I have entered six framed paintings and five folios. One thing about a new venue is that nobody has seen any of my work so I can give some previous paintings an airing. Galloping Horses is the only painting that hasn’t been shown at all. Certainly the organisers were very enthusiastic about my work, and expected great things, but then organisers always do. My own theory is to expect the unexpected, which seems to work every time. They actually contacted me, which is unusual and pleasing, having seen my website under Surrey Artists.  Maybe that was the unexpected bit!

The exhibition opened this Tuesday and runs until the 15th. I had an interim report on Thursday telling me which pictures were receiving most interest, namely the Flamingo painting which is one of the framed ones, as well as two of the folios, Sicilian fishing village and Cockerel with Hens. Exciting stuff. It could go either way

As I always say, one would be nice.

By the way, I have had to interrupt progress on the Bosham painting, as I have received a commission which is needed for a wedding anniversary towards the end of this month. I am on with this, but still some way to go, as some parts are tricky. I may well write about it later.

Itching to get back to the Bosham painting, though !!

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Royal Surrey Hospital 2017

RSCH 2017

My co-exhibitor and I set up our exhibition at the Royal Surrey Hospital in the Peter Thompson Gallery last Friday. I am showing twelve framed paintings, and you may recognise some from previous postings. All new work as far as this gallery is concerned for this year

My colleague is showing 24 pictures, so quite a varied collection of work

So far, this year has been bleak as far as sales are concerned. I don’t know why. Last year i was selling one a month from my web site plus exhibitions. Maybe it is the Brexit factor!

There has been no communication from the hospital to date this week. The organisers are very quick to let us know of any sales or even serious enquiries, so I fear the worst. No news is bad news, as they say

I have a serious feeling of foreboding about this exhibition. I have shown here since I started painting, nearly twenty years ago, and have always sold, sometimes in large quantities, so if I score a duck this year, it will be my first.

We have three more weeks so time for something to happen. Not that my finances depend on selling paintings, it’s just that I like to turn them over to make room for new creations. Still, time yet. We shall see

Sidney Sime Memorial Gallery in Worplesdon, Surrey, UK

A Wild Creature Stalking the Woods by Sidney Simes

A Wild Creature Stalking The Woods by Sidney Sime

This gem of a gallery existed on my doorstep without my ever hearing about, or seeing it even, despite being just off a busy main road that I use often. The gallery has been there since 1956, opened with proceeds from the sale of Simes’ home in Worplesdon on the death of his widow in 1949. There are approximately 500 catalogued pictures of which 86 are hung and on permanent display. The rest are in cabinets and folders.

We went there recently with a group from Guildford Museum, which was, I have to say, a most enlightening visit.

To say something about the man. Sidney Sime was born in Manchester in 1867. As soon as he was old enough he went to work in the pits and for five years pushed “scoops” of coal along rails through tunnels about 75 centimetres high.

He used to scratch little drawings on the walls even then and find odd moments for making sketches

After a succession of jobs including sign-writing which he became successful at, he eventually joined the Liverpool School of Art, part of a network of art colleges stretching down to South Kensington.

His studies complete , he contributed drawings to many well-known magazines, eventually purchasing and editing a magazine himself. Called the Idler, there are copies in the gallery.

He married in 1898. Following a bequest from an uncle in Scotland, the couple settled in Perthshire, where he painted many Scottish landscapes. They felt isolated in Scotland and moved to Worplesdon in Surrey which was accessible to his London studio.

He began to specialise in caricature, drawing local characters in the pub, viewing them in the mirror behind the bar. Many of his most enthusiastic supporters were among the wealthy, and they gave him the stimulus to produce some of his finest pictures. In 1896 he gained membership of the Royal Society of British Artists.

After the Great War, came a prolific period, when he produced much of his visionary work, especially from the Book of Revelation. He staged a well-received exhibition at St.George’s gallery in London in 1924, and another less so in 1927.

Later he was to drift into obscurity, painting for his own pleasure until his death in 1941.

There will be a major exhibition of his work in Woking’s  Lightbox Gallery from 15th April to 28th May 2017

 

David Hockney at Tate Britain

Pool with Two Figures 1972 detail by Hockney

Pool with Two Figures 1972 detail

David Hockney is probably one of the most popular and widely recognised living artists of our time. His work spans the last 50 years from his student days, continually reinventing himself

We went there today. We like Tate Britain on a Saturday morning. Thanks to the kindness of the Borough of Kensington and Chelsea you can still park free on a meter on a Saturday. Also no congestion surcharge on a weekend. Anticipating correctly a heavy attendance for this exhibition, Tate Britain has been opening the doors two hours earlier than usual. We were early but not that early. The queues as we drew up looked daunting. This is where the member’s card comes into its own. We swept in effortlessly

Like most people, we have followed Hockney throughout each of his stages. Some of them leave me cold. In his student days he was influenced by Picasso. Everybody copies Picasso at some stage. It is very easy to tire of Picasso

One of my favourite Hockney periods is when he veered towards naturalism. I just like recognisable paintings. He was in Los Angeles for this time in his life, and so lots of swimming pool pictures of athletic young men. I particularly like his double portraits which explores the relationship between the two. Mr and Mrs Clark and Percy 1970 is a favourite. Especially touching is the affectionate portrait of his parents, especially the way they are posed

I remember his work with the Polaroid camera in the 1980s, producing myriads of small images to make up into a collage of quite a large picture. He was dissatisfied with the white border around each small image. I rather like that. The whole composition looked like a ceramic mural.

After many years in America, he moved back to his native Yorkshire, and produced some marvelous work. Massive tableaux of the Yorkshire Wolds. The colours are breathtaking. He moved from paint to video to produce a colossal work entitled The Four Seasons which as the name tells us, was of a single stretch of road in Spring, Summer, Autumn and Winter. Incredibly technical work

I am sorry I have no images. Vigilant attendants quite rightly moved in on me every time I tried to take a photograph discreetly with my phone. His charcoal drawings……….one can go on and on, my eyes ached after two hours. I shall go again

Paintings to Google are My Parents 1977, Mr and Mrs Clarke and Percy 1970,the Road to Thwing 2006, A Closer Winter Tunnel February-March 2006 and of course so many more

See it if you are in London. On until 29th May

Henry Moore Exhibition at The Lightbox in Woking

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The centrepiece of the current Henry Moore exhibition which we went to see recently.

The Reclining Figure in Elmwood.

If you have worked in elmwood, you will know it is notoriously  difficult to get a smooth finish. The grain is very knobbly for want of a better word, and resists efforts to sand it to a smooth finish. This piece is like satin and invites you to touch, which you mustn’t do, of course

Moore sculpts for the landscape with his monumental works, and developed in his pieces the “far-seeing gaze”, so that they could look out over long distances. With the space restriction at the Lightbox , this exhibition quite rightly concentrates on Moore’s drawings and smaller pieces, which sometimes don’t get the exposure that they deserve. Here we see the natural shapes and found objects that influenced the sculptor throughout his career, which in turn influenced his finished sculptures

The holes and negative spaces were intended to stimulate rhythm, tension, force and vitality. He was driven by this idea of the outer layer giving protection to the inner shape within.  His interest extended to helmets, armour and shells which also protect the interior.

A frequent theme is the mother and child image, which explores this idea. The big protecting the small. His Madonna and Child sculptures reflect Moore’s fascination with the interdependence felt between mother and child.  He was drawn to how things naturally fit together within the balance of nature, and of course he was not the first to notice that.

He was also influenced by the solidity of  ancient Greek statues which he sketched in the British Museum. He sought to reflect the weight of the stone through the strength of his mother figures.

The exhibition lasts until 7th May. Although not a large space, nevertheless because of the accent on his drawings and maquettes, there is much to study. Too much, perhaps, for my level of concentration, I intend to go at least one more time before the closing date to carry on where I left off.mother-and-child

Chichester and Pallant House Art Gallery

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Chichester Market Cross and Cathedral

We were here on the 31st. A lovely cathedral town with its c14 market cross, and one I remember from my youth. Pedestrianised many years ago and rightly so, I remember when traffic drove round the cross, and double decker buses clipped bits off it. Now it is safe from that sort of damage. There are still a few of these market/preaching crosses about, Winchester has a good one for example, and they need to be cherished

The city is Roman originally. Noviomagus, the new market, I believe. There was a straight road to London built by the Romans, called Stane Street. It is still there, but now called A24 and A29. It has one or two kinks in it, as it had to get through the gap in the Downs for example, but basically is straight as a die from Chichester to London Bridge.

The cathedral needs a separate chapter, and is one of the finest in England, but our main reason for going there was to visit our old favourite , the Pallant House Art Gallery, which houses a wonderful collection of modern art.. The collection includes names like Hepworth, Moore, Piper and Sutherland. Incidentally in the cathedral, there is a magnificent tapestry backdrop to the altar, designed by Sutherland. There is also a wonderful window by Marc Chagall, not always remembered for stained glass, although he did many. But I digress from the art gallery

Founded on the collection made by Dean Hussey of Chichester Cathedral , it was bequeathed to the city in 1977, on condition that it was housed in Pallant House, a Grade 1 listed Queen Anne townhouse built in 1712, for a wine merchant called Peckham and his wife Elizabeth.

The collection was added to by further donations over the years, and the impressive collection of artists represented, includes now Cezanne, Leger,Sickert,Lucien Freud, Richard Hamilton and Eduardo Paolozzi

As well as paintings, there is an excellent collection of c18 Bow porcelain

The new wing, a superb example of a modern building blending well with a Queen Anne townhouse, won the 2007 Gulbenkian Prize and was also listed for a RIBA award the same year

I try to stop after 300 words but have rattled on

Thanks for your comments on Bosham Harbour, now framed up and in store ready for the March exhibition. Thank you to those of you who enquired about this exhibition. The details are:

Guildford Institute, Ward Street, Guildford, Surrey, UK in the Assembly Rooms

Dates from 13th to 31st March this year

Thanks again

 

 

 

 

 

Exhibition in Woking Lightbox: The Camden Town Group

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This painting is by Robert Bevan 1865-1925, one of the the Camden Art School, painting as the name suggests in North London during the Edwardian period

This painting is entitled Dunns Cottage and was painted in Devon, although Bevan was just as at home painting in London, usually horse fairs and horse drawn vehicles. Bevan studied in Brittany in Pont Aven painting alongside Gauguin, and the influence on this painting is plain to see, large blocks of flat colour and unrealistic shades

Other artists represented at this exhibition are Walter Sickert, sometimes known as the father of them all, Spencer Gore and Ginner

Rather like the French Impressionists a few decades before, the Camden group painted contemporary scenes of city life, the streets, theatres, places of entertainment like pubs and circuses. Sickert portrayed young women in the nude at their toilette rather in the style of Degas, who was a great influence. Non erotic portraits of women in dingy surroundings were something he often came back to, as though the flatness of their life was something which fascinated him.

Preparatory drawings of the figures for his famous painting Ennui are also there, a study of tedium and of people trapped in their lives

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The Balcony, Mornington Crescent  by Spencer Gore (1878-1914)

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The Circus by Charles Ginner (1878-1952)

Ginner was born in Cannes of a British father who established the Pharmacie Ginner. His brother was a doctor on the Riviera . Ginner himself studied art at the Ecole des Beaux-Arts and was influenced by the French art of the day. The circus was a favourite subject, and this picture can be compared by one of Seurat, which is in the Kroller Muller Museum in Holland

Ginner moved to London and became an influential member of the Camden group

The quality of exhibitions at the Lightbox continues to improve, and well worth a visit if you are in striking distance. The other exhibition one floor below, on the History of the Comic, extremely informative and comprehensive for those interested in graphic art

Exhibition at Tate Art Gallery: Painting With Light

We went to see this exhibition recently. Painting with light explored the relationship between painting and photography, and was a thought-provoking exhibition. Purists still tend to be critical of painters who use photographs, and yet at the time, artists saw great merit in the use of the camera

John Ruskin was never easy to please, being most exacting in his standards. He drew meticulous architectural studies which would have taken him hours. I cannot remember the quote verbatim, but words to this effect he said that if he could have been saved many hours of detailed drawing with a device that did the job in half a minute, then there would have been no doubt in his mind as to which he would use.

Photography was invented in 1839, and was to lead to a development in new techniques and materials which were to influence painters

Edinburgh was home to a progressive movement amongst scientist and artists. In 1843 the young Robert Adamson was to establish one of the first photographic studios where he was joined by the painter David Octavius Hill and Jessie Mann. Together they took something like two thousand photographs during their four year partnership

Their photographic portraits were admired during their lifetime and their views of Edinburgh were an influence on Hill’s landscapes. These works came to be recognised as some of the earliest collaborations between photographer and artist

Holman Hunt painting of Nazareth

Holman Hunt’s painting of Nazareth

Photography was a gift to the Pre-Raphaelites  of which Holman Hunt was one of the founder members. They looked for inspiration to the medieval period, and their works are known for sharp detail and vivid colours. This was almost a quasi-religious movement, and partly because of the medieval influence and partly because of his deep Christian conviction, many of Holman Hunt’s pictures are of Biblical or religious subjects.

Together with his friend Thomas Seddon, he stayed in Jerusalem for two years at the home of James Graham, a pioneer photographer. Together they took many landscape photographs. The reference material that photographs gave artists certainly helped painters like Holman Hunt in their chosen philosophy of sharper detailing.

Many photographers had trained as painters, and had set up studios. They used models whose posing time was cut dramatically with the use of the camera, especially when complex or spontaneous poses were called for. Photographs were used for preparatory references, which meant that props, costumes and models could be dispensed with.

Thus began the successful collaboration between photography and painting, the former even becoming an art form in its own right.

For me the camera has become the sketch book, enjoyable as sketching might be. I shall never again feel bad about that

Exhibition at Royal Surrey County Hospital

Brewery Dray

Brewery Dray in Guildford

When we were breaking down the exhibition on Friday morning, I sold this painting at the last minute. A young woman arrived breathless with the money and bought it. I was very pleased with this as it raised my score for the whole exhibition to four paintings sold. Not the best that I have ever done but not the worst either, and certainly quite respectable.

The other three were Strolling through Montmartre, Grand Canal Venice and Painshill Park

Paris and Venice are always popular, especially the well-known landmarks. I have almost lost count of how many of each that I have sold. Painshill Park is a new subject for me and I was heartened to sell this picture, as I now feel encouraged to paint some other views, of which there are many to choose from

Painshill is a local estate near Cobham in Surrey. It was laid out in the c18 by a man called Charles Hamilton. It was in the style of a natural landscape made popular at the time by garden architects like Capability Brown and Humphrey Repton. The views were sculpted, whole forests were planted, fake ruins were built and rivers were dammed to form lakes.

Hamilton worked a lot with American species of trees. It was interesting to note that you could import a “box” of plants from American nurserymen, suitably packed to withstand the rough and long sea voyage. Many did survive and are still flourishing in the park today.

Over the years, the place deteriorated and became overgrown. In the 1950s it was rediscovered and lovingly brought back to life. Every year there is a new project. Recently the old boat house was rebuilt using old photographs. The previous year one of the bridges was replaced using an old painting as a reference. I attach my painting

PainshilL Park, Surrey

This was an unwary group of people feeding the Canada Geese by the lake at Painshill. There are literally flocks of geese of different species, as well as ducks and swans. Always a lot of activity on the water. In the background is one of the strategically placed follies, which I think is the Gothic Chapel

I am starting to whet my own appetite for painting here again!

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A different view of the lake with a different ruin which could make a good subject. Wants something in the foreground though. I have umpteen swan pictures from which to choose.

I have a commission to do and then I might tackle this one

Schlee Collection at Mottisfont Abbey

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Mottisfont Abbey near Romsey in Hampshire, UK, owned by the National Trust

We were at Mottisfont yesterday to see the roses which are magnificent now. These are grown inside the old walled kitchen garden, which give them a superb backdrop against old brickwork. I took some pictures of specimens, especially blooms which are about to fall, hopefully to do a rose study again. I haven’t done one for a long time. Not just the roses though. We had come to see the art, in the form of the Schlee Collection which is on loan from Southampton Art Gallery until July 3rd

There is an exhibition of the Schlee Collection of drawings and sketches, on loan from Southampton Art Gallery, which lasts until July 3rd. A private collection which was bequeathed to Southampton Art gallery in 2013, which includes work or should I say squiggles, by David Hockney, Henry Moore and Franz Auerbach, plus many others. I would like to say that I was thrilled by them, but I wasn’t. Heavily worked and corrected jottings are not very impressive, even if by one of the great names in British art. I was more pleased to see a drawing by Barbara Hepworth of an operating theatre, placed next to her mentor Henry Moore’s work. The Barbara Hepworth was borrowed from the Derek Hill collection which is in permanent residence at Mottisfont.

Derek Hill was a portrait and landscape painter of note, who became sought-after during the 1960s. From the south of England he moved to the west coast of Ireland and founded the Tory Island School of painting, where he taught the fishermen to paint the wild Irish landscape. He was also an avid collector of modern art, including the post-Impressionists. He was a friend of Maud Russell the last owner of Mottisfont, and bequeathed a portion of his collection there. These are always worth seeing, including many of his own works, time and again.

For me, however, the gem is still the Whistler room. Here we see Rex Whistler’s unfinished murals. Unfinished because he was killed in Normandy in 1944. His trompe l’oeil paint pot and brush high up on the coving below the ceiling, still makes me feel that I want to get a ladder and climb up and get it. I believe several have in the past

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