Yet another excellent exhibition at Woking’s Lightbox art gallery. Small, obviously, size dictated by the venue but focused and to the point. We, in Woking, are so pleased as following the bankruptcy of the town brought about by reckless investment, the fate of the Lightbox has been in the balance. Deep cuts are having to be made, and when difficult choices and sacrifices are having to be made, then difficult sometimes to make a case for our wonderful art gallery to be saved. So far it has been managed by the new local government and we are grateful for that. The Lightbox is relatively new, in a town with virtually nothing by the way of heritage or culture, so the rise in prominence of our gallery has been a matter of civic pride. We hope it will continue
Henry Moore is well known, and if like me you tend to remember his wonderful sculptures, then it is useful to be reminded that he painted as well, and some while ago too. When reminded, of course I remember his drawings and paintings of people taking shelter during air raids in London, in the underground railway stations. This exhibition highlights some of these works, known as the Shelter drawings commissioned by the War Artists Advisory Committee during the last war. These Shelter drawings were responsible for achieving widespread recognition for the artist following their display in the National Gallery. When you look at some of these drawings you start to see forming some of his later sculptures and I will show one if I can as an example
Certainly the first one I think I have seen as one of his sculptures!
Many years ago, there was a major exhibition of his sculptures in Kew Gardens, and I painted one of them that was placed in front of the Palm House. By way of light relief, I will end with it here
A figure stretching after a night on a cold platform? Might be
This is the centre of my local village, St John’s near Woking. The name St John’s was taken from the local church, built in the c19 by the then rector of Old Woking, as a chapel of ease for the village inhabitants. Quite a long walk to church otherwise in a century when no one had transport.
The village is mostly Victorian, and although surrounded by suburbia, does still retain its village atmosphere and integrity. Life started here in the late c18 when the canal was cut through open heathland. In the distance in my picture, the road makes a hump, as it crosses the canal. This is Kiln Bridge, where as the name suggests bricks were made from local clay, and these were used in the building of the canal. The canal was intended to link London with Southampton, but only reached Basingstoke before the railways were built and superseded canals. This was still a time when war with France was a possibility, and inland links with major south coast ports were desirable.
Today the Basingstoke Canal is maintained by Surrey and Hampshire County Councils. There is some leisure boating but not much. Wild life proliferates and the towpath is used for cycling and walking.
This is the very first time that I have painted my own village. I don’t know why. I put this painting on a local website and had more than 240 hits. All complimentary, I am pleased to say. No offers to buy though.
In the middle of the picture is our comparatively recent coffee shop, which has become the hub of village activity. Walkers and shoppers meet there to relax and catch up. We never had that before and it is a very welcome addition. We do have a pub but located going out of the village, so not so convenient. We have most shops so a useful selection.
At the bottom of my lane, we are blessed with a green open space, called St John’s Lye. Lye, lea or leigh means a green space. It is common land and so protected although we did have to physically resist Woking Borough Council who wanted to build a village hall on the Lye to replace the one that was starting to fall down. Eventually common sense prevailed and the new hall was built on the site of the old one. The Lye is available to all age groups for spontaneous activity including dog walking.
And so you have it. Not a place that many know, but loved by its local population
I shall publish a recent picture soon of this fascinating house, which Turner had a hand in designing together with his friend and near neighbout John Soane
And this is it in Sandycoombe Road in Twickenham, where we made a visit recently
Turner built this house in the style of a small country villa, in 1813, for himself and his “old dad” William, where they spent much time relaxing away from his London gallery. At the time it was way out in the country. Later on in the latter part of the c19 it was surrounded by suburbia, as it still is today. Quite historic suburbia now of course, but suburbia nonetheless. If I can find it I have somewhere a recreated view from the dining room window at the time that Turner lived there.
And this is it. Tranquil pastoral countryside image on the window of the dining room. Quite clever. The garden with well,and meadows beyond. Ignore the brickwork showing through the upper part of the window. That is the house next door today in real life, which we can’t block out
How did Turner live at Sandycombe Lodge? Did he paint there? He always went with sketch book in hand, studying the landscape, and its changing moods. It was believed that he used the drawing room as a studio. It had French windows facing north-east from which friends recollect that Turner would refresh his eye.
He used a pony and gig for getting about on sketching trips.The pony was the “old crop-ear” who may have grazed on Turner’s nearby meadow, and whom Turner buried somewhere on his land. No stables are recorded on of the later maps, he must have been stabled elsewhere, perhaps at the nearby Crown Inn.
Fishing was a quiet pleasure shared with friends, many of them fellow artists.The Thames nearby provided an abundant supply.Turner made some beautiful watercolour studies of tench,trout and perch, the catches of some of these expeditions. Often he was accompanied by John Soane, who was also an enthusiastic eel catcher
One of the most prestigious acquaintances Turner made during his time at Twickenham,was the Duc d’Orleans later Louis Philippe, King of France, who lived with his brothers near the Thames at Highshot House in Crown Lane from 1800-1807. Turner met the Duc at a Royal Academy dinner in 1802. Later, between 1815-1817 the Duc was again in exile in “dear quiet Twick”, this time in a house which is still there, named Orleans House which today houses a prestigious art gallery. They must have become firm friends as Louis Philippe gave him a gold snuff box when he came to England for Queen Victoria’s coronation in 1837. Turner took his last continental excursion in 1845, and called on Louis Philippe, who had a chateau on the coast of Picardy, and enjoyed a convivial evening of chat about Twickenham.
The other incumbent of Sandycombe Lodge, was “old Dad”, Turner’s father William, retired barber of Maiden Lane, Covent Garden. He kept house and also opened up the gallery for his son in Queen Anne Street. They both enjoyed frugal living, as William complained about the cost of getting into London, easily affordable by Turner. He was overjoyed to find a market gardener who would take him in on his cart sitting on the vegetables, for the price of a glass of gin!
After 1815, and the Napoleonic Wares drawing to a close, Turner could at last travel on the continent, and we know well, his wonderful paintings of the Alps which he crossed into Italy. Likewise magnificent views of Venice. The Low Countries and Germany were on his list.
He kept Sandycombe on for his father, who enjoyed the life there, but by 1826, William’s health was failing, and indeed by 1829 died. Turner had removed him back to Queen Anne Street before then. Sandycombe had become an irrelevance by then and I believe was sold for a modest £500, ironically less than Turner might expect for a major oil painting. Old William’s death affected Turner greatly. They were very close.
The house enjoyed a long life after Turner, and has now been fully restored , brought back to life by Harold and Ann Livermore, who bought the house in 1947. Ann died in 1997, and Harold established the Sandy Lodge Trust, now Turner’s House Trust, to preserve and maintain the property, which is now open to visitors and certainly worth a visit.
This is the finished painting which I have called Windswept
I have done quite a lot of work on the horses as you can see. One horse in a familiar grey colour whilst the other in deep chestnut with black mane and tail, whilst also with black legs. Manes are swept out in one direction, as well as tails. Powdered snow is being kicked up by their hooves. The general effect I like to believe, is one of storm and threat even of chaos. I will let others judge
I have, I hope kept the strong light coming in from the left. The snow heightens that effect.
Not an easy one to put together. At times I was tempted to abandon, but I usually like to finish before condemning a painting to the bin. I am generally happy with this one, and comments on social media have been enthusiastic
Usually I paint from some sort of photographic reference or even real life occasionally. I was advised to step out of my comfort zone when I was heard grumbling about not being able to think of something to paint. This is probably the closest that artists get to writer’s block.
So I started with a reference of a single horse which I duplicated, changing the colour of the second one. I put them in in a rough form.
I started on the background which I began with a coat of burnt sienna, diluted down. I let that go hard overnight, and then gave a glaze of lamp black, dabbing some out with paper towel to give cloud shapes. Lamp black is quite smoky looking and I like the effect it gives to winter clouds. Again I let that dry naturally overnight.
The clouds needed to go darker. I mixed Ultramarine Blue and Light Red and started from the top, adding more red as I reached the horizon line. I let that dry hard whilst I figured out what to do next. Remember I was on my own with no safety net!
I felt that the horizon could do with storm clouds rising. I used another mix of the red and the blue. The clouds didn’t work so they turned into distant hills which worked better
This is the type of commission that I enjoy doing. One of my favourite subjects, painting horses, and in this case, a charming composition, of a horse being brought in to the stables, possibly for saddling up, by her young owner.
One of the most difficult things to get right was the colour of the horse. A brown horse doesn’t sound very complicated but there are many shades of brown, and I needed to get close to the original reference photograph. This horse looked like a bay to me, with black mane and tail, and with black legs. I did the horse over several days, building up the colour and letting it dry overnight. Until the colour was dry, you just could not tell what it would look like. Eventually I was satisfied with the result
Most other things were relatively straightforward. I blurred out the background to increase the feeling of distance. Also in the photograph the background was in direct competition with the main subject.
The composition now worked well and told a story. I was a rider myself once long ago, and this picture reminded me of those days. My son and I would go north for a week to Northumberland, where there are some very open spaces. We would ride from place to place, and overnight the horses with local farms. They would stay out overnight, and in the morning we would have to go and find them, and bridle them up. Horses are cunning and when they saw you coming would make for the higher ground. You really worked hard to catch them. Once you got the bridle on, you could bring them down to be saddled for the day’s ride. This picture reminded me. Incidentally all this happened nearly forty years ago. My son is 53 now and me, well, I don’t ride anymore.
A pale evening glow in one of my favourite places, Bosham harbour, with the Saxon church in the background. The church is featured on the Bayeux tapestry. Harold Godwinson prayed here before setting sail on his ill-fated voyage to Normandy. The church is shown as a large arch, most likely the huge chancel arch still there today. Nave and tower would not have existed then
Reputedly too, the legend of King Cnut attempting to turn back the waves is also supposed to have taken place here. But that is only a story
I painted this view of Bosham as I needed another local painting for an exhibition in Chichester, which is very much a new area for me. I was invited by a local gallery to take part, and I took my paintings down this Monday. The exhibition lasts for three weeks so it will be interesting to see what happens
Chichester is the county town of West Sussex. Very old, its foundation was Roman, and which has a direct link to London by Stane Street which is typically a straight line, although known today as the A24 if I remember correctly. The town centre is beautiful, with its 13c cathedral and 14c market cross.
The painting hopefully shows the harbour with an evening glow. I used quinacredone gold which usually works well
Anyway it is on show with others, and we hope for great things
Firstly I am indebted to Wendy Hodgkins Corniquet for her excellent reference photograph
I find it hard to resist Camargue horses and when I saw this picture, I felt that it would work well as a painting
The only thing I changed was the background. The photograph had a background more like a sunset, which I have changed to something plainer. I felt that concentrated more on the horses.
Camargue horses as you know, run wild in the wetlands in the Rhone estuary. They are always white, which adds to their impact as a herd, especially galloping through water.
I have painted them many times, as featured on my web site davidharmerwatercolour.co.uk
I am grateful to Vicky Stovell of Smiley Sunshine Photography for the use of her amazing photograph as a reference
I was intrigued by the photograph, not just for the composition bu also for the effects of the colours, which I hope that I have done some justice to. Yet another superb sunrise over the sea photograph to work to, yet challenging whilst exhilarating
The colours seemed to go in bands. Deep yellows and pinks in the lower sky beneath the blue, which are then repeated in reverse order through the horizon and into the sea, finishing with blue around the swans as we get into shadow.
The pebbles were time consuming. There were a variety of colours amongst the stones, blues and browns which I have tried to pick out, whilst at the same time, subduing the effect slightly so as not to compete with the detail of the birds. Something of a balancing act. Have I been successful. I will let others judge
This is one of our local churches in the village of Pirbright, Surrey. In the grave yard is buried Henry Morton Stanley, the explorer who found Livingstone, and uttered the immortal phrase “Doctor Livingstone I presume”
I have painted this church a few times in all seasons and these have always proven popular locally. What to do, to do something differently? Always a problem, especially heading for a local exhibition, as I am in December. I have chosen an early morning light which sometimes bathes everything with a red light. I have been cautious with the colour , perhaps too much. \i could have used a dilute wash of Permanent Rose over the tree trunks which would have made them pop, as the word seems to be.
I used four colours in this painting. Quinacradone Gold with a slight Vermillion tinge to it for background, Burnt Sienna with vermillion mix and for the very dark shades , Transparent Brown again with a tinge of the red.
The painting is on display at the moment. The art club have taken over the old post office in the centre of the village which will be very helpful as a permanent exhibition
We shall see. We shall get opinions if nothing else
offtoafineart 