Latest News and Progress

4 December 2017

Spring term art classes at Salcombe Art Club

2017 exhibition schedule Yes, it’s time to start thinking about signing up for spring term art classes at Salcombe Art Club.

Although I paint a lot and some would say I’m quite good at it, there’s always something new to learn … and these classes are brilliantly tutored and great fun to attend.

Which classes have I signed up for?

I have signed up for five workshops/classes- which will keep me busy on Tuesdays and Fridays – and a couple of weekends – ahead of the start of the Main Exhibition on Friday 30 March 2018.

Painting in Acrylics or Watercolour with Michael Hill: Tues 9 Jan – 6 Mar (except 13 Feb = half term) 10am – 3.30pm
Oil Painting with Ian Carr: Fri 12 Jan – 16 Mar 10am – 3.30pm
Travelling Light Oil Painting with Ian Carr: Sat & Sun 3/4 Feb 10.30am – 4pm
Untutored Life Drawing: Tues 13 Feb, 13 March, 20 March 10am – 1pm
Portrait Workshop with Jenny Johnson: Sat 24 Feb 10am– 4pm

Are there other classes?

Yes! Classes are arranged each term – Autumn and Spring. Apart from the ones I’ve chosen there are several others …

The Enjoyment of Drawing with Jennifer Johnson
Watercolour and Mixed Media with Jennifer Johnson.
Woodcuts, 3 day workshop with Rod Nelson
Caroline Barker’s Linocut Workshop with Colour

Plus, there are ‘Studio Painting Days’ which provide an opportunity to spend a day painting in the company of like-minded artists and ‘Untutored printmaking’ for experienced printmakers.

To attend, you need to be a member of Salcombe Art Club.

How do you become a member?

There are three categories of membership.

Lay members may take part in workshops, courses and social activities and generally assist in supporting the club but may not exhibit.
Associate members may take part in most club activities including exhibiting in the Little Studio section (but not the main gallery) of the Annual Summer Exhibition. Associate members also have voting rights at the annual AGM.
Full members may take part in all club activities and exhibit their works in the Annual Summer Exhibition when they are required to carry out their share of stewarding duties. Full members also have voting rights at the annual AGM.

The first step is to enrol as a lay member; it only costs £12 per annum. After that, there is an annual selection process to become an associate member or a full member. For full details, check the How to Join page on the SAC website.

27 November 2017

Postcard from London: Tate Britain at Millbank

No visit to London would be complete without a visit to Tate Britain. Anne and I traveled up by train on Thursday and had a whirlwind of meetings and reunions before we returned late on Saturday. But, we made sure we had time to fit in one gallery and, this is me, on a bitterly cold but sunny morning, on the steps of Tate Britain.

Tate Britain

What’s on at Tate Britain?

Tate Britain at Millbank is, as ever, currently running several exhibitions and offering talks and other events:

Art in Focus: Horse Frightened by a Lion – until 30 November 2017
Rachel Whiteread – until 21 January 2018
Art Now: Marguerite Humeau: Echoes – until 15 April 2018

As luck would have it, and it was our preference, the one to catch our eye was the EY Exhibition ‘Impressionists in London Curator’s Tour’.

On at Tate Britain: EY Exhibition ‘Impressionists in London Curator’s Tour’

Having visited the Musée D’Orsay when we were in Paris, and sent a postcard from there, we have an ongoing love for the Impressionist movement.

My knowledge about the influx to the UK, as a result of the French-German conflict in 1870 or thereabouts, and the subsequent domestic political turmoil was only very sketchy. However, it clearly had an impact on the artist fraternity who had fled to the UK and, to our delight, there were paintings of Molesey, Hampton Court and Kew Gardens.

Many of the work on display, it would appear, were on loan from the Musée D’Orsay. We didn’t mind seeing them again!

Time was limited but I treated myself to an early Christmas gift: a hard back version of the exhibition catalogue. It’s a beautiful book, with hundreds of images and fact-filled accounts for each one. Edited by Caroline Corbeau-Parsons, it’s a delight to read.

Highlights of our visit to Tate Britain

Of the paintings we saw, one of my favourites is Sisley: The Regatta at Molesey 1874

And another Sisley: The Bridge at Hampton Court, Mitre Inn 1874. Both remind me of childhood haunts!

Tate Britain

The exhibition also includes many views of the Thames and its bridges. Lots by Turner …

When does the Impressionist exhibition end?

This exhibition continues until 7 May 2108 and is well worth a visit.

This post is one of my POSTCARD series, sharing all things ART with you when I go travelling.

20 November 2017

Work-in-Progress: November 2017

An artist’s work is never done – and here is an update on my work-in-progress.

What do artist’s do when the ‘season’ is over?

House portrait: preliminary sketch of Anne’s daughter’s home in Melbourne, Australia

Once the SHAF Arts Trail is over – that’s at the end of October – you might think artists put down their brushes and take a holiday.

Most years, that’s precisely what I do!

Every three years, Anne and I visit her daughter in Melbourne. We aim to spend at least seven weeks travelling and, although I take a minimal watercolour kit with me, the time is mostly spent with family, and relaxing. We enjoy a well-earned rest. However, this is something I painted during our most recent visit: a house portrait of their home. This is just the sketch; the finished painting is on their living room wall.

Every three years, we also spend the Christmas holiday somewhere else by ourselves: Malta or Madeira, anywhere warm … and again I take an art kit with me. I tend to spend more time painting on these holidays but only because Anne is usually busy with a writing project. In our apartment, we set up our separate corners – a studio area for me, a writing desk for Anne – and only meet up for walks and meals! It’s a complete break from our usual routine and, even if we are only away for a few weeks, we need that change of scenery to recharge our batteries.

Every three years, and it’s this year, we stay at home – to play host to friends and family at this special time. This is also my chance to catch up on my painting. The real stuff. The paintings I need in stock ready for the start of the next season.

And Anne is very busy, writing her latest NaNoWriMo novel, so I’m grateful she’s made time to type up my blog for me.

Studio update

My new studio space

While we were away last Christmas, we had a lift installed so that our home is wheelchair friendly. This was very much appreciated by at least one visitor to our home during the SHAF Arts Trail fortnight in October.

In the redesigned part of our house, I now also have a new studio. It’s larger and lighter than the previous one, and it’s already full of my ‘stuff’. It may look a bit of a mess to you, but I know where everything is.

Work-in-progress

You’ll notice, on the far wall, the gallery-style strip at ceiling level. There is almost invisible plastic ‘wires’ hanging down on which, in other areas of the house, I hang pictures that are available for sale. In my studio, I’ve devised a system of bulldog clips to hold my work-in-progress paintings. You can see three of them on the right, and there’s another on the easel.

Yes, there are quite a few! And there are more – mostly oil paintings – drying in the airing cupboard.

At the moment, only one of these paintings is signed. I sign my paintings when I feel that I should do no more to them. A signed painting is, therefore ‘finished’ and ready for the next stage.

Are any finished yet?

A finished, signed, painting ready for the next stage

Only the one so far … as you can see, it’s an oil, on board.

My handwritten notes to myself are still visible, as well as the guidelines for the photographer.

It is square in shape and therefore ideal as a fine arts greetings card. No cropping necessary …

What happens next?

Good question! Before any of my paintings are varnished or framed and made ready for sale, I have them professionally photographed.

Rather than taking paintings one at a time, I batch them. So, two or three times a year, we book a session with the photographer and trek into Plymouth for the day.

Ahead of that appointment, Anne and I sit down together and confirm the sequential number of each painting – this one will probably be number 136 – and its title. This data is added to the computer records of my art, and also written on the back of the painting for identification purposes.

Because I paint a limited number of scenes, coming up with an original title can be a challenge. It can’t just be the place name. I need more. Low tide at … Dawn at …

Sometimes, especially when I have decided to paint one scene in different media, or in different sizes, we resort to Roman numbering: Salcombe Dawn I, Salcombe Dawn II, Salcombe Dawn III, …

Having decided on the number and the name for each painting, and recorded it, we forward that information by email to the photographer so he knows how many paintings to expect and can name his electronic files in such a way as to avoid confusion. This is especially important when I have a series of very similar paintings.

And then what?

I leave the original paintings with the photographer for a few hours, and Anne and I make good use of that time, shopping in Plymouth.

Then, I return to the photographer to see the results of his work. The images he has taken are printed onto good quality paper, so that I can check the colour match against the original. And, at a later date, I can arrange to have giclée prints made – knowing the print will be as close in tone and hue to the original as possible.

And then we put all the originals back in the boot of the car and head for home.

Job done … except then, I need to make time for varnishing the acrylics and oils and book the framer.