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Henri de Toulouse-Lautrec, Ambassadeurs: Aristide
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Courtesy of Institut für Kulturaustausch, Tübingen
 A R T I S T S & I L LU S T R AT O R S • A P R I L 2 0 2 4

Regulars
5 SKETCHBOOK Quick tips,
ideas and inspiration. Plus, this
month’s exhibitions
12 PRIZE DR AW Win £1,300 worth
of digital art tablets
22
22 HOW I MAKE IT WORK
with fine artist Morgan Weistling
79 YOU TELL US Write in and win
a £50 Atlantis Art voucher
82 PICTURE THIS James Swanson
tells us about his painting

Inspiration
14 THE BRITISH ART PRIZE
Highlights from the Private View
16 IN THE STUDIO American still
life artist, Jeffrey Hayes shares all
24 HOW I PAINT Ireland-based
painter, Sebastian Thommen
shares what led to life as a
watercolour artist
30 THE BIG INTERVIEW Dutch
artist, Ans Debije on her daily still
life paintings
36 EXHIBITION Tate Britain’s
upcoming display on John Singer
Sargent’s life as an early stylist
42 IN DEPTH A new show at
Dulwich Picture Gallery is about
to change the idea of landscapes
46 RETROSPECTIVE The Royal
Academy exhibition on Swiss
painter Angelica Kauffman’s life

Techniques
52 MASTERCL ASS This month,
Adebanji Alade paints a striking
portrait in mixed media
58 BOOK EXTR ACT Here is an
excerpt from cover artist Inga
30
Buividavice’s book showing her
love for watercolour and wildlife
62 DEMONSTR ATION Artist
Dorien Brouwers shows you how
to illustrate your own book in
watercolour – and get published
66 HOW -TO Matthew Haydn Jeanes

52
paints a still life in mixed media
72 STEP - BY- STEP Sarah Stokes
shows you how to mix watercolour
techniques to paint an egret
 ED I TO R 'S L E T T ER

Stay inspired
by subscribing!
Like all methods EDITORIAL

of painting…
Editor
Niki Browes
ARTISTS & ILLUSTRATORS Art Editor
Stuart Selner
Phone: Assistant Editor
+44 (0)1858 438789 …working with watercolour is an absorbing, Ramsha Vistro
Email: meditative art form. So, in this issue, we Contributors
artists@subscription.co.uk decided to dedicate the practical section of the Adebanji Alade, Martha Alexander,
magazine to this popular medium. Take our Dorien Brouwers, Inga Buividavice,
Online: Sarah Edghill, Amanda Hodges,
subscription.co.uk/chelsea/solo cover artist, Inga Buividavice. She has a Matthew Haydn Jeanes,
profound love of watercolour along with Sara Mumtaz, Sarah Stokes
Post:
nature, which led to her writing her second info@artistsandillustrators.co.uk
Artists & Illustrators,
book, Wild Watercolour. It’s a smorgasbord of
Subscriptions Department, ADVERTISING
love for both the medium and the living world. Group Sales Director
Chelsea Magazines,
We have an exclusive extract. Catherine Chapman
Tower House, Sovereign Park,
For fans of still life, Matthew Jeanes shows you how he used his (020) 7349 3709
Lathkill Street, Market catherine.chapman@
watercolour palette to create an image of flowers from his garden.
Harborough, LE16 9EF chelseamagazines.com
Meanwhile, popular book illustrator Dorien Browers shows you
Renew: Advertising Manager
how she created the watercolour images for her latest commission,
subscription.co.uk/chelsea/solo Hannah Lees
a book entitled Life. Then, Sarah Stokes describes how she painted 07715631382
Annual subscription rates an egret in the same medium whilst Sebastian Thommen tells the hannah.lees@
UK: £75, US: $150, RoW: £110 moving story of his mentor and how he became a professional artist chelseamagazines.com

with watercolour paints. Advertising Production

allpointsmedia.co.uk
However, we do realise you love all sorts of creative genres, so we
have exciting stories in other mediums and styles, including with MANAGEMENT

Welcome to still life artist Jeffrey Hayes, Morgan Weistling, an artist who began
his career as a Hollywood film poster illustrator, and Ans Debije,
& PUBLISHING
Managing Director
THIS MONTH’S COVER BY INGA BUIVIDAVICE. TOP IMAGE SHUTTERSTOCK

British
James Dobson
whose aim in painting is to make everyday items look beautiful.
THE Publisher
Last but not least, we give you an insight into the Private View of

Art
Simon Temlett
The British Art Prize 2023. Winners, those highly commended and Chief Financial Officer
CLUB Vicki Gavin
finalists turned up in their droves, along with friends of the
Subs Marketing Manager
The fabulous new magazine, despite the truly freezing temperatures outside. It was a
Bret Weekes
website for showcasing joy to be with so many creative minds.
BACK ISSUES
and selling your art All in all, right here, there’s much to explore, inspire and
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Artists & Illustrators (ISSN No: 1473 -

INTRODUCING 4729, USPS No: 0950) is published
monthly by The Chelsea Magazine
Company Limited, and distributed in the
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Folcroft PA, POSTMASTER: send address
changes to Artists & Illustrators, 701
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JEFFREY HAYES MORGAN WEISTLING SARAH STOKES SEBASTIAN THOMMEN

Write to us!
Send us your latest paintings,
Aged 30, Jeffrey bought an oil A two-time winner of the Prix An award-winning animal Sebastian has been painting in
tips or artistic discoveries and you
painting kit and eventually de West Purchase Award, artist, Sarah teaches in person watercolour since his early could win a £50 voucher:
turned a hobby into a true Morgan is known for his around the world as well as via teens. Still, he pursued a career
calling. Since, he’s painted paintings of the American her online classes, with now, as a theatre and film actor. In info@artistsandillustrators.co.uk
still life exclusively for more frontier spirit. They shed new over 100,000 watercolour and recent years, however, he took
@AandImagazine
than a decade. For him, it light on the Old West as he charcoal tutorials sold to date. up painting professionally. In
embodies exploration, captures the mood and She is represented by 2023, he was awarded the
/ArtistsAndIllustrators
serving as a means to portray atmosphere of the past, whilst Demontfort Fine Art for her Silver Award and the Artists
the outer and inner light. He portraying the truth and original pieces as well as Choice Award in the Art in The @AandImagazine
now has many collectors of beauty of America’s through the gallery group Open International Plein Air
his paintings. pioneering spirit. Clarendon Fine Art. Festival in Wexford. @AandImagazine

4 ARTISTS & ILLUSTRATORS

T I PS • A DV ICE • EX H IBI TIONS • NEWS • R EV I EWS E D ITE D BY R AM S HA V I STRO

COURTESY OF ARTIST SARAH HUXLEY. GREENSTAGE GALLERY

Quiet Evenings by the
Fire, £1,450, mixed
media, (including
collage) on canvas

Things we love...
This March, immerse yourself in creativity at Affordable Art Fair Battersea's 25th-anniversary celebration in Battersea Park. Witness
a diverse collection of affordable artworks from global galleries. Whether you're decorating your space or seeking daily inspiration,
explore a world where art tells unique stories. Join in for a laid-back celebration of creativity and expression. Affordable Art Fair
Battersea: where art meets imagination. affordableartfair.com ▫

ARTISTS & ILLUSTRATORS 5

 Sketchbook
POEM FOR WINE & STARS, 1999, ACRYLIC ON CANVAS, 79X61CM. CR LONDON

B OO K O F THE M O NTH
THE WARS OF THE ROSES:
THE MEDIEVAL ART OF GRAHAM TURNER
The Wars of the Roses was a 30-year period that saw
England drawn into civil war by a bitterly divided
ruling class. In this unmissable visual tour through a
pivotal period in England’s history, this new study
contains a detailed history of the wars alongside a
unique and comprehensive collection of over 120 of
Graham Turner’s paintings and drawings, many
created especially for this book. Osprey Publishing, £35

Join us online!
Don’t miss...
A new exhibition at the Royal West of
them ‘these mad little hybrids,’
referring to their unexpectedness
and the difficulty of fitting them
There's a ton of art inspiration
amongst these pages. But if
England Academy (RWA) presents an into conventional categories. you're looking for more? Find
extremely rare and largely unknown Remarkably, they have never been it on the fabulous Artists &
aspect of the late artist John Hoyland’s publicly displayed since being Illustrators website. It's one of
(1934-2011) career: ceramic sculptures. made. This exhibition brings the best digital resources for artists from
In 1994, Hoyland – a prominent British 11 of Hoyland’s ceramics together every realm, whilst the refreshing redesign
abstract painter – made an unruly but, for now, enjoy one of his most makes our practical guides, competitions and
group of 25 ceramic sculptures. popular paintings, Poem for Wine & interviews even more insightful. See you there.
Loaded with colour, humour and Stars. On until 12 May 2024. artistsandillustrators.co.uk
zoomorphic qualities, he called rwa.org.uk

THE
11 MARC H 30 MARC H 9 APRIL 30 APRIL
Submit your works to the Enter the New Light Showcase your 2D The Hampstead Art
Wildlife Artist of the Year Sculpture Prize, open to artwork at the Society invites entries for

D IA RY
awards and make a artists from Cumbria to Patchings Art Centre, its annual open call with
difference in wildlife Yorkshire. Win £1,000 Nottingham for the TALP multiple prizes. Exhibit
conservation. Total prize and showcase your 3D Open Art Competition. your masterpiece at
Open calls, pool of over £13,000, with masterpiece at The The prize fund totals Gallery 8 in Mayfair,
prizes and artist a £10,000 first prize. Biscuit Factory, Newcastle. over £6,000. London. £12 per work.
opportunities davidshepherd.org newlight-art.org.uk painters-online.co.uk hampsteadartsociety.uk

6 ARTISTS & ILLUSTRATORS

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Become a better artist with our practical features, inspirational step-by-step guides
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 Sketchbook

Be inspired...
Time Horizon, one of Antony Gormley’s
most spectacular large-scale
ANTONY GORMLEY INSTALLS HIS WORK TIME HORIZON AT HOUGHTON HALL IN NORFOLK © PETE HUGGINS

installations, will be shown across

the grounds and through the house at
Houghton Hall in Norfolk from 21 April
to 31 October 2024. This is the first time
the work will be staged in the UK.
Featuring 100 life-size sculptures, the
works are distributed across 300 acres,
the furthest away being approximately
1.5 miles on the West Avenue.
houghtonhall.com

EXPLORE …
More than just a basic drawing guide,
The Artist’s Drawing Book inspires you
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artists Katy Lipscomb and Tyler Fisher
share their knowledge in this detailed
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perfect for sketching as you read along
and encourages hands-on action to
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you insider tricks for how to create a
viable business plan and successfully
sell your art. Blue Star Press, £19.99

MANC HE STER OPEN 202 4

Greater Manchester’s largest open art exhibition is on until 28 April at HOME. The 2024 edition of
the Open sees the work of more individual artists than ever before exhibiting their work; 480 in
total. The work includes painting, print, photography, sculpture, ceramics, mixed media, video,
audio and performance. Also varied is the age and experience of the artists, with submissions
open to all – a fact that is reflected in this year’s entrants who range in age from five to 83 years
old. As a celebration of art, Manchester Open brings together established professionals, students,
graduates, communities, new and emerging talent, amateurs and first-time artists.
homemcr.org

ARTISTS & ILLUSTRATORS 9

 Sketchbook

T H E B E S T A R T S H OW S T O V I S I T F R O M F E B R UA R Y O N WA R D S
JOHANNES VERMEER, GIRL WITH A RED HAT, ANDREW W. MELLON COLLECTION NATIONAL GALLERY OF ART, WASHINGTON

© EMMA DAVIS, 2022

FROM THERE TO HERE - THE 306
COLLECTIVE
12 to 23 March 2024
From There To Here explores the impact of
time. On work. On process. On time itself.
For a year, The 306 Collective met monthly
to discuss and share their work. Through this
process – and the diversity of their individual
practices – several common themes emerged:
self and identity, the exploration of past and
present, the examination of memories, and the
TURNING HE ADS: RUBENS, All eyes will be on Dublin, when power of chance.
REMBR ANDT AND VERMEER Turning Heads: Rubens, Rembrandt From There To Here is an exhibition by five
24 February to 26 May 2024 and Vermeer opens on Saturday, 24 artists that seeks to consider the time they spent
The National Gallery of Ireland has February and runs until Sunday, 26 meeting and to create a visual and visceral
an entire exhibition dedicated to May. First seen at the Royal Museum response. Each artist is presenting work that
‘the tronie’ – an old Dutch word for of Fine Arts Antwerp in 2023, this reflects upon the time within each other’s
‘face’ that represented creative version of the exhibition will include presence, the experience of shared thoughts,
experimenting with facial expressions several additional works by the likes and allows for an individual’s artistic process
and particular heads – featuring some of Jan Lievens, Michael Sweerts and to be combined with a collective’s energy.
of the most iconic examples of the Frans Floris. Willesden Gallery, The Library at Willesden
genre by Dutch and Flemish artists, National Gallery of Ireland, Merrion Green, 95 High Road, Willesden, NW10 2SF.
including Peter Paul Rubens, Square W, Dublin 2, D02 K303, Instagram: @willesdengallery
Rembrandt and Johannes Vermeer. Ireland. nationalgallery.ie

10 ARTISTS & ILLUSTRATORS

 WILLIAM CROZIER, UNTITLED, 1960, COURTESY OF PIANO NOBILE

BLEEDING OUT, COURTESY OF THE ARTIST

ALISON L APPER: LOST IN PARYS
Until 11 May 2024
A new exhibition at Bethlem Museum of the Mind will
showcase Alison Lapper’s work that explores her journey
of grief since the untimely death of her son Parys. Alison
Lapper: Lost in Parys will present a range of new work that
delves into a world where silence often shrouds the depths
of human suffering, and the power of creativity emerges as
a beacon of hope.
Alongside her own work will be sculptures and
WILLIAM C ROZIER: NATURE INTO ABSTR ACTION photographs from friends and contemporaries Marc
Until 22 March 2024 Quinn and Rankin, echoing and exploring the recent life
Brought together again after five decades, a series of landscapes by the events of Alison and the effect it has had on her as both a
Scotish-Irish artist William Crozier (1930-2011) will be displayed at mother and an artist. The dialogue between these three
Piano Nobile, showcasing why he became one of the leading artists of artists will present visitors to the Bethlem Museum of
the post-war generation. the Mind with an intimate narrative that explores grief
Produced between 1958 and 1961 when the artist was temporarily and mental health alongside Alison’s reflection on
living in north Essex, the daring and original landscapes are infused the complexities of motherhood, even in the direst
with an existential angst common in Crozier´s work. Over 30 works will of circumstances.
be on display, some that have not been seen for a generation, showing a Bethlem Museum of the Mind, Bethlem Royal Hospital,
painter who, throughout his career, walked a tightrope between Monks Orchard Rd, Beckenham BR3 3BX.
representation and abstraction. museumofthemind.org.uk
Piano Nobile, Portland Road, London W11 4LW. piano-nobile.com
TRIAL PROOF OF PLUTO AGED TWELVE, 2000, ETCHING BY LUCIAN FREUD.
© THE ESTATE OF LUCIAN FREUD. ALL RIGHTS RESERVED 2023, BRIDGEMAN IMAGES

LUC IAN FREUD’S ETC HING S: A C RE ATIVE

COLL ABOR ATION
Until 25 August 2024
One of the foremost British artists of the 20th century, Lucian
Freud is best known for his figurative paintings, but he also
made many etchings, often of the subjects and sitters featured
in his painted works. A selection of 38 of these intricate and
intimate prints will be on display. This will explore this
lesser-known aspect of Freud’s work and will feature highlights
from a unique collection of trial proofs amassed by master
printer Marc Balakjian, who worked with Freud for more than
20 years. Since most of these proofs have never been exhibited
anywhere before, the display will offer fresh insights into
Freud’s working practice. The collection is a remarkable record
of Freud’s sustained engagement with printmaking and offers a
vivid and illuminating account of an extraordinary creative
collaboration between artist and printer.
Paintings Galleries, Victoria and Albert Museum South
Kensington, Cromwell Road, London SW7 2RL. vam.ac.uk

ARTISTS & ILLUSTRATORS 11

 P R I Z E D R AW

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Meet your new artistic companion, courtesy of XENCELABS
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Enter by noon on 8 April 2024, either at
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Xencelabs Prize Draw,
Artists & Illustrators, Chelsea Magazine
Company Ltd, Telegraph Media Group,
111 Buckingham Palace Road,
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TERMS & CONDITIONS

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For more info visit: landmarkartscentre.org/exhibitor-info
Image: Marcia Hughes Registered Charity No: 1047080

ARTISTS & ILLUSTRATORS 1 3

 The
Brıtısh
ART
rıze
P 2023
I N PA R T N E R S H I P W ITH

gallery@oxo overlooking
The Thames on London’s
Southbank

The British Art

Prize billboard,
overlooking
Waterloo Bridge

The gallery space

The staff of
Artists &
Illustrators

Judge Sarah
Graham

From left to right:

Ange Bell, Titus
Agbara, Niki
Browes, Lucy Pass,
Toby Michael
 First prize
winner,
Lucy Pass

Highly Commended artists John Haywood (left), and Rob Cowan (right)

Artist Michele
Ashby with
her son

2023’s British Art

Prize was a
runaway success.
Here are some
highlights from the
private view

E
very year, it’s an incredible second, third and People’s Choice winners,
honour that artists of all levels followed by speeches by each artist. For
submit their artworks to us for her painting Tiny Pieces, Lucy Pass won
the chance to win big in The first prize. This earned her a £2,500 cash
British Art Prize. A major art prize courtesy of The British Art Prize’s
competition with an international reach, main sponsor, Adobe, plus a £500 Royal
this offers artists the opportunity to gain Talens gift voucher.
valuable exposure, kudos and recognition Toby Michael was the winner of the
for their artwork. second prize for his portrait painting
A shortlist of 50 winners was selected by titled Emma Dabiri. He won a £1,000 cash
our esteemed judging panel, including prize from Adobe and a £500 Derwent gift
Tom Croft of Portraits of NHS Heroes, voucher to polish his skills further.
internationally acclaimed portrait artist The third prize was awarded to Ange Bell
Jonathan Yeo, The One Show’s Artist in for her touching portrait, Spencer & Co.
Residence, Adebanje Alade, renowned Ange received a £500 Pegasus Art
oil artist Sarah Graham, Adobe’s Vice voucher. All three artists will additionally
President and MD, Suzanne Steel and feature in a future issue of this magazine.
Niki Browes, the editor of this magazine. As voted for in the hundreds was Titus
On the evening of 18th January 2024 – Agbara’s triptych painting, In the Spirit of
and despite the truly freezing temperatures Rushcart, granting him the People’s Choice
outside – many of the award-winning Award. His prize includes a £1,000 Atlantis
PICTURES: MARCUS HOLDSWORTH

artists, along with friends and supporters Art voucher, whilst you may have seen
of Artists & Illustrators, gathered together his feature in the March 2024 issue of Editor Niki Browes
to celebrate at the private view. The Artists & Illustrators. All 50 shortlists will with the first
prize winner,
ceremony and exhibition took place at also receive a £50 Atlantis Art voucher.
Lucy Pass
gallery@oxo situated on the Southbank. Next year’s exhibition will be launching
Prizes were handed out to the first, soon. Stay tuned. ▫

ARTISTS & ILLUSTRATORS 1 5

Four Oranges, oil on
panel, 40x50cm
 H O W I W O RK IN T HE S T UDI O

This American artist unveils the silent poetry of still life,

capturing our world’s quiet beauty in every brushstroke,
says Ramsha Vistro ▸

ARTISTS & ILLUSTRATORS 17

H O W I WOR K
Lemon, Teapot, Blue
Velvet, oil on panel,
20x20cm

I
n Jeffrey Hayes’ childhood home in nurturing these artistic inclinations. His a detour into computer programming, he
hangs a grand reproduction of Autumn father’s craftsmanship in woodworking found his way to painting as his third career.
on the Hudson River by Jasper Cropsey: a infused a sense of beauty and patience, Drawing parallels between painting and
depiction that subtly nudged the young while both parents fostered a deep respect music, he says, “They are so deeply related that
artist towards fascination. Jeffrey for the arts and encouraged his curiosities. they almost seem like the same thing viewed
recalls, “I spent countless hours standing on He highlights, “My mother instilled in me from two different angles.” Programming,
the couch looking into the world of that the belief that I could do anything I wanted, with its emphasis on logic and meticulous
beautiful painting. I still love seeing it.” and my father always taught me the value attention to detail, also finds a subtle
Later, at the age of six, a museum outing of keeping an open and honest mind.” connection with his artistic process.
with his father would shape his artistic These moments laid the foundation of It was on his 30th birthday that his life as
perspective. A particular painting – with its his genuine interest in painting. Though, he an artist began and he finally “decided to
intricately glazed lace over a figure’s forearm didn’t act on that eagerness for many years satisfy that curiosity” by buying himself a
– imprinted itself in his young mind. The and came to painting much later than most small oil painting kit. Reflecting on those early
astonishment lingered; the disbelief that who follow this path. days, he candidly admits, “The first paintings
paint could achieve such intricate finesse. While art classes in school sparked an were absolutely terrible, but I also knew right
“Both of these experiences instilled in me intense curiosity, he meandered through away that I would be doing this for the rest of
an intense curiosity about how simple paint other interests, especially music. Thus, his my life.” Before long, this new weekend hobby
could be transformed into such wonders.” journey into painting wasn’t a direct one. With grew to envelop almost all of his free time.
Jeffrey’s family also played a pivotal role an advanced degree in music composition and While Jeffrey’s work is now mostly made ▸

18 ARTISTS & ILLUSTRATORS

 Tea and Lore, oil on
linen, 30x40cm

Clementine and
Creamer on Gold
Cloth, oil on panel,
12.5x12.5cm

Delft Pitcher, Water

Glass, Plums, oil on
panel, 20x20cm
H O W I WOR K IN T HE ST UDI O

Orange, Knife,
Teacup with Teapot, Teacup,
Oriental Rug XV, oil oil on linen on
on panel, 13x13cm panel, 22x30cm

Teacup, oil on
panel, 15x20cm

up of realist still lifes, this wasn’t always the ideal space where an easel at one end
case. “Still life was not my first love as a allowed for a satisfyingly distant view of
painter. For the first half dozen years or so, That sense of time his work in progress.
I painted en plein air landscapes almost Reflecting on the evolution of his studio,
exclusively.” He believes this was the “best coming to a standstill Jeffrey shares, “I had a full studio in one of
training for an artist’s eye” as the changing
light forces one to be fast and accurate.
is the experience I the local artists’ buildings – a converted
19th-century mill. I maintained both the
Only, his heart was seeking a quieter, hope to give a viewer home and the mill studio for about a year, but
simpler art. This inner calling nudged finally, I just couldn’t justify the expense of
Jeffrey towards the exploration of still life. the outside space. So, I moved everything
His current artwork primarily revolves find meaningful.” into my home.” While acknowledging that
around simple food and drink, embodying The artistic themes find resonance in working from one’s residence isn’t everyone’s
our most elemental needs and pleasures. his meticulous studio setup, where chaos cup of tea, Jeffrey has developed a fondness
Yet, beyond the tangible subjects, his coexists with inspiration. Shelves and for the intimacy and convenience that his
paintings encapsulate a moment of silence, cupboards overflow with a collection of home studio affords. In this peculiar – yet
where time seems to stand still. He states, props; each holding a story; each perfectly suited – space, surrounded by the
“That sense of time coming to a standstill contributing to the essence of Jeffrey’s curated chaos of his collection of props,
is the meaning and message of these artistic flow. His studio, nestled within Jeffrey crafts the silent moments that grace
paintings, and that is the experience I the confines of his Massachusetts home, his canvases.
hope to give to a viewer who pauses to provides a haven for the meticulous He finds his artistic home in the works of
look for a moment.” contemplation that defines his work. the Dutch and Spanish still life masters of the
For Jeffrey, each painting is a guide to This is a space that may not boast grand 18th and 19th centuries. Melendez, Claesz
a particular calming and meditative proportions but is “just right.” With an and Kalf are the trio he repeatedly turns to for
experience. He draws a comparison with unusual dimension of 2.5x6 metres, the inspiration. Still, he recognises the
Eastern Orthodox icons, aiming to guide room – originally labelled a bedroom – had importance of exploring a wide range of art,
viewers towards a spiritual journey and served the previous owner as a den. To including medieval illuminated manuscripts
hopes that his paintings “might guide the Jeffrey, it made little sense for either and oriental rugs, finding beauty in
viewer to having a particular calming and purpose, but he saw its potential as the unexpected places.
meditative experience, which some may perfect home studio, offering a peculiar yet His process unfolds with careful precision,

20 ARTISTS & ILLUSTRATORS

 Handmade Cups
and Ginger Jar, oil
on panel, 20x20cm

using the Flemish Technique: a three-stage technique, Jeffrey explains, “The him to learn something new about the craft
process spanning weeks or even months for underpainting must dry for a minimum every single day, be consistent but never lose a
each painting. Creating each piece becomes of a week before continuing. In this way, sense of play and adventure, listen to others
an act of meditation for Jeffrey as the multiple paintings are always in progress.” but also listen to your own heart more and
extended period becomes a practice of This glacial pace, as he calls it, embeds itself work a lot harder than you think you need to.”
careful, intent absorption and clear into the character and soul of the paintings, In every stroke, in every meticulously
observation. He reflects on the essence of this encouraging viewers to embrace slow, arranged still life, Jeffrey invites us to share
practice, saying, “I feel like painting deliberate contemplation. his contemplative journey. Each painting is a
eventually became my zen space.” For aspiring artists, Jeffrey’s advice is guide, a moment of connection with the
The model, carefully arranged in a rooted in daily learning, trusting one’s own profound beauty found in the simplicity of
shadowbox, becomes the focal point. heart and embracing hard work. Reflecting life. As viewers, we are encouraged to pause,
Multiple studies, thumbnail sketches and on his own journey, he says, “If I could go to absorb the spirit of slow, deliberate
full colour studies precede the drawing and back and talk to the younger version of contemplation and perhaps carry a piece of
underpainting stages. Describing the myself when I was just starting out, I would tell that spirit with us. jeffhayes.com ▫

ARTISTS & ILLUSTRATORS 21

G UES T COL U MNIST

H OW I M A K E I T WO R K

Morgan Weistling
This artist began his art career as a Hollywood film poster
illustrator. He shares how he went on to find success as a fine artist

MORGAN’S TIPS
ON BECOMING A
FULL-TIME ARTIST

1
Learn to draw correctly
Draw the light on what
you see and learn to
observe from nature
correctly.

M
y journey to becoming
a full-time artist was
very short. I always
knew I would be an artist since
early childhood. My parents met
in art school, so this was not a
foreign thought. I entered
myself as someone who has
arrived. One thing my teacher
always said was to only study
great work. Be very discerning
about what you deem good.
When it comes to my own art,
there is a moment when the
2
When you get out there,
show a consistent
professional training in art painting speaks to me. It comes portfolio
school at 15 years old. At 19 I was alive in some way, and I know it’s There is a rule in the
hired for a full-time position at a been worth it. But painting is so world of art directors:
leading advertising agency in deceiving; we can become blind They will always
Hollywood to do concepts for so quickly and not see what it remember the worst piece
movie posters. At 20, I was really looks like. I use mirrors in your portfolio. Weed
painting the actual posters for and even turn the paintings out all weak work. Show
multi-million-dollar campaigns. upside down to get a view from only your best.

3
I wouldn’t change anything. M A I N The Stagecoach Journey, oil on every angle for a fresh look.
canvas, 28x45cm A B OV E Annie Oakley,
I achieved commercial success My art has always leaned
Little Sure Shot, oil on canvas, 30x22cm
as an illustrator but I’m not an toward the narrative aspect. I
illustrator anymore. Illustration new work to some art galleries love capturing the essence of
was changing a lot in the 1990s, and see what happens. I did as he what I am looking at; that’s what
so I felt compelled to go back to suggested and the first gallery I I loved to do in art school and is
my first love: painting from life, went into offered to represent me. why I’m happy to enter my studio
and I found my voice from art They took the three unframed every day. I’ve been a professional Don’t think quantity is
school again. Illustration had paintings I walked in with and artist for 40 years with my going to impress them
really taken me far away from the sold them that weekend. So income being solely from my art. Three flawless paintings
love of thick paint and lost edges began my 25-year career as a Throughout, I’ve had a consistent will impress more than
and I ended up doing some fun fine artist. attitude that every artist needs to three flawless and five
work just for the joy of it. I have never stopped being a have: flexibility. mediocre ones.
A friend suggested I take my student of art and never think of morganweistling.com ▫

2 2 ARTISTS & ILLUSTRATORS

MIKHAIL KARIKIS
ACOUSTICS OF RESISTANCE

© Mikhail Karikis, Weather Orchestra, 2022

Until 19 March 2024

Tuesday–Saturday, 10am–5pm
Elmfield House, Dowell Street, Honiton, EX14 1LX
01404 45006thelmahulbert.com

ARTISTS & ILLUSTRATORS 2 3

HO W I WORK H OW I P A I NT

Fields of Glory,
watercolour,
from en plein air
study, 28x38cm
From childhood landscapes to a touching legacy, this watercolour artist shares
how profound connections shaped his journey, as Sara Mumtaz finds out ▸

25
S
ebastian Thommen’s artistic
roots trace back to the idyllic
landscapes of Devon. At just
five years of age, a teacher’s task
to paint the outdoors sparked a
flame for en plein air painting that would
endure. Nurturing his innate connection to
nature through his teens, Sebastian delved
into the world of drawing, captivated by the
intricate illustrations found within the
pages of books. This early exposure sowed
the seeds for a passion that would blossom
into a distinctive artistic journey.
In the midst of his parents’ separation,
Sebastian’s teenage solace was found in
fishing expeditions with his neighbour,
Brian. Their silent companionship by
the pond created an unspoken bond.
Tragically, Brian’s sudden death in a
car accident resulted in an unexpected
legacy for Sebastian.
In a poignant gesture, Brian’s wife
entrusted Sebastian with her late
husband’s Frank Clarke Simply Painting
Watercolour Set, which became a cherished
guide, inspiring Sebastian to delve into art
more profoundly from the age of 14;
embarking on a transformative journey.
“Brain had said if he ever had a son, he’d
want one like me. This was gold for my
insecure self to hear. I didn’t even know he
did art,” Sebastian gushes. This connection,
born from quiet moments by the pond, laid
the foundation for the artist’s evolution.

Going through tough times in life

influenced my artistic expression. The road to the beach,
Art was something I would always fall back watercolour en plein
into when I was down. It gave me strength, air, 28x38cm
and this is why I never wanted to study it
academically or rely on it to make a living;
it was too special for me; I didn’t want to I love the fluidity and spontaneity of value is more important anyway. Once I get
tarnish that. Although, in these past few watercolour. that right after composition, I can be free.
years, I have fully embraced it and am now It’s extremely challenging to control, so
happily making a living from it. you just have to go with it. It can be very The benefits of painting en plein air
satisfying when you feel you’ve got it right. seriously impacted my approach to art.
I associate watercolour with playing The outside inspires me the most: light, I discovered that, not only does it steepen
as a child. shadows, movement, atmosphere, fields, your learning curve because you see so
I feel a sense of comfort while playing rivers, trees, reflections and values as well much more compared to a photograph,
with watercolours as this is what I was as meeting people while connecting with but you also have to paint quickly and
first introduced to. Maybe if Brian had nature at the same time; just like on that thus more freely as you are up against the
painted in oils, I’d be painting and teaching riverbank as a kid. elements. It makes it way more fun, too.
in oils. It’s also a release; a way to express It’s more like an adventure when you go
myself. I was an actor for 15 years before I Imagination comes into play when I am outside, pack a flask of tea (or a cold beer)
became a full-time artist, so art also fills working on composition. and play.
that daily creative love tank. It’s a lot easier I like to play with landscapes; I move
to fill it with going outside and painting buildings around and change the height of Having some sort of a plan is essential.
rather than waiting to hear back from trees, and then I go free reign with colours. You paint with freedom and expression in
your agent. I love the outside and, as I They might be somewhat accurate but may some sort of a boundary My weekly
fished a lot in my youth, sitting all day by be exaggerated or have a different hue, schedule is mostly occupied with teaching,
a river was solitude. I get that now, by depending on my mood or the feeling of the so I make extra effort to go outside to paint
painting en plein air. landscape that I’m trying to express. I feel at least more than once a week. I recently

26 ARTISTS & ILLUSTRATORS

 H O W I W O R K HO W I PA INT

Down by the
Trough,
watercolour,
30x40cm

launched an online membership course

Lucia’s Dream,
watercolour, called Freedom with Watercolour. It’s a
38x53cm great way to push me to find new ways to
inspire others. It takes me back to the days
when I initially started, and this serves
as a great reminder of the obstacles I
encountered when learning. I show
members the things that excite me too;
like achieving the glimmer of a lake with
a quick sweep of a dry brush or getting
hands-on and scratching out a branch
with your fingernail. I do all this while
holding a camera in my left hand. I’m
getting good at it now!

Art is the truth.

As long as that’s my priority, I’ll be OK. I’ve
realised – just like acting – the truth will
set you free and for me, truth is nature and I
am an expression of that truth. From my
soul and through my hand, and then out ▸

ARTISTS & ILLUSTRATORS 27

 through my brush and onto paper. It’s
worked for me so far.

Filming my work is an extension of the

creative process.
I put together short videos, no longer than
a minute and a half, and I play and show
hints of my process. My audience on social
media – mainly Facebook and Instagram
– resonates with it. The positive feedback
encourages me to continue sharing and
teaching. I can’t deny that even one like
or a comment fills a little void in me with
dopamine. There’s definitely a little need
Blackrock by
the convent, for acceptance; the performer in me loves
watercolour, a clap of approval.
38x53cm
It’s all connected; I love that about art.
Especially when it really connects without
forcing it; when it’s organic from a soulful
place. I am really drawn to scenes that
hold memories for me or even scenes that
remind me of the memories that I had.
It almost feels like I am thanking that
place, acknowledging it, or exploring it
even more.

Paint something that

connects with your
soul, that gives you a
Retreat in the tingle when you see it
snow ,
watercolour
28x38cm
I often walk barefoot to the beach.
I’m always awestruck by the beauty of the
sun beaming through the trees, casting
shadows on the road; all framing the sea
behind it. I’ve created so many memories
here as passers-by stop to talk to me.

Embrace the feeling art gives to your

body and soul.
Copy the artists that influence you, learn
their techniques and study as many
different artists as you can. Go outside and
copy the best artist of all: Mother Nature.
Just keep copying her. If you’re a portrait
artist, get out and join a life drawing class.
You can learn light, shadow and hue just as
easily from painting the human body as
you can from the trunk of a tree. Copy and
paint what you resonate with; not
something that you think someone else
would like or you think will get you more
The Last of
followers or money. Paint something that
Autumn,
watercolour, connects with your soul; that gives you a
30x40cm tingle when you see it. Paint for you.
sebastianthommen.com ▫

2 8 ARTISTS & ILLUSTRATORS

 COM PE T IT I ON

CORNELIA HERNES, SELF-PORTRAIT

STEPHEN BAUMAN, ALONE

For the first time, RAW UMBER STUDIOS are

holding a live painting competition, where the
winner will receive a hefty cash prize along
with a feature in this best-selling magazine
aw Umber Studios is a non-profit art school and studio based

R in Stroud. They run short, focused workshops teaching the

skills needed to create representational art, whilst also
running regular online sessions. This August, they are behind a live,
free-to-enter portrait painting competition with £3,500 of prizes up
for grabs. Could you be one of the participants? This could give you
the chance to pit your artistic skills against the best of your peers in a
live paint-off at a prestigious London location.
On Friday 16th August, 10 artists will gather at Mall Galleries in
Central London to compete and paint a portrait from life in just four
hours. At the end of the session, a panel of three professional artists
– made up of Stephen Bauman, Lizet Dingemans and Cornelia
Hernes – will judge the portraits and award a winner. This artist will
get a £2,500 cash prize and feature in a future issue of this magazine.
Viewers will also be able to see an edited highlight on YouTube
LIZET DINGEMANS, RUBY

soon after the event.

In addition, there will be an online public vote after the paint-off.
The winner of this will receive a £1,000 cash prize. To be considered
as one of the 10 artists, simply go to: rawumberstudios.com/paint-off
Good luck! Deadline
for entries:
15th May
2024
Collection of bottles,
15x15 cm, oil on wood
 T HE BI G I NT E RV IE W

Dutch artist, ANS DEBIJE, tells Sarah Edghill

about her daily still life paintings

A
ns Debije was born and raised in the
Netherlands. The eldest of five children, she
developed a love of art and drawing from an
early age. After leaving school, she studied
industrial design at the Design Academy in
Eindhoven, graduating as an interior and fashion fabric
designer in 1984. Despite continuing to paint and draw,
she only took up art full-time after losing her job in 2018.
Since then, she has become a successful still life artist,
renowned for her ability to capture the glint of light
reflecting off glass and metal. ansdebije.nl ▸

ARTISTS & ILLUSTRATORS 31

TH E B IG I NT ERV IEW

My early paintings were Sweet cherries,

15x15cm,
somewhat surreal.
oil on wood
In retrospect, the Design Academy course
didn’t get me what I wanted. Drawing and
painting lessons were not the most important
ones there, they were just subjects to support
the design process. In the 90s, I started free
painting, together with a number of others
who are still my painting friends to this day.
For the first 15 years, we worked under the
leadership of the Eindhoven artist, Hans
Fooy. After his passing, in 2005, I continued
to paint weekly with a small group of friends.
We taught ourselves by looking at art and
trying different techniques and mediums. I
painted all kinds of things – more abstract
than the work I produce now.

I thought oil paint was too expensive.

I also thought it was a hassle because of
having to clean your brushes with solvents.
So, at first, I painted with acrylic on large
canvases. It was only when I decided to work
on a smaller format that I switched to oil
paint and realised the objects for still life
were available in my house: crockery, fruit
and glassware, for example. I also regularly
went out to thrift stores to find new things.

Fragmented, 15x15cm,
I consider myself very self-disciplined.
oil on wood
I paint every day and in early 2019 I
discovered Daily Paintworks
(dailypaintworks.com) to promote my work.
In the first 18 months, almost nothing
happened in terms of sales, although I
received more and more visitors to my
gallery website. In December 2019, I created
an Instagram account which worked
fantastically well. I still don’t know much
about Instagram and have no idea why I
attract so many followers. I don’t do
anything special: I just regularly post my
daily paintings. I am lucky that I am
currently sold out every day, with people
waiting for my next piece of work.

Everywhere I go, I look with a

‘painter’s eye.’
Can I paint that? In what way? From what
angle and with what colours? This doesn’t
only apply to utensils, crockery and
glassware. I also view street scenes,
landscapes, people and animals with a
painter’s eye. I don’t paint them often, but I
still see everything as a possible subject.

I often photograph a still life diagonally

from above.
This means it isn’t in direct view from my
easel. Taking a photo of a still life setup has
the advantage that you can use the photo to
determine your composition, which is super

32 ARTISTS & ILLUSTRATORS

Overview, 20x14cm,
oil on wood
Morning, 20x14cm,
oil on wood

Chatty swallows,
20x28cm, oil on wood

important for the success of your painting. If

the subject is not positioned properly in the
area to be painted, it will never turn out well.
For all things in front view, I have a shelf
behind my easel. Often, I let the natural
Dramatic, 15x15cm, outside light, from the right side, be the only
oil on wood light that falls on the object. Sometimes I
have an LED spot that shines an extra light
(and causes shadow).

I try to make an impression of the object

with as few brushstrokes as possible.
All my paintings are alla prima, painted in one
session. I paint with oil on small-sized MDF
panels, up to 12x16 inches. I prefer to work with
wide flat brushes and silicone blades. That
forces me not to work too precisely, but to get
the paint on the wooden panel with great
freedom. That doesn’t mean I just accidentally
throw the paint on it: with coarser
brushstrokes especially, you have to
consciously put the right colour/value in the
right place. For that, you have to have an eye
for the essence and material expression of
the object to be painted. Recognisable from
a distance; roughly painted up close. By not
working too detailed, I create varied edges.
An object never needs a complete outline
to be recognised. Your brain fills in the
missing lines.
 T HE B I G IN TE RV IEW

When I don’t know what to paint, I go

back to something familiar.
After doing so many paintings, I often don’t
know what I am going to paint that day. I
may look at all the objects in my studio and
think nothing appeals to me. In that case, I
may again paint one of my favourites: my
teapots and coloured cups, especially the
gold ones! With just a few paint strokes, you
can create the illusion of a golden cup. It
jumps off your canvas.

You don’t need to have special things.

The way you paint something makes it thus.
Often the objects I paint are not that special.
By exaggerating the colour or contrast, I
bend reality to my will. Believe me when I
say that not all my gold shines so brightly,
not all my glass bottles have such a bright
highlight in real life. The colours of the cups
are also sometimes invented: I might paint a
green or blue cup, although there is a white
or pink one in front of me. Sometimes that
works, sometimes it doesn’t.

To create shine, place the darkest and

lightest next to each other.
This works with any colour. An object
that shines, reflects the things in its
environment, and a convex shape will do
this differently from a straight shape. It is a
matter of looking carefully at what you see
reflected in the object. Simplify that and
Red enamel teapot,
15x15cm, oil on wood exaggerate the contrast.

In August 2023, I had a heart attack.

Then a week later, in the hospital, I had a
stroke. As a result, I can no longer perform
at full capacity. One day, I’ll be doing
reasonably well, the next day I’m
completely devoid of energy and dizzy. It
still feels like I’m a little drunk; tipsy after
two glasses of wine but without the
pleasure of drinking it. Fortunately, things
seem to be slowly getting better. I make
sure to get enough exercise: I go to the gym
and, if it’s not raining, I walk around my
neighbourhood at a brisk pace.

Creative people are always critical of

what they do.
Especially when you sell your work, you
always want to create something that’s
better than the previous one. That is simply
unfeasible and sometimes it hinders me to
the point where I no longer like anything I
paint. So, I try to let go of the idea and am
learning to accept that not every painting
can be equally good. Often, after a few
years, you look back at your work and
wonder ‘What was I thinking?’ I think art is
a process of development and learning. ▫

ARTISTS & ILLUSTRATORS 3 5

 “I
do not judge, I only chronicle,”
said John Singer Sargent, the
pre-eminent portrait artist of his
day, now the subject of a new
exhibition, Sargent and Fashion,
at Tate Britain specifically exploring his
innovative role as a stylist. Presented in
tandem with the Museum of Fine Arts in
Boston, the show features 60 paintings –
familiar works from the Tate and MFA’s
collections – and rarer items on loan.
What lends distinctive appeal is the fact that,
alongside the paintings, several outfits
depicted are also on display, some for the first
time, allowing visitors to witness how Sargent
used his keen eye for sartorial detail to
interpret his sitters and their place in society.
“Cultivate an ever-continuous power of
observation,” he advised. “Wherever you are,
be always ready to make slight notes of
postures, groups and incidents,” and it was a
philosophy that paid rich artistic dividends.
The cultured, multi-lingual Sargent had a
peripatetic early life. He was born in Florence
in 1856 to expatriate American parents, later
training in Paris under French portraitist
Carolus-Duran. Sargent’s early ideas of
landscape painting gave way to a burgeoning
career as a society portrait painter, then the
route to a stabler income. He soon became
renowned for his fluid style, technical
proficiency and dazzling brushwork,
consolidating his position amongst the
fashionable and aristocratic elite.
James Finch, Assistant Curator of 19th-
century British Art at Tate Britain, (this
exhibition is co-curated with Erica Hirshler of
MFA) says the choice of focus emerged
GIFT OF THE ARMAND HAMMER FOUNDATION. HAMMER MUSEUM LOS ANGELES

naturally from “the realisation that one

constant throughout Sargent’s career was his
interest in fashion, both in how sartorial
choices formed a key part of his subjects’
self-presentation and the opportunities
presented as an artist.”
LENT BY THE METROPOLITAN MUSEUM OF ART

“You see him developing interests with

certain colours, fabrics, and arrangements of
clothing,” continues Finch, recalling
something akin to the way an art director
styles a fashion launch. “Having identified the
centrality of fashion to Sargent’s practice, the
next step was finding ways to bring fashion
Mrs Hugh Hammersley, itself into the exhibition.” Along with
1892, oil, 205.7x115.6cm accessories similar to those in Sargent’s ▸
 EX HI B IT I ON

Celebrated for his iconic portraits,

John Singer Sargent was an early
stylist to the names in the know,
finds Amanda Hodges

LENT BY THE METROPOLITAN MUSEUM OF ART

Dr Pozzi at Madame X,
Home, 1881, oil, 1883-84, oil,
201.6x102.2cm 208.6x109.9 cm

37
 Ena and Betty, Daughters of
© TATE

Asher and Mrs Wertheimer,

1901, oil, 185.4x130.8cm
 Portrait of Miss Elsie
Palmer (A Lady in
White), 1889-90, oil,
190.8x114.6cm

COLORADO SPRINGS FINE ARTS CENTER

Mrs Carl Meyer and

her Children, 1896,
oil, 01.4x134.0cm
© TATE

portraits, several dresses actually worn by the Such a subject had piqued his interest and
sitters are available. “Being able to display Sargent pursued others, including Victorian
these side-by-side with the paintings means “The thicker you actress Ellen Terry, producing a famous
visitors can see Sargent’s vision evolving – how
he translated garments onto canvas, and the
paint, the more it painting of her in stunning green beetle
costume as Lady Macbeth; the dress and
ways he emphasised or elided certain flows,” Sargent painting both viewable. Finch emphasises,
elements to achieve his artistic aims.” |“It’s important to note that, while the majority
A portrait like Lady Sassoon exemplifies declared of his oils of Sargent’s oil paintings were commissioned
Sargent’s modus operandi. The billowing black by patrons, he often took the initiative,
opera cloak the sitter wears is pinned and approaching sitters he particularly wanted to
shaped by the artist to enhance the sense of (pseudonym Vernon Lee), who favoured a paint – one way in which he departs from the
elegant drama. Whilst aware of client starkly masculine style of dress. idea of the portrait painter as simply a hired
preferences, Sargent wished to satisfy his own In 1884, Sargent made a rare misstep, hand.” Referencing such paintings, Finch says,
aesthetic sense, cleverly using dress and fabric approaching socialite Virginie Amélie “Each of these portraits is a masterpiece which
to establish character. The vivid hues of 1881’s Gautreau for her portrait, the final result it is impossible to imagine painted by anyone
Dr Pozzi at Home illustrate this, showing the scandalising Paris, effectively forcing him to else. These portraits all communicate
pioneering doctor attired in a dramatic red leave France and set up his studio in London. something fundamental about the singularity
dressing gown and Turkish slippers, a far cry He’d merely let the lady’s delicate shoulder of Sargent’s vision.”
from conventional depictions of a professional strap slip off her shoulder, but the intimation All of Sargent’s portraits pay testament to his
man. As a fin de siècle painter, Sargent seems of loose morality shocked his peers; astute observation, a portrait like Mrs Hugh
happy to have subverted contemporary ideas subsequently, he’d restore the strap and the Hammersley proving how he’d vividly evoke a
of standard masculinity and femininity, once painting became known as Madame X as he subject. With what Finch emphasises as “that
painting the British writer Violet Paget sought (vainly) to shield his sitter’s reputation. living quality,” characteristic to Sargent, ▸

ARTISTS & ILLUSTRATORS 39

 PRIVATE COLLECTION. IMAGE © HOUGHTON HALL

© MUSÉE D’ORSAY
Lady Sassoon, La Carmencita,
1907, oil, 1890, oil,
157.5x104cm 221.0x114.3cm

“Hammersley [a society hostess] is perched on contemporary responses in newspapers, letters, Sargent’s art “demonstrates the expressive
a Louis XVI sofa but looks as though almost in and diaries, we can see how these portraits possibilities of clothing: look at Dr Pozzi at
the act of sitting down, or about to stand up, functioned within a society highly conscious of Home or Lord Ribblesdale. These portraits
while her head is equally vividly painted.” She’s the nuances of fashion and how they were were not simply documents of contemporary
wearing a cherry coloured evening gown of a communicated through the paintings.” fashion, but the result of collaborative
bright colour only recently possible through And why was Sargent, called ‘the Van Dyck processes between artist and sitter:
innovations in synthetic dyes (a swatch of the of our time’, so acclaimed within portraiture? innovative, unconventional and sometimes
dress is on display alongside the painting.) Apart from his acknowledged “technical shocking. They showed “the full range of
Criticised at the time for colours “deemed mastery,” Finch feels it’s his symbiotic quality what portraiture can express, something
inappropriate in grand portraiture,” the that clinched it. “Sargent was a master because that speaks to us today in all kinds of ways.”
painter’s innate sense triumphed over of his ability to reconcile the history of grand And what does Finch feel can be gained
convention, ultimately defying detractors: manner portraiture with contemporary from a firsthand perspective? “I’d like
“Sargent was such a master…fashions changed fashion. His work rarely feels formulaic, his viewers to make the most of this opportunity
but this portrait transcends them and endures sitters seem caught mid-motion rather than to see Sargent’s greatest paintings, many of
as a great painting,” says Finch. Sargent never frozen and stiff,” always exuding animation. which rarely travel from their homes in the
really enjoyed the necessary emollient of Hence, he could “create portraits clearly in the USA or are in private collections. Sargent’s
engaging his subjects in conversation (later lineage of artists he admired – Hals, most celebrated works are well-known
calling his society paintings, ‘paughtraits’) to Velazquez, Gainsborough- but never feel like through reproduction, but nothing compares
elicit attention but whatever tactics he mere imitation. They are very much of the to spending time with them up close.
employed clearly proved successful for his present, and this is why they remain fresh to “It’s a unique opportunity to see Sargent’s
work always shines with authenticity. this day.” paintings alongside the clothes that inspired
Although he also used watercolours, this Expanding upon contemporary appeal, them, and I hope that this will inspire visitors
exhibition focuses predominantly on his oil Finch cites Sargent’s influence upon to see these portraits with fresh eyes, and to
paintings. Sargent declared, “The thicker you “contemporary artists like Kehinde Wiley, think anew about portraiture as performance,
paint, the more it flows,” and this certainly Lynette Yiadom-Boakye, or Ragnar as collaboration, and as expression.”
seems to have worked effectively; with such Kjartansson”, plus references to Sargent on
paintings attracting wide exposure within his TV’s The Gilded Age and homages to works like Sargent and Fashion, from 22 February to 7 July
lifetime. As James Finch explains, “Through Madame X by contemporary designers. 2024 at Tate Britain, tate.org.uk ▫

40 ARTISTS & ILLUSTRATORS

 COLLECTION OF THE BIRMINGHAM MUSEUM OF ART, ALABAMA

Lady Helen Vincent,

Viscountess d’Abernon, 1904,
oil, 158.8x108.0cm
Kimathi Donkor, On
Episode Seven, 2020,
acrylic, 61x76cm
 I N D EPT H

If the idea of landscape paintings conjures images of

bucolic English vistas, a new show at Dulwich
Picture Gallery is about to change all that. Soulscapes
encourages us to rethink what landscape really means –
and to whom, says Martha Alexander

© HURVIN ANDERSON
Hurvin Anderson,
2020, Limestone
Wall, oil,150x217cm

V
ast fronds casting inky deep warm mustards; the pastel palettes of
shadows on jewel-hued English country gardens are few and far
expanses, families relaxing in between. Turning accepted and familiar
sun-bleached rural idyls, concepts of landscape and nature in art
repurposed clippings from history on their heads is exactly what
fashion magazines and childhood photo curator Lisa Anderson had in mind for the
albums; these are just some of the offerings exhibition. By switching ‘land’ for ‘soul’ in
at Soulscapes, a dazzling new exhibition at the title, Anderson has concisely summed
Dulwich Picture Gallery. Including works by up its central message.
over 30 artists from the African diaspora Anderson, Managing Director of the Black
such as Hurvin Anderson, Phoebe Boswell, Cultural Archives and founder of Black
COURTESY OF THE ARTIST AND NIRU RATNAM, LONDON

and Njideka Akunyili Crosby, the show is British Art, hopes Soulscapes will help people
visually spectacular while promoting think both more deeply and more broadly
themes of belonging and identity. about what landscape art actually means –
Covering a variety of mediums – including and to whom – while still honouring
tapestry and film – it’s the paintings that are traditional landscape artists, “who have
likely to make the biggest impact. It is these, inspired and produced so much great art.”
after all, which are most directly compared Anderson explains how landscape art is
like-for-like with traditional – that is to say, hugely political. “It speaks to land
European – landscape paintings. These ownership; when landscape art first became
in Soulscapes feature tropical greens and a popular medium, it was also a time of ▸

ARTISTS & ILLUSTRATORS 4 3

 Kimathi Mafafo,
Unforeseen Journey of
Self-Discovery, 2020,
hand and machine
embroidered fabric,
112x98cm
COURTESY OF THE ARTIST / KRISTIN HJELLEGJERDE GALLERY

© MATTHEW HOLLOW

Christina Kimeze,
Interior 1, oil, pastel,
oil, stick, 2022

great colonisation. The values of that are delight with their beauty but also provide so and timely. And so began three years of
implicit in the European tradition of many people with an entirely new way of research which saw Anderson explore artists
landscape art and that’s not something most thinking about an artistic genre is inspired, and terrains both familiar and brand new.
art lovers think about or question.” especially as it is Anderson’s fi rst. Some artists were instantly anchors to her
One of her main intentions is The fi rst kernel of what would immediate interests while others were
that Soulscapes serves as a talking point, a become Soulscapes came to Anderson during discoveries that proved perfect matches.
means of rethinking our preconceptions summer 2021, in lockdown when we were all While Anderson does not have a favourite
about what belongs in a piece of landscape bound to our homes. Walking became the piece, the work of Christina Kimeze came as
art. “One thing I am hoping through this highlight of her days and, as she strolled the biggest revelation to her. “A friend
exhibition is that we can have a more honest through South London’s Norwood Lakes or recommended her – I wasn’t familiar with
and inclusive conversation about what it Crystal Palace, she noticed an emotional her work – and it’s just stunning,” says
represents,” she says. “I think that’s a connection to the greenery, flowers and Anderson. “I have fallen in love with her
positive thing. It’s not about unsettling wildlife. But it was more than just an sensitivity, and she has a very distinct
tradition, it’s about releasing the full picture.” appreciation of the great outdoors as a aesthetic and approach to materiality. She
She recalls the dining room of the house result of spending so much time indoors. does not work just on canvas; hers is a spongy
she grew up in London during the 80s where “This was in the wake of George Floyd’s surface that responds to paint in a way that
a classical landscape print hung on the wall murder. The heaviness and sorrow and rage creates a softness and intimacy. That really
in an ornate frame. “I have no idea who the that came along with that for me as a Black speaks to what I’m trying to convey.”
artist was but that pastoral ideal is one of the British woman whose work has always been Kimeze’s large paintings where lone
visual references of my childhood,” she says. connected with social justice and culture figures are shrouded in or flanked by lush
“In one sense it is familiar but, in another meant that responding to nature allowed me foliage in intense yellows and reds are the
sense, it is hugely foreign; I don’t relate to to process my feelings.” sort that stop viewers in their tracks. They
the history.” An exhibition which looked to explore are both inviting yet mysterious – the
Curating a collection of works that aims to landscape art in a new way felt both resonant colours are loud and yet the essence of what

4 4 ARTISTS & ILLUSTRATORS

 I N DE P TH

she presents is quiet and contemplative.

Unsurprisingly, many of the works
in Soulscapes depict the Caribbean, including
Trinidadian artist Che Lovelace’s The
Climber and Moonlight Searchers, both
gorgeous examples of his paintings which
manage to be both painterly and kaleidoscopic
at the same time. Meanwhile, Hurvin
Anderson’s Limestone Wall is a showcase of
his ancestral roots in Jamaica. The greenery is
thick and sprawls, hangs and weaves giving a
sense of opulence and prosperity. Beautifully
rendered, this is a reminder of why The
Telegraph described him last year as “one of
Britain’s finest living painters”.
Soulscapes will also include an entire series
of paintings by Kimathi Donkor. Idyl is a
collection of works which places Black
families outdoors enjoying nature in sunny
settings in a very quotidian way. There’s
nothing extraordinary about anything
they’re doing and yet the sense of unity,
peace and relaxation outside in vast open
spaces feels somehow (intentionally)
idealistic or nostalgic – or both.
One of the biggest draws will no doubt be
Njideka Akunyili Crosby’s Cassava Garden – a
six-foot-tall mixed media piece which
incorporates acrylic painting, charcoal
drawing, fabric and photo image transfer
overlays. The result is stunning and slightly
mysterious: at first glance, it’s a thriving plant
rendered in greens and yellows but look
closer and there are faces and patterns living
in the leaves. It’s an intricate piece that is
essentially a visual representation of hybrid
cultural identity – and demands a closer look.
Another standout is Kimathi
Mafafo’s Unforeseen Journey of Self-Discovery –
a stunningly intricate embroidered scene
which sees a woman emerging – or maybe
escaping? – from behind the binds of a white
veil and into an open space blanketed by
vivid plants and flowers. What is lovely
about this work is that you see the woman
as she is transitioning from a quiet, secure
space into a landscape of possibility.
It is rare that a show about landscapes has
such contemporary and political relevance
while also being so abundant with joy, life
and beauty. But this is exactly what
COURTESY OF THE ARTIST / KRISTIN HJELLEGJERDE GALLERY

Soulscapes offers – worlds which are

beautiful escapes that also hold complexity,
pain and confusion. Audiences cannot fail to
be moved by what they find here. “I do hope
it’s pleasurable,” says Anderson. “I want it to
be an escape for people while giving them
the chance to be immersed, inspired and
explore artists they haven’t engaged with.”
Che Lovelace, The Climber,
2022, acrylic and dry
pigment, 127x147.3cm Until 2 June 2024 at Dulwich Picture Gallery.
dulwichpicturegallery.org.uk ▫

ARTISTS & ILLUSTRATORS 45

 147.3x215.9cm
Self-portrait at the

1794, oil on canvas,

Angelica Kauffman,

Crossroads between the

Arts of Music and Painting,
R ETR OSP ECTIVE

NATIONAL TRUST COLLECTIONS (NOSTELL PRIORY, THE ST. OSWALD COLLECTION). PURCHASED BY PRIVATE TREATY WITH
THE HELP OF A GRANT FROM THE HERITAGE LOTTERY FUND 2002. PHOTO: © NATIONAL TRUST IMAGES/JOHN HAMMOND
A pioneer in her field, ANGELICA KAUFFMAN was an early example of female
ability and power in the art world, finds Amanda Hodges ▸

A R T I S T S & I L L U S T R A T O R S 47
Angelica Kauffman,
Cleopatra Adorning the
Tomb of Mark Anthony, c.
1765, oil on canvas,
125.5x105cm
 RET R O S PE CTI VE
© ROYAL ACADEMY OF ARTS, LONDON. PHOTO: JOHN HAMMOND

Angelica Kauffman,
Design, 1778-80, oil on
canvas, 128.3x149cm

“T
GRISONS MUSEUM OF FINE ARTS, ON DEPOSIT FROM THE GOTTFRIED KELLER FOUNDATION, FEDERAL OFFICE OF CULTURE, BERN

he most cultivated proficiency in several languages because of

woman in Europe.” This this itinerant lifestyle. After her mother’s early
was the accolade bestowed demise, she devoted herself wholeheartedly to
upon Swiss 18th century artist the pursuit of art, a decision revisited in Self-
THE BURGHLEY HOUSE COLLECTION. PHOTO © THE BURGHLEY HOUSE COLLECTION

Angelica Kauffman in her lifetime but, today, portrait at the Crossroads between the Arts of
many may not recognise her name. A Music and Painting (1794) painted in Rome as
welcome retrospective at the Royal Academy an adult. Assistant curator Rebecca Bray and
– of which she was a founder member – hopes curator Annette Wickham rate this “one of
to remedy this, retracing her life in an the most impressive [of her works] where s
exhibition encompassing years as a child he looked back on her choice to pursue a
prodigy to her career as one of Europe’s most career as an artist instead of becoming a
acclaimed Neoclassical artists, celebrated for musician, painting this moment as though
her portraits, historical paintings, engravings with the grandeur of a scene from history
and interior designs. or mythology.”
Born in Chur, Switzerland in 1741, Maria Although she was a talented artist,
Anna Angelika Kauffmann was passionate encompassing landscape and decorative
about both art and music as a girl, art, Kauffman always considered herself
encouraged by her enlightened artist father primarily a history painter, a bold and
for whom she worked as an assistant as they Angelica Kauffman, Self-portrait with Bust of ambitious choice. History painting was
travelled Europe. Kauffman gained useful Minerva, c. 1780-1781, oil on canvas, 93x76.5cm then perceived as the apotheosis of art, but ▸

A R T I S T S & I L L U S T R A T O R S 49
Kauffman bravely reinvigorated the genre by
frequently focusing on female protagonists
(like Circe and Cleopatra) depicting scenes
from classical history and mythology such
as The Sorrows of Telemachus focusing on the
adventures of the Greek hero Odysseus’s son.
Early in her career, Kauffman spent many
years in Italy and then, courtesy of the
influential patronage of Lady Wentworth, wife
of the British consul in Venice, arrived in
London in 1766. After painting renowned actor
David Garrick, she swiftly established herself
with portraits of Royalty, such work leading to a
flurry of affiliated commissions. She also made
the acquaintance of Sir Joseph Reynolds who
became a close friend, each painting the other’s
portrait as a token of mutual respect.
It was Reynolds, President of the Royal
Academy, who suggested Kauffman for
consideration as a member. This was a rare
honour for a woman and such an association
supports another of the principal reasons for
staging the exhibition here, as the curators
assert: “As one of the 36 founding members –
one of only two women ( the other being
painter Mary Moser) – the RA feels the natural
home for this exhibition, the first in the UK for
many years to survey the whole of Kauffman’s
career… Here visitors can view a wide range of
Kauffman’s paintings and preparatory
drawings, including some memorable
self-portraits and her celebrated ceiling
Angelica Kauffman,
paintings made for the Academy’s first home.
Self-portrait in the Traditional
It follows in a series of recent exhibitions that Costume of the Bregenz Forest,
have considered early members of the Royal 1781, oil on canvas,
Academy, including John Constable and 61.4x49.2cm
Johann Zoffany.”
Indeed it was Zoffany who painted the
famous The Academicians of the Royal were also key to her renown, as such items
Academy which depicts the all-male preserve helped to spread awareness across much of
of the Academy meeting whilst token portraits “Kauffman’s paintings Europe…works were reproduced, copied and
of Kauffman and Moser are glimpsed on the
wall representing their involvement since
are lively and even adapted for the decoration of porcelain
and fans.”
women were then unable to fully participate emotive which greatly Her success was so widespread that once she
in the Academy’s engagements. returned to Italy (after her second marriage)
It must have been galling for Kauffman to
contributed to her her studio in Rome became an essential stop
see herself so relegated but, notwithstanding popularity at the time” on the Grand Tour, the cultural excursion
this, the curators explain that she enjoyed a through Europe then considered a
thriving career in England. “She spent 15 years fundamental rite of passage for affluent young
in London, where she quickly established her profile as an artist. When the Academy men. Even after leaving England, Kauffman’s
herself among the capital’s cultural elite, moved into elegant new premises at Somerset connection with the Royal Academy
becoming known for fashionable history House in 1780, Kauffman was given a continued, sometimes sending paintings
paintings as well as society portraits. Her prestigious commission to paint four ceiling across Europe to be exhibited. “Such was her
sitters included Queen Charlotte and many paintings depicting the Elements of Art, all prominence,” say the curators, “that, following
history paintings from this time pick up on four usually on display in the RA’s current her death in Rome in 1807,
specifically English subjects, including location on Piccadilly and two of which can be a letter describing her grand funeral
Shakespeare’s plays and mythologised seen in the exhibition.” procession was read out in full during
incidents in British history.” In terms of mediums used, “Kauffman the RA’s General Assembly.”
Kauffman’s membership of the Royal worked in oil on canvas but reproductions of Of course, Kauffman’s great celebrity as a
Academy proved invaluable: “As a member, her work on decorative items such as ceramics female artist had attracted less salubrious
she enjoyed guaranteed display at the and furniture, and in prints using the newly endorsement too, some quick-to-fan potential
prestigious Annual Exhibitions, key to raising developed technology of stipple engraving, scandal, but Kauffman clearly had confidence

50 ARTISTS & ILLUSTRATORS

 RET R O S PE CTI VE
Angelica Kauffman,
INNSBRUCK, TLM, ÄLTERE KUNSTGESCHICHTLICHE SAMMLUNG, INV. GEM 301. PHOTO: INNSBRUCK, TIROLER LANDESMUSEEN

TRANSFERRED TO THE NATIONAL TRUST IN 1957). PHOTO: © NATIONAL TRUST IMAGES/ROB MATHESON
NATIONAL TRUST COLLECTIONS, SALTRAM, THE MORLEY COLLECTION (ACCEPTED IN LIEU OF TAX BY H. M. TREASURY, AND

in her own artistic legitimacy as an incident in

Portrait of Joshua
1775 exemplifies. Her fellow Academician,
Reynolds, 1767, oil on
canvas, 127x101.6cm
Nathaniel Hone, submitted to the Annual
Exhibition a painting including in the
background some cavorting naked artists.
Kauffman was the only woman depicted and
she asked the Royal Academy to have the
painting removed from the exhibition,
threatening to leave the organisation if it were
retained. A vote was taken and happily,
Kauffman prevailed.
For Rebecca Bray and Annette Wickham, her
enduring appeal is easy to fathom, saying,
“Kauffman’s paintings are lively and emotive,
which greatly contributed to her popularity at
the time and still resonates with audiences
today. In particular, her self-portraits are so
powerful and full of personality. Kauffman
created at least twenty-four, as well as many
self-referential works; it’s fascinating to see
how she explored her identity as an artist
and shaped her own reputation through
these works.”
The curators also admire the way Kauffman
proved herself a significant pioneer within her
field: “Her great success as a painter as well her
inclusion within a professional society such as
the Royal Academy was definitely unusual for
a woman at the time, and particularly
remarkable when you consider she was unable
KUNSTHAUS ZURICH, GIFT OF CONRAD ZELLER, 1850. © KUNSTHAUS ZURICH

to access formal art training. Yet Kauffman

Angelica Kauffman,
Portrait of Johann
made great efforts to negotiate a space for
Joachim Winckelmann, herself and her work in a male-dominated
1764, oil on canvas, society, emphasising herself as a history
97x71cm painter, the genre then seen as the highest
form of painting.”
Interestingly, given the way in the arts that
women sometimes adopted male pseudonyms
(like the Bronte sisters later) or male subjects
to make their work more generally acceptable,
“rather than hiding her gender, Kauffman
often emphasised women in her work,
becoming a particularly popular portraitist for
society women, and frequently depicting
history scenes that emphasised the agency and
action of female characters.”
Both exhibition curators are glad to see her
back occupying the spotlight she deserves:
“Kauffman is relatively unknown among
contemporary audiences so it would be great
for visitors to come away with an
understanding of quite how celebrated she
was during her lifetime – a contemporary
claimed ‘the whole world is Angelica mad,’
while the artist herself declared that, in
London, she was ‘known by everyone’.
Hopefully, this exhibition will go some
way towards raising her profile again.”

Angelica Kauffman: The Royal Academy,

1 March to 30 June 2024.
royalacademy.org.uk ▫

ARTISTS & ILLUSTRATORS 51

MAS TERCL ASS

F
or this instalment, my plan is to build MATERIALS
In this third of a
up layers of washes. These are a light The surface I use for this demo is the
five-part series, mixture of skin tones that will continue to Hahnemühle Bamboo mixed media sketchbook.
increase in saturation as I carry on the I like it because it’s very thick and can take a
ADEBANJI ALADE
painting process. The next stage is where I get to a really good battering! It’s a paper made from
shows you how point of painting with watercolours, just like I 90% bamboo fibre and 10% cotton rag, whilst it
would if I were using oils. During this phase, I is natural white and acid-free.
he created this
completely forget that I’m using watercolours and For the painting, I use mostly Winsor &
striking portrait just paint boldly and directly with very little Newton watercolours. I like to break the rules
diluting of the paint from the tube with water. when I use this medium. Most books say you
with watercolour,
I learnt this technique from the great American shouldn’t mix opaque white with them and that
gouache and representational painter, Burton Silverman. I don’t you should try to retain the white of the paper,
actually go about my watercolours exactly as he but I do the complete opposite. I like the
coloured pencils
does, but the knowledge I gained from his world- medium to work for me, so I want to be in
class book, Breaking the Rules of Watercolour, has complete control of things right from the start.
been instrumental in helping me develop a different I take charge and use it as I feel would work
mentality when using watercolour and gouache. best for me. ▸

52 ARTISTS & ILLUSTRATORS

MAS TERCL ASS

The sketch
process M Y MATERIALS FOR THE SKETC H
I use just one coloured pencil for this; it’s a
Faber-Castell Polychromos (Caput Mortuum).
The rest of the coloured pencils are:
• Lyra Rembrandt Polycolor (Lemon)
• Lyra Rembrandt Polycolor (Light Orange)
• Faber-Castell Polychromos (Black, white,
Venetian Red)
• Derwent Drawing (Chinese White,
Ivory Black, Chocolate, Sepia [Red], Sanguine)
Note: I also use these colours at the end of the
painting session to bring back – and add to – the
sketchiness of the portrait.
• Winsor & Newton Fixative

First of all, I make sure

I create a strong grid
with an HB Pencil. The
main goal here is to get
a solid drawing, a
sketch which gives me
all the information I
need and makes me feel
like painting. My style
has always been to have
a solid foundation
before painting and
that’s why the sketch
stage is the most
important thing in
the whole process.
Once I’m satisfied with
the sketch, I thoroughly
fix the surface with
Winsor & Newton
Fixative. The reason I
do this is so that the
sketch can be secured
and also so that the
paper will create a kind
of resistance to the
watercolour washes. It
will also help to soften
edges because the
colour won’t sink deep
into the paper but just
sit on the surface,
making it easier to
manipulate the paint
whether dry or not.
The painting
process M Y MATERIALS FOR THE PAINTING
For this particular demo, I’m using a full
watercolour palette. The colours I use are:
• Winsor & Newton: Permanent White
(Gouache), Lemon Yellow, Cadmium Yellow
Pale, Cadmium Yellow Deep, Yellow Ochre,
Light Red, Cadmium Red, Alizarin Crimson,
Cobalt Blue, Ultramarine Blue, Viridian Green
• MaimeriBlu: Quinacridone, Burnt Sienna
The brushes I’m using are:
• Princeton: Oval Wash ¾, Angular Shader ½,
Neptune No 8
• Rosemary Brushes: Brian Showell No 2, Sable
Blend SER 402

My process of painting
is to build up glazes of
paint gradually until
the surface becomes
saturated. After that,
I plan to soften the
edges and work the
paint, like I would if I
were painting in oils.
So, there are two things
on my mind.
The first is to build up
glazes (light to dark).
The second is also to
work from dark to
light. At each phase of
the painting, I
instinctively decide
what to do and what
technique to use.

Here, the main

1 goal was to mix

a warm wash to
serve as the base for the
colours to come. I start
freely and loosely with
the biggest brush I’ve got,
which is the 3/4 Oval
Wash. I apply the washes
which are mainly
Cadmium Yellow Pale,
Yellow Ochre and a tiny
bit of Cadmium Red. ▸
 Now, with the same brush as before, I start adding

2 transparent washes of Alizarin Crimson along with a

milky one of white; the goal here is to make sure there’s a
balance of warms and cools, evenly spread all over the face. The
cools are done by adding Viridian, Cobalt Blue and Ultramarine to
the warm mixtures.

This is where I really start treating the watercolour like oil.

3 I just mix various puddles of dark washes and fill up the

background, jacket, hair and passages on his face with
opaque mixtures. These are done by mixing random darks on my
palette. I like to echo some of the colours on the subject’s face in the
background; this gives the portrait a balanced, harmonious flow.

Here, I bring out the smaller brushes and begin softening

4 and adding little specs of colours to enhance the colour

saturation and overall feel. I then re-introduce my
coloured pencil to recall most of the sketch that got lost during the
painting process. I add details which can be very dangerous at this
stage, so I work with care and caution to make sure I don’t overwork.
And finally, I add the highlights in his eyes which is done with the
Permanent White gouache.
C LOSE - UP OF COLOURED
PENC IL EFFECTS
In the image here, you can see the effects of the
coloured pencil. Every mark is done sparingly
with care and caution in order not to overpower Adebanji Alade is the President of The Royal Institute
the washes. Your ability to sketch will make you of Oil Painters and the founder of The Addictive
able to handle this area with finesse so that it Sketchers Movement. He teaches at Heatherley School
complements the wash effects and creates a of Fine Art and The Art Academy NEX T
wholesome balance in the overall handling. MONTH:
I hope you’ve enjoyed my method with We’ll be delving
watercolour, gouache and coloured pencil. Adebanji’s new book, Painting into the chalky
Meanwhile, please make sure you don’t just read People and Places, was world of pastels.
this article; try and put it to practice and you’ll be published in January 2024 by
surprised at how you might be able to develop Search Press for £15.99. ▫
some new approaches to your portrait painting.

ARTISTS & ILLUSTRATORS 57

INGA BUIVIDAVICE ’s second book was born as a result
of combining old knowledge and new discoveries with
her profound love for watercolour and wildlife. Here is
an extract exclusively for Artists & Illustrators

P
ainting animals using
watercolours can be challenging
as it requires multiple skills: close
observation, accuracy, capturing
the animal’s character and then applying
watercolour techniques. Even with a fair
knowledge of watercolour, exploring animal
subjects was a new challenge for me. But as
with everything, breaking down the process
into smaller, more manageable steps made
it achievable.
Animals are amusing, each with their own
unique behaviours and personalities, and the
process of studying and painting them brings
us closer to the natural world and makes us
appreciate it more. I began by drawing from
observation, and although I wanted to hide
my first sketches deep underground so no
one would ever find them, with time and
INGA’S
practice, they improved. The next step was
to apply my existing watercolour knowledge MATERIALS
to this new subject and infuse my personal Paint
emotions into the artwork. The journey Watercolour: Scarlet Lake,
was a learning curve, with moments of Quinacridone Gold, Neutral
frustration whilst, at other times, it was Tint, Indigo, Naples Yellow,
rewarding and satisfying. Green Gold, Permanent
For this exercise, we will use wet-on-wet Light Green, Sap Green
watercolour washes and a collage technique
Brushes
to create a playful composition of koi fish in a
Da Vinci Casaneo mop
pond. Creating watercolour collage allows
brush: series 498: size 2
you to regain some control of a composition,
Da Vinci Casaneo detail
whilst keeping your washes free flowing. It is
brush: series 1290: size 4
a fun exercise that lets you be a little more
playful. The koi is a type of carp. It is so Support
beautiful that it is usually kept for decorative Paper: Arches cold press
purposes in ponds and water gardens. It has 140 lb / 300 gsm
red, orange, yellow and black marks that look Pencil, Scissors,
like flowing watercolour spots, making it an Posca pen 0.7mm
ideal subject for the wet-on-wet technique. ▸

5 8 ARTISTS & ILLUSTRATORS

ARTISTS & ILLUSTRATORS 59
 THE DR AWING

1 This is relatively
straightforward, as
3
NOW FOR THE DETAIL
Once the fish are completely dry, load the detail
the koi fishes’s above view resembles brush with neutral tint and paint the eyes. Then
an elongated teardrop. By adding apply a few strokes for the gills, fins and tail. Load any
twists to indicate movement, along medium-sized brush with the red mixture from step two
with tail and fins, you can create a and lightly tap the brush with your finger to add splatters.
lifelike fish. Be mindful of sizing the
fish to fit within the dimensions of
the background when you cut it out.

USE YOUR WATER

2 Drop a little paint into a jar of water
to get a lightly tinted water, then
load your mop brush with it and apply to the
silhouette of the fish. Then, mix Scarlet Lake
with a touch of Quinacridone Gold. Apply
this mixture unevenly to the wet surface of
the fish. Once your paint starts diffusing, load
your brush with a neutral tint and add a few
dots here and there. How much the paint
spreads depends on the time you wait before
applying it. You can add the red mixture
straightaway, but wait a bit longer before
adding the black, to get a nice uneven flow of
paint. Repeat for the other two fish.
 BOO K EX T R ACT

4
SPRE AD THE PIGMENT
On a piece of A4 watercolour paper apply a water wash with the
mop brush. Next, apply some watery indigo paint in different
areas. The beauty of this method is that you will get unpredictable shapes
and effects as the pigment spreads. Add a touch of watery Naples Yellow
here and there but keep it very light. When the first layer is dry, take a very
wet brush with some indigo colour. Your brush should be almost dripping.
Hold it vertically above the paper, then give a slight shake so the water
drops onto the paper. This is how you get large splatters.

TOP TIP
Experiment with different washes to allow you to
understand watercolour effects and how to use them to OBSERVE
your benefit. Try layering other mediums over them,
such as pencils, acrylic, ink, crayons and pastels. Use the
5 Repeat step four to make another sheet with a green colour
wash for your lilies. Use green gold, light green and sap
textures you get as a basis to create a new image. green. There are no rules as to which order you add these colours –
just relax and observe how the watercolour flows.

6
FINALLY, PUT
EVERY THING TOGETHER
Cut out your fish and then the
lilies from the green sheet. Create a
composition by arranging them on the blue
sheet, layering them over each other if
desired. Once you are happy with the
placement of each shape, glue everything
down and use the Posca pen to add some
white details, such as veins and fins.

Wild
Watercolour by
Inga Buividavice
is published on
4th April by
Leaping Hare
Press, an imprint
of The Quarto
Group. £14.99 ▫

ARTISTS & ILLUSTRATORS 61

DORIEN BROUWERS transitioned from
working as a graphic designer into
writing and illustrating picture books,
a journey sparked by her desire to
create a meaningful gift for her son

I
nspired by the
aesthetic beauty of MAG IC AL MANUSC RIP T
DORIEN ’S
MATERIALS
nature, Dorien draws
predominantly with
1 I usually write my own stories, but sometimes a publisher
sends a manuscript which instantly lights up every cell in
watercolour and ink, developing my body. Elli Woollard’s Life was one such document. I immediately
Paints
a distinctive style rich in texture knew I wanted to illustrate it. This process takes a lot of creative
Winsor & Newton
and detail. She illustrates not energy, so having a text you connect with is vital, as the process of
Watercolour
only her own stories but those creating a picture book can take months.
DecorRom Alcohol ink
of other authors too. Each flick
Brushes of Dorien’s brush is carefully
I use a variety of chosen to enrich, inspire,
brushes, but my Daler entertain and bring a narrative
& Rowney and Da Vinci to life. She aims to create
watercolour brushes dynamic and detailed
have stood the test of illustrations that carry readers
time and are good through their reading journey as
value for money. they turn each page, creating
You only need a few books you can go back to, time
brushes including a 10, and time again.
3 and a 2-liner brush, Here, she takes us through the
plus a bigger round process of illustrating a page in
brush for backgrounds her latest picture book Life, an
and larger areas. extended poem about evolution
Paper for five to seven-year-olds,
The James Cropper Art written by Elli Woollard.
Pad, the 130gsm Kendal dorienillustrator.com/retreat
Drawing Cartridge Instagram: @dorienillustrator
paper, can be used for
pencil, pastel, ink,
charcoal and paint.
The final artwork
pieces are painted
on 220gsm Daler

4
COLOUR ROUGHS
Rowney paper. I don’t always make colour roughs for every book.
115gsm Yupo Paper However, they can be helpful when working out the colour
for alcohol ink scheme that runs through the entirety of the book. The description
is in the name: they are roughs! As with the sketches, don’t feel
precious about them. They are there to give you a better feel for
the book. So, make it quick and play around with colour.

62 A R T I S T S & I L L U S T R A T O R S
 D E MO NS TR AT I ON

THINK THUMBNAILS WORK OUT YOUR SKETC H

2 This is quite possibly the hardest and most important stage of

illustrating a picture book. Life is 48 pages long, whilst most
3 Once I’m happy with the thumbnails, I work on a bigger
sketch. They are always quick. There is still time to play
picture books are 32 pages. Without thumbnails, which are small rough around and your creative options remain open. For this page, I
sketches, I’d have no idea how a book would flow in terms of composition decided to put two larger dinosaurs on each side to create more
and interesting page turns. Looking at thumbnails will give you the depth. Plus, it was a good way of showing off the features described
overview and flow you need. Sometimes, my thumbnails are so rough in the text, whilst also drawing the reader in.
that only I know what I’m planning for that particular spread.

6
DINOSAUR DELIGHTS LOOSE ELEMENTS
5 Make sure you’ve done your research, especially if your
book is non-fiction. Your final sketch should be as accurate
Some illustrators will paint whole spreads on a single sheet.
Though many illustrators, including myself, prefer to opt for
as possible, though small changes can still be made while you’re a more collage type of approach where we draw by hand and then scan
painting. Finally, after sketching many pages, it’s time to commit and combine the drawn elements in a computer programme. I use
the brush to paper. My books are illustrated in watercolour. I love Photoshop. I feel this gives you greater freedom, especially when
the way the pigment flows in the water. There’s a unique and last-minute changes are asked for by a publisher. Still, I work hard
unpredictable element about it. to keep the handmade feel of the original illustrations. ▸

ARTISTS & ILLUSTRATORS 6 3

D EM ONST RATION

MIX IT UP BAC KGROUND

7 Don’t be afraid to be creative with your different mediums.

In the book Sail, I used watercolour, mono-printing
8 Here, I’ll use a bigger brush. Backgrounds are an important
part of the whole composition and set the mood. It gives your
techniques and charcoal to create underwater scenes to great subject context and helps your illustration tell its story. Backgrounds
effect. Here alcohol ink gave me a great finish on the asteroid can be simple, yet still have a powerful effect. I chose a dramatic sunset
hurtling towards Earth. Feel free to play around. as the text talks about the final moments of dinosaurs on planet Earth.
It simultaneously provided a good contrast with the asteroid.

10
FINISHING TOUC HE S
Now, it’s time for one last look over the artwork. Be careful
not to overwork at this stage; simply add the last stages. I
added a little sprinkling of stars here and there, and the black needed
to be 100% for the co-editions (meaning the translations to other
languages). Then there’s the wait for the book to get printed and
distributed. It’s very exciting to finally see it in the bookstores.

IT ALL COME S TOGETHER Finally, I believe we all have stories to tell. If you dream of writing or

9 Once all of the hand-painted artwork is scanned, I combine

the elements digitally, as mentioned. I might add final
illustrating your very own picture book, the workshops I run in Italy
might be for you. InkyLarks is a fabulous picture book-making retreat
mono-printed details, and tweak contrast or colour slightly to ensure located in the heart of Rome. Here, you will get your story one step
the page is as atmospheric as it can be. It’s important to note that a good closer to being pitched to agents and publishers. ▫
picture book contains a symbiotic relationship between words and
images. Illustrations must complement the narrative by filling in the ENJOY THIS FEATURE?
details omitted by the words, providing the story with an extra depth For more demonstrations go to artistsandillustrators.co.uk
that it wouldn’t have otherwise.

6 4 ARTISTS & ILLUSTRATORS

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 HOW -T O

MATTHEW HAYDN JEANES

shows you how to paint MATTHEW ’S
MATERIALS
this captivating still life in Paints
mixed media Winsor & Newton watercolour
pans: Burnt Umber, Naples
Yellow, Naples Yellow Deep,
Yellow Ochre, Cerulean (Red
shade), Scarlet Lake, Alizarin
Crimson, Opera Rose,
Permanent Rose, Cadmium
Red, Permanent Carmine,
Quinacridone Red, Indian Red,
Permanent Mauve, Burnt
Sienna, Cerulean Blue,
Antwerp Blue, Cobalt Blue (Red
and Green shade), Manganese
Blue, French Ultramarine,
Winsor Violet, Paynes Grey,
Potter’s Pink, Viridian,
Perylene Green, Winsor Green,

T
here is rarely anything more
Sap Green, Olive Green, Green
ORIGINAL satisfying than displaying a vase
Gold, Neutral Tint, Perylene
I M AG E of flowers that have been
Maroon, Indigo, Davey’s Grey,
nurtured and grown in your very
Mars Black, Ivory Black
own garden. It’s that sense of pride and
Winsor & Newton Designers
accomplishment that is hard to match,
Gouache: Titanium White
other than making that glory last a little
longer by making a painting of said flowers Brushes
to keep for posterity. Pro-Arte Brushes Series 007,
Flowers are always a great subject for various sizes including 1, 3, 5,
painting. Most people can relate to this idea 10, 20 and a 1” Flat
and appreciate the beauty of nature in a still Support
life setting. The only addition to enhance a HB pencil
beautiful subject is fabulous light. Putty Rubber
The roses you see here I have named Artistico Traditional White
Purity and Grace. They are two different 18’x24- 140lb Artists’ Water
blooms displayed in a vase in my window, Colour Paper by Fabriano
flooded with the late morning sun. Roses Winsor and Newton
can be notoriously tricky to capture in Colourless Masking Fluid
paint and it’s very easy to overwork them. Royal Sovereign – Taper Point
So, I am going to try and paint them just as – Colour Shaper No 2
colours and light and not get too embroiled A selection of artists’ coloured
in much detail at the start. pencils to suit your painting
matthewjeanes.co.uk ▸

ARTISTS & ILLUSTRATORS 67

 TOP TIP
When sketching out
something as complex as this,
don’t feel you have to draw
every leaf, petal and stem. Just
mark them out lightly and
gradually refine them as
you progress the
painting

2
GET TING STARTED FLOWER WASHE S

1 There are a lot of elements to consider, including the

window frame, the glass vase, the light, the ornaments and
Building up the petals of a rose is very complicated, so I am
going to try and mask out the lighter folds of them with a
the roses themselves. So, I roughly sketch out my painting on Masking Fluid (note: make sure it is colourless as some yellow and grey
cartridge paper. This lets me make any mistakes and changes brands can stain your paper). When my previous washes are fully dry, I
without damaging my expensive watercolour paper. It is very easy to look hard at my reference and mask out – using a rubber brush or colour
get lost in a painting like this, so I give myself a guideline by lightly shaper – the lighter parts of the flower. I then add another wash of
sketching the blooms out in a corresponding colour, in this case, slightly darker colours. In this case, Quinacridone Magenta, Alizarin
pink. Looking at the flowers, I see the yellow tones first. Then, I Crimson, Perylene Maroon and Potters Pink. I then bleed them together
loosely drop in a tint of Naples Yellow, then the palest of the pinks to get a wet-on-wet look for parts of the flowers. I also start to add in
with Scarlet Lake, Opera Rose and Permanent Rose. some pale blues and yellow washes into the background.

3
MASKING OUT
◂ I repeat the previous stage several times, gradually refining
the flowers until it’s mostly the darker folds of the petals
remaining to take any paint. I have also started to add larger washes
to the background window and vase, using French Ultramarine,
Cerulean Blue and Naples Yellow, whereas I am using areas of
masking fluid, initially to block out the white of the paper for the
sunlight highlights. Now, I want to use it sparingly to protect the
wet-on-wet washes I have been creating. As I build up the leaves with
Yellows, Viridian, Green Gold, Perylene and Hookers Greens (when
dry), I delicately mask out areas that may have light on them or need
careful details like in the veins or folds.

THE VASE ◂
4 Moving on to this, I want to try and achieve a high level of
shine on its surface. I have previously masked out the shiny
highlights with masking fluid and covered the full area in the tones I see
with French Ultramarine, Winsor Violet, and a hint of Scarlet Lake and
Pale Yellow. When dry, I mask out the lighter areas of the zebra pattern
and dive straight in with Payne’s Grey, Indigo and Neutral Tint. I let the
colours bleed together and use a tissue to remove some of the intensity
on the left-hand side. As it dries, I can repeat this if needed, but my advice
would be to be bold. Don’t be scared of the strong colours where needed.
If you build up slowly, the paper can become tired and the colours may go
a bit pale and powdery.
A R T I S T S & I L L U S T R A T O R S 69
 BLEEDING COLOURS

5 Once I am satisfied that I have built up

enough layers of colour, it’s time to work on
some of the stems and leaves. All of the flowers and
important leaves should now be protected by masking,
I would recommend focusing on just one part at a time.
This means you won’t get overly confused with where
you are in such a complicated painting. Using a size 2 or
3 brush, add in some stems in a bold colour (red, in this
case) at the top and then from the bottom, bleed in the
base of the stem with a blue, purple or rich green. Let
the colours meet and leave them to dry. When finished,
you will have lovely and unpredictable colour work for
some of the most complicated areas of your flowers.
 6 7
MASKING OVER MASKING OVERPAINT
Moving onto the foreground, which includes a cactus and two Removing the masking fluid after such intense work can be
cheetah ornaments, the areas of light have already been masked exciting and a little daunting. Having worked quite loosely with
out, so I add in very bold colours and try to keep them loose, bleeding colour such bold colours, we never know exactly what we may have. Therefore, it
into colour. I ultimately want the focus to be the roses so these parts can is crucial to keep an open mind. With the painting now revealed, I see
be less detailed. Once dry, I am going to use the masking fluid to create where my new challenges lie. Shadows need to be painted in and certain
some of the shapes needed. I let it dry, re-mask and paint again. Hopefully, areas need to be refined. Some areas may need to be re-masked to protect
when the masking comes off, the effect will be loose, but worth it. them from a light wash of pale blue that is now needed to form shadows.

PENC IL WORK
◂ 8 Once the final
washes have been
put in place, it’s time to refine
the painting. This can be done
with some very fine paint and
brushwork. Afterwards, I am
going to use some soft
coloured pencil work to tidy
up certain areas and focus the
attention on the delicate
detail in the flowers. Even so, I
try not to overwork the pencil
as I don’t want to lose all of
those lovely wash lines. Some
rough edges need blending
and bright patches may just
need to be toned down.

GOUAC HE ◂

9 Now is the time for the finishing touches. Using an opaque

white gouache with a fine brush can enhance any needed light.
If you need your gouache to be a tone of the area you are working on, you ENJOY THIS
can add in a little of the watercolour used before and it will tint the paint to FEATURE?
your requirement. Look hard at the reference and try to resist the urge to For more How-Tos go to
overdo any highlights. Less works better. You can always add but you artistsandillustrators.
can’t take away at this stage. You may want to leave the painting for a day co.uk
or so and come back to it to add in any final details. It’s good to take a
break and see your work with a fresh pair of eyes. ▫

ARTISTS & ILLUSTRATORS 7 1

 ST E P-BY -S T EP

Mix meaningful watercolour

techniques to paint an egret in
flight, as shown in this
demonstration by
SARAH STOKES , taken from an
edited extract from her
book Painting Birds: Expressive
Watercolour Techniques

W
atercolour provides us with can’t see the birds, they are there, deep among
the ideal medium for expressive the trees, going about their daily business. SARAH ’S
techniques with its translucent, To create a convincing bird portrait in
colourful and playful qualities. whatever style you choose, it is very important
MATERIALS
The painting process is a two-way conversation. to have a working knowledge of shape, tone, Paint
It is about how we interact with the medium; composition, colour and edges. It is with shape Black tube or pan of
allowing watercolour to do its thing and then and tone that our journey will begin. Here, watercolour paint
PHOTO OF EGRET IN FLIGHT: JOHN M LUND PHOTOGRAPHY INC / DIGITALVISION VIA GETTY IMAGES. ALL OTHER IMAGES: SARAH STOKES

reacting to what we see on the page as we drop, we practise painting an egret using the Brushes
splash, blend and lift the paint. layering technique. Synthetic round size 6
Why have I chosen birds to be the main subject sarahstokesartist.co.uk brush, 1 inch flat brush, size
for my first book? 0, 1 or 2 rigger brush and a
Perhaps most detailer
importantly, birds
Support
bring us joy, hope and
Photographic reference
wonder, whether it is
of an egret in flight
the sight of a little
Paper: 300, 350 or 640 gsm,
robin watching over
cold press, textured
us as we garden or the
paper brush
hypnotic sound of
F or H grade hard pencil,
swans flying overhead.
ruler, eraser, plain paper
The chirps, trills, caws
Masking fluid and a
and hoots of bird calls
small brush
are some of the most
Salt, cling film,
uplifting sounds I
feather (optional)
experience when
Wax-free transfer or
walking my dog.
tracing paper and low-tack
That wall of sound
washi tape (optional)
coming from deep in
Palette, water container,
the woods is both
paper towel,
exhilarating and
washing-up liquid
humbling; it reminds
me that, although I ▸

ARTISTS & ILLUSTRATORS 7 3

 1
DR AW OUT THE MAIN PIEC E MASK OUT ARE AS TO PRE SERVE THE LIGHT
Firstly, draw out the egret using the template in the photo.
Position your bird in the middle of the page. This will
2 Using masking fluid, mask out your egret and add expressive
marks. Masking fluid will allow you free rein with the
allow you to paint a variety of expressive marks around it. backdrop without worrying about maintaining the white of the egret. I
find it easier to dip into masking fluid that has been decanted into the lid.

FE ATHER WORK

3 Try applying masking

fluid with a feather to
create the tangled nature of
vegetation. Add these marks
intuitively and playfully. If you
end up applying too many
marks, they can be painted
over at a later stage.

TOP TIP
When using a brush to
apply masking fluid, coat
the fibres in washing-up
liquid first to ensure that
your brush does not
get damaged

74 A R T I S T S & I L L U S T R A T O R S
 ST E P-BY -S T EP

4
PENC IL MARKS WET YOUR PAPER AND APPLY
Scribble in some rough pencil marks to guide your colour
placement. While painting with speed, it is easy to
5 FIRST STROKE S
I use my 1-inch flat brush to cover the whole page in
overlook the original composition. These rough pencil marks water. I then add black paint using a flat brush vertically, using the
remind me where I need to place my key tones. tip to create slices. The paint is creamy in consistency because I
have to allow for the wet of the paper lightening it. I make sure that
pockets of light are maintained between some strokes to create a
range of tones as the paper dries. I then continue to use the brush
in a haphazard fashion by applying horizontal marks.

EXPERIMENT WITH DIFFERENT

6 TOOLS AND EFFECTS

Create a series of brushstrokes and marks using a feather
(both ends) and a range of brushes. Vary the quantities of pigment/
water and work at different points of the drying process. This will
give you a range of shapes and textures; some blurry and some
sharp-edged, some solid and some broken and some thick and
some thin. Work with speed and energy, and take comfort in the
fact that the egret is masked so that you really enjoy the process.

TOP TIP
Don’t underestimate the angle and movement of your
paper when painting a piece. I created much of this work
with my paper flat and in one position. However, you can
achieve a whole host of exciting and dynamic effects by
moving the paper when applying paint and water ▸

ARTISTS & ILLUSTRATORS 75

 OP TIMISE YOUR

7 BRUSHE S AND
ACC E SSORIE S
Dragging a feather down the page
can create some beautiful lines.
The feather’s quill is useful for
sharper, thinner marks. Every
brush, however, gets used in a
variety of ways. The flat brush is
great for suggesting distant trees.
If you lay your brush down close
to the paper, you are likely to
create ‘dry brush’ marks resulting
in a line that is broken up. This
can be a lovely effect and more
‘painterly’ than bold sharp lines.
Referring to my thumbnail sketch
reminded me to add darks above
the head of the egret to accentuate
the white of its crown.

ENOUGH IS

8 ENOUGH
There comes a stage
when you have to reluctantly pull
yourself away from the work to
allow this layer to dry. An exact
time cannot be prescribed; it
comes with experience. If you
continue to ‘play’ on the same
piece of paper without allowing
any drying time, you are in danger
of overworking the page and
losing the beautiful array of tones
and marks that you have created
spontaneously. This part of the
process is exciting to create. My
work table was a complete mess
of tools, paint and other
equipment when I completed this
section, but it was so much fun!

TOP TIP
Tissue is a vital tool and
here it was used to regain
the light under the feet.
The paint was still wet, so I
rolled the tissue into a
small ball and gently
dabbed it off

76 A R T I S T S & I L L U S T R A T O R S
 ST E P-BY -S T EP

MASKING FLUID, BE GONE!

9 Once the background wash has dried, carefully remove

the masking fluid from the egret by rubbing gently with
a clean eraser or finger, starting from the outer edge. The masking
fluid has left the egret clean and ready to paint.

PAINT THE EGRET

10 Now, it’s time to paint the egret using the methods outlined
in the previous steps. Give yourself time to slow down the
process so you achieve accuracy and precision. That doesn’t mean that
you have to paint every feather; it just means that your major shapes,
tones and edges need to reflect what you observe in the photograph.

11
ASSE SS THE COMPOSITION AND MAKE
FINISHING TOUC HE S
Once you have completed the egret, add any finishing touches
to the surrounding areas. This might mean knocking back some of the
stark white areas left by the masking fluid. You can do this easily by
adding touches of paint or softening the hard edges by gently rubbing a
damp brush over them. With my painting, I added a few darker
branches, twigs and foliage and reduced the brightness of some of the
areas where bare paper was exposed. It can sometimes be difficult to
know when to finish a piece and to decide on the final composition and
crop. For instance, you may have applied brushstrokes or marks that
you really love and would like to keep in the final piece. I find the
following methods really helpful when deciding this. Firstly, take a
picture of the finished piece and view it on your phone or use a reducing
lens. Secondly, cut up an old mount into two sections and place the L
shapes at differing points around the piece. Could a bit of paint here or
there resolve an issue? Paint in a way that’s comfortable for you.

To see how Sarah prepared for this painting,

go to: artistsandillustrators.co.uk
Painting Birds: Expressive Watercolour Techniques
(Herbert Press) is out now, £16.99 ▫

ENJOY THIS FEATURE?

For more step-by-steps go to
artistsandillustrators.co.uk

ARTISTS & ILLUSTRATORS 7 7

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Kelvin Martin
Facebook has been sending me a lot of adverts for art courses
lately, especially ones on how to sketch. They look great and
are very reasonably priced, but I think they may be missing
the point. The question is not about skill, materials, how to
sketch or even what to sketch; the important thing is what
you learn and why you are taking the time to draw your The writer of our
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month”
you’re always seeing more.” will receive a £50 gift
I trained as an illustrator, have sketched all my life and voucher to spend with
made many road trips. We have just done a trip across the Atlantis Art,
backwaters of the southern United States. I went for the the UK’s largest art
materials store.
music history; my wife went for the the Civil War and the
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only you can see it. As I went, I sketched, and as I sketched,
I learned. As you draw, you begin to ask questions and go
down rabbit holes.

Fred Bugs Andrea

It is a great pleasure to appear in Castañeda
Artists & Illustrators. I am Fred I’m a professional
Bugs (Federico Cabras), an Fine Artist from
Italian abstract artist who Honduras. I love the
became popular after magazine and the Share your stories and
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ARTISTS & ILLUSTRATORS 79

THE CLASSIFIED DIRECTORY

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 THE CLASSIFIED DIRECTORY

COURSES THE ART SHOP DIRECTORY

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 Ramming Speed,
oil on linen,
91x121cm

In every issue, we ask an artist to tell us about a piece of work that holds significance. This month, we
speak to oil artist JAMES SWANSON

The inspiration behind this piece started years ago, with our first could be special and all I had to do was put it together.It’s one of
golden retriever. I never wanted to paint dogs but when she died, it those paintings that makes you smile and seeing people engage
felt like losing a member of the family and I needed to honour her with it is always touching.
memory. So, I decided to paint a dog a day for a month and donate When I started painting my furry buddies, I found it so easy and
the proceeds from the sold paintings towards charity. After making a stress free. I try to control the viewer’s eye as much as possible, but
few paintings of them in the water, things just kind of took off. I don’t paint for sales. I paint and teach because it makes me happy,
This is Fenrir in my painting, Ramming Speed. He’s our ball crazy always trying to make the best painting I can and knowing my
golden retriever. When I first saw the photo back at the cottage, I had subjects are happy to work for treats. What could be better than
a feeling it would be a winner and had to be painted big. I knew it that? jamesswansonpainting.com ▫

82 ARTISTS & ILLUSTRATORS

THE HEATHERLEY
SCHOOL OF FINE ART
Chelsea. Established 1845.

Diploma in
Ph: 020 7351 4190
Portraiture www.heatherleys.org

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