Attended the private view of the “In Living Colour” exhibition at the Grant Bradley Gallery in Bristol tonight.
I exhibit two known paintings from this site “Golden Gown” and “The Prestige”. It was also the occasion to exhibit some short 15 min liquitex drawings (set out in an earlier post below)
I was delighted to win the prize in this category. The pictures, again, are below:
Liquitex on paper
The Bristol Art Prize is an art competition currently running in the city. Artist entrants are being allocated parts of the city to paint and present for selection in an exhibition to be held in the old court buildings; the Guildhall.
Working in the old city in the centre I was intrigued to find what landmark I had been allocated to paint…
I was introduced to a part of Bristol’s old port where the city centre’s floating harbour meets the Cumberland basin at the river Avon: Junction Lock.
This, my first landscape for a while, and more in the style of an abbreviated oil sketch is “Through Junction Lock”.
We were let loose with new “liquitex” pens in class last week. Some interesting results. These were 15 mins drawings in 5 colours
I am intending to exhibit some at the forthcoming “In Living Colour”exhibition at the Grant Bradley gallery in Bristol this August.
My last post was of Steve Tyrrell ahead of the 3 peaks challenge… We attempt this in 6 days time now.
For posterity he has been committed to canvas
I am doing the 3 peaks challenge next month, (climbing Ben Nevis, Scafell Pike and Mount Snowdon – the three highest mountains in Scotland, England and Wales – in 24 hours!) with a group of friends for charity.
This is our guide and guru Steve Tyrrell captured in a moment of meditation before doing Snowdon (twice) this weekend in preparation…
This is an oil sketch of one of my fellow life drawing colleagues, Penny.
Occasionally you get a boring back view and decide to sketch those around you – the pencil sketch from which this is derived, is below.
Me … 3 sessions pushing oil around and glazing/thinning with poppy oil.
Study Hals, says Sargent, and only when you’ve learnt all you can from him, move on to Velazquez. Hals epitomises that “drawing with a brush” which we see in Sargent. Hals work is formulaic: a limited palette with a focus on tonal accuracy and capturing the gesture. These are the building blocks for Sargent and vital in understanding how he worked.
I tried to go back to such basics with this oil sketch of one of our models, Gustavo. Worked up from a 15 min graphite sketch it is painted wet in wet with a traditional palette, with no effort to hide the brush work. Indeed, the idea is to emphasize and celebrate the limitations of the brush…
Study Hals. I would say I’m just starting the journey…
I’m not sure about iPad painting. There are instantly a number of limitations with it, the main one being (with the sketchbook app I use at least) that the degree of precision available when using a pencil or brush is just not there with the iPad.
But it does offer the excitement and anticipation of a new medium; it is also fun to play with. In any event it is here, and I suspect there will be a lot of iPad masterpieces emerging out there, just proving me wrong.
I will be exhibiting with a number of members of my life drawing group at the Grant Bradley gallery in Bristol.
It is entitled Cornucopia and will be taking place in February 2013.
Check out the site, which has a number of images by the artists.