Amsterdam, Vermeer & The Little Street

This week I’m lucky enough to be in Amsterdam to experience the largest ever Vermeer Exhibition!

28 of Johannes Vermeer’s known 37 works, have been brought together from museums and private collections across the world for this unique opportunity at the Rijksmuseum.

It’s currently a sell out show with over 450,000 tickets sold! but they are releasing new tickets so it’s worth checking the site. (Rijksmuseum Vermeer Tickets)

On display is one of my favourites, ‘The Little Street’ and we do a master copy of the painting in the Beginners Water Mixable Oil Course.

When I get back to the studio I’ll put together a exhibition review but for now I’m off to grab a coffee and a Stroopwafel.

The 5hr+ course is best suited if you’ve been working with acrylics and want to learn about the pros and cons of water-mixable oils. We go through lots of materials and options to give you an overview of what’s available with water-mixable oils.

Speak soon,

Cheers,
Will

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Edition // 001: Notes from the Artist’s Studio

Morning Class,

My name is Will and I am an obsessive notetaker.

I get sidetracked easily.

If I’m listening to something that has piqued my curiosity, it can send me down a rabbit hole of research….usually halfway through a painting.

And then the copious note-taking follows.

It got so bad at one stage, Vanessa had to prevent me from buying new notebooks because after furiously filling them with fascinating insights, I’d annoyingly lose where I’d put them or worse couldn’t decipher what my own scribbling all meant.

On a positive, my last birthday present was The Remarkable Tablet (an e-ink notebook that feels amazingly close to writing on paper) which has helped add order to the chaos and made the kitchen table decidedly neater.

Some of my research notes do come back to inspire my practice and if they bring me a new understanding or appreciation, I figured they are worth sharing.

So here are my top 5 art inspirations that I’ve read, experimented with or listened to this week, when I should have been at the easel, with the hope they might inspire your own work too…

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Capturing Sunlight with Sorolla

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Joaquín Sorolla, Strolling along the Seashore, Detail, Valencia, 1909

Inside the Artist’s Studio

In the heart of bustling Madrid, behind a protective brick wall, sits the elegant former home and studio of Spanish painter Joaquín Sorolla (1863 -1923)

Huge decorative iron gates lead you through a lush Andalusian courtyard garden to one of the best-preserved artist houses in Europe, an absolutely priceless experience. 

musee-sorolla-casa

musee-sorolla-garden-entrance

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Discovering Zorn, the Petit Palais & Patisseries in Paris

We arrived in Paris to catch the last few days of a retrospective exhibition of the Swedish painter Anders Zorn (1860-1920)

After a snowy week in England, we woke to blue skies, warm croissants and this amazing rooftop view from our hotel room. I couldn’t resist a quick pen sketch of the row of chimney pots in the distance before we hit the show, check out those windows!

Sketch from Hotel, Rotring Art Pen (F), Pentel Brush Pen and Pentel Aquash Water Pen in A6 size (10 x 15cm) Seawhites of Brighton Sketchpad (140gsm All-Media Cartridge Paper)

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Studying Holbein’s Portrait Drawings: A Brief Encounter

Detail, Mary Zouch, Hans Holbein The Younger, Black and Coloured Chalks, Pen and Ink c.1532-43, Royal Collection Trust / © Her Majesty Queen Elizabeth II 2017

I was in London last month to catch the Encounter: Drawings from Leonardo to Rembrandt exhibition, held at the National Portrait Gallery until 22 October 2017.

I was particularly interested in studying the collection of portrait drawings by Hans Holbein the Younger on loan from the Queen’s Royal Collection, Windsor Castle.
I’ve always admired Holbein’s oil portraits at the National Gallery London and the Uffizi Gallery, Florence but only ever seen images of some of his drawings in books.

The exhibition room was quite small, the lights low with very few other visitors and it really felt such a privilege to view these drawings in such an intimate space.

The walls were painted a dark Prussian Blue and many of the Holbein drawings were on a muted pink ground hung side-by-side in a line. They were all relatively the same size and the first thing I noticed as my eye jumped across them, was the variety of silhouette shapes created by the headwear and angle of the pose gave a real sense of the sitter.

You can’t help your mind wandering back to the Tudor Court of Henry VIII and wondering about the characters in the portraits (and for the fans of ‘Wolf Hall’ I have to admit, I was silently humming the theme tune)

They felt so fresh with some of the contour lines reminding me of a Singer Sargent’s portrait, it’s pretty amazing to see how contemporary these drawings looked considering they were drawn over 400 years ago.

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How to Glaze an Oil Portrait Course – New Course!

oil paint glaze recipe

How to Glaze an Oil Portrait for Beginners Course

When I was trying to find my way in portraiture, I’d spend hours studying Old Master paintings thinking “Wow, how did they do that?

I was flummoxed.

Not only did the skin look realistic, but they’d managed to capture those bluish grey tones that lie just beneath the skin’s surface. In my naivety, I just couldn’t work out how you could paint one colour next to another colour yet create such a smoky transition.

I’d repetitively ask Vanessa, “When will I be able to paint the melt of the cheek you see on the Mona Lisa?

Unhelpfully she used to say “Isn’t it just old?

Inwardly I’d sigh.

And then I discovered oil glazing…

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Discovering Velázquez, The Duke & Unexpected Treasures

When Vanessa suggested a spot of Winter sun, if I’m honest, I dragged my feet.

Locations where being proposed and I politely nodded.

When she casually mentioned a possible trip to Seville, my interest was piqued.

Why?

Seville was the birthplace and hometown of Spanish artist Diego Velázquez, and one of my favourite paintings is the ‘Waterseller of Seville’ by Velázquez, but I had never seen it in the flesh, was it even in Seville?

Caught up in the fever of ‘my’ trip, I got researching and discovered the painting was actually hanging much closer to home, in Apsley House, London.

Apsley House? Where’s that?

Well as it turns out, it’s known as Number One London and sits at Hyde Park Corner.

How had I missed it on all my gallery trips and what else was there?

Holy Moly! There’s a study for Pope Innocent X by Velázquez, there’s a Goya, in fact, there’s another portrait by Velázquez and some cracking portraits by Sir Thomas Lawrence.

I shouted through to Vanessa ‘Do you fancy a trip to Knightsbridge?

Who knew train tickets could be booked so quickly?…

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How a Few Small Changes Influenced my Portrait Painting Style

portrait-painting-oil-glazing-techniques

New Year, New View?

There was a small sign that hung below an empty black space, it read ‘In Prestito‘.

On loan.

Last Summer I was back in Florence, Italy, to visit one of my favourite paintings that had enticed me to the city over 10 years ago.

The only problem was, when I got to the gallery, the painting wasn’t there.

It was at the Kunsthistorisches Museum in Vienna and I had missed it.

The painting?

Caravaggio’s sleeping Cupid.

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Inside Rembrandt’s Studio

outsideannefrankamsterdam

Earlier in the Summer, I took an impromptu trip to see ‘Late Rembrandt‘.

It was the first time that an exhibition had been solely dedicated to Rembrandt’s late works. Many of the most famous paintings that he produced in the last 15 years of his life had been brought together from museums and private collections across the globe.

This period is often the most celebrated due to Rembrandt’s development of a more gestural, impressionistic style and this was some 200 years before the popularity of the Impressionists.

He was out there!

I’d missed the exhibition when it was on show in London at the National Gallery but for the final leg of the tour it was going home to the Rijksmuseum in Amsterdam.

Heavy dark shadows, hidden brooding eyes, thick scratchy textured marks, lots of Brown umbers and a dirty yellow varnish glow are all the things that excite me about Rembrandt’s self-portrait style.

With the allure of Nutella Waffles, the opportunity to visit Rembrandt’s Studio and the once in a lifetime chance of seeing so many Rembrandt’s up close together, how could I resist…

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Singer Sargent & Friends

An Artist in His Studio,1904

An Artist in His Studio, John Singer Sargent, 1904

Last month saw the opening of a new exhibition at the National Portrait Gallery in London.

The show highlights the work of one of my favourite portrait painters, John Singer Sargent (1856 – 1925)

I’ve been a fan of Singer Sargent’s paintings ever since visiting the Tate in London as 15 year old student, blown away by Carnation, Lily, Lily, Rose, the most compelling scene with its magical sense of glowing light.

Carnation lily lily rose

Carnation, Lily, Lily, Rose, John Singer Sargent, Oil on canvas, 1885

I’d always thought it was quite a small painting having only seen it in books, but in reality it’s nearly 2 meters tall by 1.5 meters wide, the sheer scale of it being life-size really draws you into the piece. The golden hour light is fading and the glow from the lanterns illuminates the girls faces so beautifully.

And that’s often the most fantastic thing about visiting an exhibition, the experience of sitting in front of the painting and seeing it through the artist’s eyes…

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How to Paint Acrylic Portraits

acrylic portrait painting tutorial Painting portraits with acrylics can be frustrating.

It can seem that you’re facing an uphill struggle.

After the pleasure of not getting headaches from toxic turpentine and being able to paint with thick impasto marks there seems to be double payback for daring to tackle a portrait with acrylics.

Not only do the colours appear unsophisticated and garish but the paint dries too quickly to blend together successfully, especially when you’re trying to mix subtle skin tones.

You can be left feeling disappointed with your results, admit defeat and crack out the thinners for another go with the Oils.

I’ve been working on a new portrait course, that can help develop your portrait skills and dramatically shorten your learning curve to achieving classical looking portraits with acrylics…

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How do you Approach Lighting a Portrait Painting?

artist&illustratorsportrait

This week I’ve been featured in the U.K’s best selling artist magazine, ‘Artist & Illustrators‘.

The article was on understanding ‘How light sources can add impact to your portraits’.

It looked at three professional portrait painters and how they approach portrait lighting set ups of their subjects.

Below is the conversation I had with Martha Alexander from the magazine…

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The 3 Key Secrets of Portrait Painting Success

The Art_of_Painting_Jan_Vermeer

The Art of Painting (detail),  Johannes Vermeer, 1666

You might think you need more time, or the perfect paint brand or a new brush.

When the weekend comes and you’ve finally managed to find some ‘you’ time, the blank canvas stares back at you and the finished portrait, you so desperately wanted to achieve, seems a world away.

Your motivation is high, your drawing’s good but the jump from pencil to paint has hit a wall.

Flicking through an art magazine or shopping for a new paint colour suddenly seems like an attractive idea.

You’ll start next week when you’ve got the exact colour you need.

But what if these actions are holding you back?

What if you forced yourself to try and achieve more with less, give yourself some constraints and your portrait painting could make giant leaps forward?…

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How to Paint a Portrait in Oils – Timelapse Video

How to paint a black & white portrait in Oils

This is a time-lapse video of a classical approach to a black & white grisaille portrait painting.

It accompanies a free series of 5 step by step, portrait tutorials.
Click here to read How to paint a portrait in Oil : Part 1

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