oil painting Archives | will kemp art school

Peonies in Water-Mixable Oils (How do they compare to Acrylics?)

By Will Kemp
acrylic painting / oil painting / painting
111 Comments

Will Kemp, Peonies (Detail) Acrylic & Water-mixable Oils on Canvas, 60.96 cm x 60.96 cm (24 inch x 24 inch)

Over the New Year, I’ve been in the studio working up a large scale floral still life painting, from a series of sketches I did over the summer. The original composition had been inspired by the dramatic oil paintings of the Dutch Golden Age (you can see the progress of my painting further down the article).

To achieve the soft blends between the petals, delicate smoked edges and the ability to work across subtle shifts in hues, oils would allow me a longer working time. Then I could build up the painting as a whole piece, adjusting tones, working wet-into-wet.

But being in the middle of a British winter and the studio doors firmly shut with little ventilation, the thought of having a pot of thinners or strong solvents in an enclosed space was discouraging me from getting started.

After a prolonged period of procrastination, it occurred to me, maybe it was time to break out the water-mixable oils.

How to Choose a Colour for a Tonal Ground (My Top 5 Pigment Choices)

By Will Kemp
acrylic painting / colour theory / oil painting / painting
42 Comments

Inspired by the dramatic, dark Flemish oil paintings I saw in Antwerp; I’ve just started working on a still life set up of some fab oversized pink peonies. I’m going to begin simply with acrylics then build up the piece using water-mixable oils.

Yesterday, I talked about the importance of a coloured ground and how this very simple step of preparing your canvas, can transform your working method. And I received lots of emails asking
‘How do you go about choosing a colour for your tonal ground?’

Well, the first thing I do is make a decision.

What is the most important thing or the most important problems that I can foresee within the painting I’m going to be working on?

For this still life, judging the values of the flowers and getting the drawing right are going to be the two trickiest areas – but get them right….and they can pull the whole painting together. Choosing a sympathetic tone for the coloured ground will help me achieve this.

Inside the Artist’s Studio, Ruben’s House & the Art of Antwerp

Peter Paul Rubens, Detail from The Assumption of the Virgin, Oil on Panel, 1626

The rhythmic sound of African drums echoed through the vast interior of the Cathedral.

It was an unexpected acoustic experience, and the historical tour we’d seen advertised was looking increasingly unlikely.

There was just Vanessa and me waiting patiently at the back of the Cathedral when the tour guide arrived; she was getting extremely agitated. She hadn’t known the performance was on, the volume was too loud, a new musical set had just started, and her tension was building.

She was miffed.

But then our saviour came, a gentleman from Romania. Our tour of two had become three. We were off to the races.

I was in Antwerp (just last month) exploring Ruben’s home and studio, but nothing had prepared me for the pure brilliance of his works that lay only a few steps from our hotel lobby, hidden behind the doors of the Cathedral of Our Lady.

Capturing Sunlight with Sorolla (inside the Artist’s Studio)

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

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.

Monet & Architecture at the National Gallery (London)

Claude Monet, The Thames below Westminster, about 1871
“Other painters paint a bridge, a house, a boat, I want to paint the air that surrounds the bridge, the house, the boat – the beauty of the light in which they exist.” – Claude Monet

The French Impressionist painter Claude Monet (1840-1926) is best known for his brilliant paintings of landscapes, coastline and water-lilies, but this month saw the opening of a new exhibition ‘Monet & Architecture’ at the National Gallery, London.

This show highlights his interest in architecture, not only compositionally, but how he used it as a backdrop and tool to capture the changing effects of light and I was fortunate enough to catch it this week!

Bringing together over 75 of Monet’s paintings from all over the world, the rooms are unconventionally grouped following architectural subject matter, The Village & the Picturesque, The City & the Modern and The Monument & the Mysterious.

The idea of creating paintings based on ‘picturesque ideals’ influenced Monet’s early work and this concept was part of the larger ‘picturesque landscape’ debate originating in England.

Professor Richard Thomson, the curator of the show, explains,

“One of the points of this exhibition was to take a very famous artist, who people think they know, but to take a look at his work in a different way”

Discovering Zorn, the Petit Palais & Patisseries in Paris

By Will Kemp
drawing / oil painting / painting / portraits
182 Comments

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)