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

sorolla-strollng-along-the-seashore

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. 

musee-sorolla-casa

musee-sorolla-garden-entrance

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Monet & Architecture at the National Gallery (London)

Claude Monet, The Thames below Westminster, about 1871

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

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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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The Immersive Power of Painting (a Painting Truth you can Learn too Late)

How often have you heard yourself say “I’d love to paint but I’ve got too much going on… I’ll have to wait till I’ve finished work….the kids have grown up….

“I wish I had more time to paint but… but, but, but”

Just finding space to set your paints out means upheaval of something else and squeezing a free window of time feels too difficult to plan in an already jam-packed calendar.

And then, having to learn how to paint on top of that ….uh, I can see why you’d think you’d have to wait until you retire!

But is it possible by not painting now, you’re missing out?

What if you don’t need more time to paint, but you need to paint, to give your mind a much-needed refresh?…

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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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Water-Mixable Oils vs Traditional Oils for Solvent-Free Oil Painting (Video)

You like the idea of trying oil paints but the practicalities of cleaning up your brushes with solvents is out of the question.

It could be you paint in a small room without good ventilation or you’ve had to stop using traditional oils due to skin sensitivities or asthma.

So what’s the alternative? Acrylics? Watercolour? or go old school with some Egg tempera?

How about a real oil paint that can be mixed with water or natural drying oils and cleaned with soap and water. Long working time, soft blends, buttery consistency, no solvents and a super easy cleanup.

Mmm, sounds too good to be true, so what’s the catch?…

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