I had the usual fun time at the ROI Art Event evening in December but had a difficult pitch because I was painting Adebanji looking straight at me.
|Adebanji At The Mall Galleries|
The brushwork is terrible but I caught something of his sterner side I think.
I then had a really lean period doing my accounts and those of our local sewage plant! At the end of January Tim Benson sent me an invitation to a Winsor and Newton study day at the V&A with Paul, their outreach officer, showing us what pigments and supports were available to Constable and giving us the chance to use some of them like Lead White and Rose Madder Genuine. We also had a go at reproducing our own Constable using those early C19th paints before looking at the last day of the Constable show:
|Sketch After Constable 10x12|
|Sketch for Hunters In The Snow|
|Concept Sketch 2 for RV Manqué|
I have also managed two or three days out, painting on Otmoor below our village:
|The New Hide, Otmoor 9x11|
|Reed Beds, Otmoor 7x9|
|Narcissi in The Delft Vase 1|
|Narcissi in The Delft Vase 2|
|Narcissi in The Delft Vase 3|
|Cobalt Vase and Pinks|
|Galanthus 'Merlin' and Waterloo Lion|
Vuillard was right - the most important item in the studio is the chair. Full concentration on one's work from across the room really does find the faults.