Watercolourists – by Alex Purves

Alex Purves gave an illustrated talk on watercolourists to over thirty members of Pateley Bridge Art Club . He ran a slide show of over 70 watercolour paintings, many influential from the 16th century to modern times covering a wide range of styles and subjects.

Durer was one of the early landscape painter in watercolour, most paintings being in oils or body colour. Alex showed two paintings from 1502/3, Young Hare and Great Piece of Turf.

Alex illustrated a landscape by Claude Lorraine, a Rembrandt pen and wash and buildings by Caneletto.
Another artist, Paul Sandby from Nottingham, was a major influence in the 18th century. He painted this view of a scottish castle.

The artist James Gilray painted satirical cartoons, like this famous political one of Pitt and Napoleon carving a Plumb-pudding representing the world.

Alex illustrated watercolours by Thomas Girtin and his rival JMW Turner. Turner experimented many techniques including applying paint and ink to very wet paper and used tinted papers.
He painted Norham Castle several times. His later paintings became less detailed.

Many watercolour artists had the profitable follow up market for engravings when creating their paintings, including Turner.

Alex also showed paintings by John Ruskin in Venice and the major watercolourist, John Sell Cotman, with his famous view of a river bridge.

He alsso showed paintings by Henry John Boddington, Samual Palmer and John Constable. This is Constable’s painting of stonehenge.

Alex talked about Arthur Melville, Winslow Homer, John Singer Sargent, Russell Flint, Ron Ransom, Rowland Hilder and John Yardley.
He also discussed the war artists Albert Richards, John Worsley, John Piper, Edward Wesson and Norma Bull. He showed their varied work in two wars.
This is a painting by Norma Bull of a war damaged hospital.

He showed painting by modern artists, William Heaton Cooper and Len Tabner and many others. This is one of hundreds of Tabner’s images of Boulby Potash mine.

Alex also brought some of his own paintings.

It was another interesting talk by an expert in painters and paintings.

Parceval Hall sketching

Parceval Hall is a religious retreat set in gardens near Appletreewick. It has extensive gardens open to the paying public and a small cafe and outdoor area.
Due to members being on holiday, nine members met at the cafe on a blustery, wet morning, keen to enjoy the sketching day.

The secluded hall and gardens are on a hillside with steep paths winding up to the woodland.

Members produced some good results considering the difficult weather

Oil painting by Nigel Overton

Nigel Overton demonstrated oil painting for Pateley Bridge Art Club.
He explained that cheaper paints usually had far less pigment in them. He recommended that members use the artist quality paints.

He uses low odour thinners and fast drying oil. He often prepares his own painting board using MDF. It needs smoothing with sandpaper, cleaning with methylated spirit, sanding and priming. White or coloured gesso makes a good grounding for oil painting.

He mentioned that care should be taken with oil paints to avoid painting thin layers on top of thick layers, as cracking may result.

This was Nigel’s oil paint pallet

Nigel suggested that painting landscapes outdoors can produce more accurate scenes as you can paint what you see, avoiding distortions that cameras often introduce into images.
He also suggested that the painter should try to stay true to the scene colours and to the aerial perspective.

Nigel started by sketching his underdrawing by brush.

He explained how he painted outdoors very quickly, painting with his brush like a drawing, capturing the moment before the weather or tide changes.

Nigel mentioned that, using fast drying oils, the paint may be dry by morning. To add detail at this stage care in needed. For this he used a small brush.

Unfinished oil painting at the end of the demonstration.

Sample paintings displayed by Nigel Overton

Nigel Overton gallery and courses etc. > http://overtonfinearts.co.uk/

Abstractions workshop

Margaret Clapperton ran a workshop to help members explore ways of creating paintings or drawings that did not appear to represent objects, people or scenes.

Beginners may find it easier to start with an image and select shapes in combination to make new images with interesting colour combinations.

Shapes can be copied using tracing paper. Draw the image, or parts, on tracing paper then trace it onto painting paper. Then move the tracing paper around and trace over the top of the first tracing, breaking up the original image. They can then play with the shapes and colours. The finished result can hint at the original source.

Example of a landscape image changed to an abstract painting, by Margaret

Abstract works can be based on geometric forms and imagined colours.

Example by Margaret Clapperton

Abstract paintings by members

Sketching at Low Hall

We made a return visit to Low Hall, Dacre Top. Thirteen members and a friend (a garden expert from Seattle) found plenty to sketch. While we were having lunch in the conservatory Pamela read a poem written by a former Bishop of Canterbury, who obviously enjoyed the peace and quiet of the surroundings as much as we did.
We all had a good day at Low Hall , in spite of a drizzly morning, and the afternoon was sunny.

.

Click images for larger view

Summer Exhibition 2019

Summer exhibition in St Cuthberts School, King Street, Pateley Bridge August 16 to 19, 10am to 5pm.

Framed painting displayed and unframed work and limited edition prints in the browsers. A wide selection of greetings cards. You can vote for your favourite exhibit. Finally, refreshments: enjoy a tea or coffee and some home made cake before you leave.

Exhibition Preview

Mayor, Chris Skaife & colleague Mike Holt

Gallery of members’ framed works
https://www.pateleybridgeartclub.org/?page_id=3232

Sketching in Ramsgill

On a cloudy August Monday in Ramsgill members of the Pateley Art Club scattered about the village quietly sketching subjects they spotted. There were many friendly villagers, including Bill Spence, the walking stick man, Angus who showed Bob a poem about the ruined building that Bob was sketching. Carolyn was invited by a couple to have a cup of tea in their garden.
We gathered on the main green for lunch and to show our progress. Margaret was sharing her knowledge of art to those who needed.
We donated to the Village Hall for its use.
The next trip is to Low Hall at Dacre Top on August 12th. This is a large, delightful and peaceful 17th Century house, the home of Pamela Holliday who opens for the NGS during the year.

Ramsgill Village Hall

Ramsgill Church

River Walk

Intrepid sketchers taking a break

Lunchtime relaxation

Results from the sketching day in Ramsgill Village

Bob Goldsborough – Colour in Composition

Bob Goldsborough travelled from Birkenhead to talk about using colour in paintings. He illustrated how a colour can appear to be darker in front of a light background. It can also appear to change its hue (colour), shifting away from similar nearby colours.

He explained how the traditional primary colours of Red, Blue & Yellow can mislead artists when mixing colours. The ones he used to construct his colour wheel are based on the primary colours used by printers and graphic designers: Magenta, Cyan & Lemon Yellow.

He briefly showed how colour wheels are based on positioning three primary colour around the wheel. Opposite each primary colour its complementary colour. If the primary colour is mixed with increasing amounts of its complementary colour, the mix will gradually lose its intensity, dulling towards grey or black without changing its hue (colour). The mixed colour gets darker and can be lightened with white.

He proceeded to paint a landscape on a light purple background, mixing colours using complementary colours (opposite colours on the wheel), plus white where needed. He painted quickly in blocks of contrasting colours with other interlaced colours.

He also illustrated aerial perspective with a tones reducing at further distances from the observer. He did not proceed to the next step of creating more detail in the foreground which would emphasise the perspective.

Bob brought along images of his paintings, showing his use of colour.

Sketching in Lofthouse

Twelve members met at Lofthouse Village Hall where we were warmly welcomed by the artists from “updale” who meet each Monday. Some come as visitors to our monthly club meetings. After coffee, the Bandroom Gallery was opened for us to see the work they produce and sell: paintings, cushions, cards, small decorated boxes, jewellery and painted stones, all beautifully made and reasonably priced. Several of us were tempted and bought! If you want to visit the gallery it is open at weekends from 10am to 4pm.
We had a great choice of cottages and views to sketch and were invited to look into a private garden and some strolled down to the River Nidd. We continued sketching after a lunch break as we were fortunate with a dry day. We collected £21 for the Lofthouse Village Hall funds.

Member Images

John Harrison – Line & Wash

John came to demonstrate his approach to line and wash and to show us his demonstration pieces and sketchbooks. He worked from a photograph of cottages, used a unipen with watercolours, painting flat on watercolour paper. He had his own camera projection onto the wall.

John Harrison
Pen drawing
Watercolour washes
Finished minimal painting

John Harrison showed us his watercolour demonstration pieces.

Previous demonstration
Gunnerside demonstration

John allowed the members to look through his sketchbooks. He has published books of his sketchbook images.

Sketchbook Clappergate
Sketchbook Whitby

John showed members two of his watercolour swatches.

Daniel Smith colours
Paynes Grey and tints