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Why We Paint Ourselves


Browse Me, Myself & I now

Sixteenth Century philosopher Michel de Montaigne claimed that he would rather understand himself than Cicero.

Montaigne begins his famous essay collection with the statement: ‘I desire to be viewed as I appear, without study or artifice, for it is myself I paint’. Self-analysis has been an essential practice of artists across all periods, backgrounds and disciplines. Though not all are as faithful to the facts as Montaigne, what unites many is the image of the painted self-portrait; consider James Joyce’s A Portrait of the Artist as a Young Man and Dylan Thomas’ parody, Portrait of the Artist as a Young Dog.

Self Portrait 2 by Andrew Farmer

But why is self-portraiture such a powerful genre? A self-portrait might showcase an artist’s skill or increase their celebrity, but a more profound reason for the genre’s popularity can be found in Montaigne’s initial claim. To privilege understanding of self above understanding of Cicero is to argue that self-knowledge is of paramount importance; the desire to paint oneself can then be aligned with the desire to know oneself. An interesting example of this is Caravaggio’s David with the Head of Goliath. Famous for painting himself into his works, here is a rare double self-portrait, in which both David and Goliath are modelled on the artist, contrasting associations which must have prompted self-reflection.

Self Portrait, age 37 by Benjamin Hope PS

Though an artist may not share the revelations they experience during a self-portrait, the finished work often reveals intimate facets of their character, and herein lies the appeal of self-portraiture for the viewer. To view an artist through the lens by which they view themselves is to become familiar not only with their appearance but with their sensibility. While many portrait painters would challenge Oscar Wilde’s notion that ‘every portrait painted with feeling is a portrait of the artist’, in the case of self-portraiture, the mode of representation is seen to be as direct an expression of self as the content.

Self Portrait with Lonsdale Sweatshirt by Marco Ventura

To coincide with the Royal Society of Portrait Painters Annual Exhibition 2018, Mall Galleries has created Me, Myself & I, a capsule selection of self-portraits showcasing work by some of the finest contemporary portrait painters. Among the contributors are Miriam Escofet and Ania Hobson, both shortlisted artists for the prestigious BP Portrait Award 2018. Having begun her career as a landscape and wildlife painter, Hobson was drawn to portraiture by a fascination with the human form. From painting family members, the artist moved to self-portraits, one of which is now shortlisted for the BP Portrait Award.

Miriam Escofet’s Vanitas – Self Portrait is characteristic of the artist’s striking style, which often expresses gothic elements and features symbolic objects. “My paintings arrive at a kind of hyper real expression of the subject matter”, says Escofet; “the likeness and character of the sitter come first, but I am as interested in the work’s spatial and psychological depth”. To discover the works in Me, Myself & I is to gain precious insights into the characters of the artists, and into the historic tradition of self-portraiture.

Browse the collection here, and find out more about the Royal Society of Portrait Painters Annual Exhibition here (May 10-25th).  

Browse Me, Myself & I now

Blue Notes: A Celebration of Colour


Browse the Blue Notes Selection now

American artist Georgia O’Keeffe spoke of ‘the blue that will always be there, as it is now, after all man's destruction is finished’. Certainly, the history of the colour blue is complex and inseparable from the history of mankind.

In the Ancient World, blue came from crushed lapis lazuli, mined in Afghanistan and exported across the globe. Because it was incredibly expensive, lapis lazuli was often used to adorn jewellery, as a way of publicising the wearer’s wealth. To create a cheaper alternative, the Ancient Egyptians developed the world’s first artificial pigment called Egyptian blue, which was reserved for funereal art and to colour the material used to wrap mummies, due to a popular belief that blue would ward off evil. The belief remains widespread today, with nazar charms (depicting the evil eye) often being made from blue glass.

Bernadett Timko, Lana

Having become associated with protection, the colour became synonymous with royalty and affluence in the Thirteenth Century, thanks in part to King Louis IX of France, who regularly dressed in blue – a habit promptly copied by his nobles. It was under Louis’ reign that the royal crest became an azure shield with golden fleur-de-lis.

The Renaissance saw another evolution in the symbolism of blue. Scientific developments made it possible to purify lapis lazuli to create ultramarine, a pigment so expensive that Italian artists reserved its use for painting the robes of the Virgin Mary. As a result, blue developed an association with holiness, humility and virtue. Far from the pomp and luxury of King Louis IX’s court, this new blue became a signifier of Christian meekness.

Alexander Goudie, Pieta

As colour production grew steadily cheaper, the popular use of blue for stained glass windows and the wall tiles of mosques strengthened a traditional connection between the colour and sacred practice. Yet when blue dyes became synthetic and truly affordable for everyone, the colour’s meaning changed again, as blue started to be used for military and school uniforms, and for workman’s jeans.

Georgia O’Keeffe may have been on to something when she spoke of the enduring quality of blue, but her claim that it ‘will always be there, as it is now’ overlooks continuous transformations in the manufacture, application and significance of this compelling colour.

Brian Robinson, Blue Shutters

‘Blue’ does not signify a unitary idea but a vast array of hues and tones, a virtue which artists have recognised and celebrated for centuries. In painting, blue can depict anything from the sea and sky to the pallor of skin and the violet hue of a shadow. Here at Buy Art | Buy Now, we wanted to recognise this diversity with a new selection. Its title, Blue Notes, refers to a technique in jazz where notes are unusually pitched to evoke heightened emotion. Similarly, in each work from our Blue Notes selection, the artist has chosen variants of blue to accent a particular feature or feeling in their composition.

“Blue is a really important colour in my work, particularly ultramarine & cerulean”, says featured artist, Sarah Jane Moon. “It has many positive associations for me, and makes vivid my upbringing in New Zealand, where vast summer skies met large rivers, lakes and oceans. I think it's a very spiritual and profound colour which also retains its mystery.”

Sarah Jane Moon, Nude with Orchid

Where Sarah Jane employs rich blue tones to depict ruched fabric, conferring a sense of warmth and tactile opulence, Debbie Ayles uses blue to affect a calming harmonisation in her art. “Paintings never begin blue”, she says; “I tumble through reds, oranges, yellows and greens, and then finally I introduce blues to pull everything together. Somehow the composition becomes calmer and more restful, ready for the architectural image I overlay.” 

Blue Notes features countless shades of blue across many mediums, from navy, azure, cerulean, aquamarine and teal to turquoise, cornflower, cyan, indigo, sapphire and cobalt. The subject-matter is as diverse, with the crucifixion, the female nude, architecture, maritime, still life, and abstract art all represented. This rich spectrum is designed to echo the enduring and ever-changing legacy of Blue Notes, in both art and life.

Anne-Marie Butlin, Delphiniums

Browse the Blue Notes Selection now

Painting the Holy Land with Lachlan and Alexander Goudie


Browse the Holy Land Selection now

Alexander Goudie, Nativity

This year, BBC One marks Easter with a two-part documentary series about painting the Holy Land, presented by Scottish artist and broadcaster, Lachlan Goudie. Biblical stories and settings have been commonplace in global visual culture, and they continue to be popular subject for artists, including Lachlan’s father (the renowned artist Alexander Goudie) who created a crucifixion series inspired by the Holy Land. While Alexander Goudie visited the sacred spot only in imagination, this weekend BBC One will shadow Lachlan as he discovers the Holy Land for himself, sketching and painting the people and landscapes that he sees.

The first episode will screen at 9am on Good Friday, and follows the last chapter of Jesus’ life on earth; the second episode will screen at the same time on Easter Sunday, and traces the story and cultural influence of the Virgin Mary. After tracing Jesus’ movements before his crucifixion, Lachlan will consider the discrepancy between Mary’s relative absence in the Bible and her ubiquitous representation in visual art, as he visits key locations in the story of Christ’s conception and birth.

Alexander Goudie, Virgin Mary

Coinciding with the documentary, Mall Galleries has created a new selection of biblical and Easter themed works by Lachlan and his late father on Buy Art | Buy Now. Alexander Goudie worked across a range of mediums including clay sculpture, gouache, chalk, and acrylic paint, to create a body of striking works depicting biblical scenes. From familiar motifs such as the Mater Dolorosa (the sorrowful mother), the Pieta and the Crucifixion, to original compositions like Carrying the Crucifix, Alexander Goudie used blocks of muted colour and stylised monochromatic figures to produce iconic interpretations of religious narratives.

Alexander Goudie attained global fame with a painting series inspired by Robert Burns’ narrative poem, Tam o’ Shanter. As with these paintings, Goudie’s biblical works bear testament to the artist’s unique ability to translate literary into visual narrative, inflecting artistic expression whilst retaining all the essence and drama of his source texts.

Alexander Goudie, Carrying the Crucifix

Alexander’s son, Lachlan Goudie, also employs confident swathes of colour in his paintings of the Holy Land. Lachlan’s first work depicts the sea of Galilee, famous in art history as the setting of Rembrandt’s only seascape, ‘The Storm on the Sea of Galilee’, which was stolen in 1990 during the biggest art theft in US history. Where Rembrandt’s lost work is an epic image of Christ sailing upon storm-tossed seas, Lachlan’s painting is a much quieter portrayal of a modern-day fisherman, stretching out his net in a small dinghy. As a foil to the region’s grand narratives about the ‘fisher of men’, Lachlan’s fisherman reminds us that ordinary local people have always lived and worked in the Holy Land, creating their own narratives and experiences of place; Sea of Galilee quietly celebrates these individuals, and the gentle thrum of everyday life in this modern-ancient setting.

Lachlan Goudie, Sea of Galilee

Lachlan’s panoramic painting, The Walls of Jerusalem, also presents a combination of tradition and modernity. Since ancient times, the city has been surrounded by walls which have been periodically ruined, rebuilt, and extended. The complex and often conflict-ridden history of the region is written into the patchwork of these defences. Yet Lachlan Goudie treats this subject with the dynamism and vibrancy of contemporary impressionism, using block colour and loose strokes to evoke the city as a living and amorphous organism. Through these works, as with his upcoming documentary, Goudie the Younger situates the Holy Land of the imagination in the contemporary everyday reality of place and people.

Lachlan Goudie, The Walls of Jerusalem

Browse the Holy Land Selection now

Curator's Choice: Richard Fitzwilliams


Royal commentator and film critic, Richard Fitzwilliams, has long been a passionate promoter of figurative art. Fitzwilliams contributes to CNN, BBC, Sky News, and Al Jazeera, and has given over 700 television interviews as well as numerous lectures. Now, this acclaimed critic takes us through his top picks from Buy Art | Buy Now. 

Browse Richard Fitzwilliams' choices now


Rachel Arif

Ghost Dance

Here the landscape seems convulsed by powerful, unseen forces, and the trees resemble spectres which give the scene an eerie ambience: weird and wonderful.

Rachel Arif, Ghost Dance

Ben Eden


This flower piece has a depth and texture reminiscent of those by Henri Fantin-Latour. The almost luminous beauty of its subject set against a dark background is particularly appealing.

Ben Eden, Carnations

Sarah Jane Moon

Nude with Orchid 

There is a carefree abandon about this sitter’s pose. The colours are dazzling and it has a sybaritic quality, which casts a spell like Circe and draws you in.

Sarah Jane Moon, Nude with Orchid

Susan Ryder

Grand Salon with Red Roses 

Sue arranges these interiors, and I feel I am a privileged observer of the ornate grandeur of this spacious room, which is enhanced by the floral arrangements; it is wonderfully atmospheric.

Susan Ryder, Grand Salon with Red Roses

Bernadett Timko


This really intrigues me, especially since half of the sitter’s face is bathed in shadow - a sensitive study of an introvert which I find fascinating.

Bernadett Timko, Wren

Robbie Wraith

Clementines, Silver Bowl 

The tones of this work are inspired by the old masters, and Robbie is a noted pupil of Pietro Annigoni. Aesthetically, it is extremely pleasing; the fruits tantalise us, their succulence seeming almost within reach.

Robbie Wraith, Clementines, Silver Bowl

Browse Richard Fitzwilliams' choices now

Art and Architecture - What's the Connection?


Browse the Architectural vs Abstract Selection here 

There is a fascinating dynamic that working from an architectural subject provides; however freely the painting material flows and however close to abstraction I go, the persuasive presence of an underlying geometry and logic seems to follow. (Martin Goold)

Visual Art has always taken inspiration from Architecture; you can find Italian frescoes, dating back as far as the 1st century BC, which mimic the marble columns of buildings. Famous artist-cum-architects include Michelangelo who, along with creating some of the most influential frescoes and sculptures in the history of Western art, also designed St Peter’s Basilica. Giovanni Battista Piranesi may be best-known for his prints of Italy, but he also worked for the Magistrato delle Acque, an organisation responsible for engineering and restoring the country’s historical buildings, and in 1766, Piranesi created a design for London’s Blackfriars Bridge.

Diana Sheldon, The Church of Santa Maria della Salute, Venice

More recent figures such as Antoni Gaudi and Le Corbusier have further highlighted the intersections between Art and Architecture; few of us could confidently separate the artistic from the architectural elements of Gaudi’s highly-decorated Sagrada Familia, or Le Corbusier’s Notre Dame du Haut. The closeness of this relationship is less surprising when we consider that the Royal Institute of British Architects only reclassified Architecture as a science in 1958, before which the subject was predominantly taught in art schools.

Miriam Escofet, The Temple

Mall Galleries latest Selection on Buy Art | Buy Now showcases how today’s artists are reflecting this age-old alliance. Architectural vs Abstract features artwork by celebrated artists such as the 2018 winner of the Henri Roche Award, Martin Goold; three-time winner of the Lynn Painter-Stainers Prize, Peter Clossick; 2018 FBA Futures exhibitor, Gail Seres-Woolfson, and Sarah Spencer NEAC. Spencer conceives architectural elements in painting as “a vehicle for playing with light and shadow"; "buildings filter, reflect and absorb the atmospheric light”, she says. The sunlight in Spencer's Il Convente Dei Carmine, albeit unseen, is a central presence in the work. Another artist interested in renaissance architecture is Diana Sheldon: “I love classical architectural detail and painting buildings from an unusual perspective", she says, "especially in Italy, where you find a special contrast of light and shade which is particularly rewarding”.

Martin Goold, Torre Apponale

While many of our artists create faithful representations of architectural structures, others use architecture as a springboard into abstraction. Gail Seres-Woolfon became fascinated with the urban landscape while training at The Art Academy in London. Her works in this selection, Urban Suspension and Girl Walking, explore how the individual creates and interacts with the metropolis. Urban Suspension deconstructs urbanism, presenting a chaotic assemblage of abstracted materials, where emerging shapes suggest the potential for future order, design and construction.

My paintings explore the experience of moving through the city and the rhythms, space and architecture around me. Through a process of layering and abstraction, observation and reimagining, I build environments with colliding planes, illusory depth and dancing lines, alive with uprights, angles and the possibility of encounter. (Gail Seres-Woolfson)

Dan Rice famously claimed that ‘there are three forms of visual art: painting is art to look at, sculpture is art you walk around, and architecture is art you can walk through’. Girl Walking ironises this simplistic distinction; it is a 2D urban scene which reaches towards three-dimensionality, in which a female figure seems about to walk out of the composition. The artist compels us to consider whether architecture can be defined by its functionality: the experiencer's ability to 'walk through' it. Would the work be any less architectural if the ‘girl walking’ walked out of view? Even in its title, Girl Walking foregrounds this tension between viewer and experiencer, spectacle and environment, artistic and architectural design.

Gail Seres-Woolfson, Girl Walking

This is a fascinating idea to reflect upon, and one for which Mall Galleries Buy Art | Buy Now is ideally placed, having access to such a diverse range of artistic styles and subjects. Take a turn through Architectural vs Abstract and consider how each artist presents a subtly different dynamic between the individual, art and architecture, as they invite you to imaginatively look at, walk around, and walk through their constructions.

Browse the Architectural vs Abstract Selection here 

Why Give Flowers


Connect with your mother this Mothering Sunday with a work of art

from Flora; browse and buy the Selection here 

Flowers have always been culturally significant, from the ancient Greeks assigning plants to specific gods, to the ancient Egyptians making the Lotus and Papyrus flowers symbols of Upper and Lower Egypt. An extension of flowers’ position in international culture is their use in marking holidays and festivals, and the practice of giving and receiving bouquets as gifts.

Lachlan Goudie, First Flush

This practice was popularised in medieval Britain, where gentlewomen would often receive small bunches of flowers known as ‘nosegays’, which they would attach to their bodices and hair. ‘Gay’ in this instance was synonymous with delightful, and ‘nosegay’ literally meant ‘something which delights the nose’. As well as delighting their recipient, such gifts undoubtedly had a practical use in the odoriferous era before running water, sewage systems, or deodorant. During outbreaks of plague, the sweet smell of a nosegay was even thought to ward off the foul stench of disease, and in this way, flower gifts became more than just ornamental.

Charlotte Sorapure, Peonies and Roses

To give a flower came to imply great care and devotion, and each bloom took on a unique symbolism; violets for faithfulness; carnations for grace; tulips for true love - the list goes on. As well as different symbols, flowers were attached to different festivals, such as the Yuletide poinsettia, the funereal lily, and the red rose - synonymous with Valentine’s Day. Today, a cornerstone of Mothering Sunday is the daffodil, with children across the UK drawing, painting, collaging and plucking these bright symbols of spring to bestow upon their mothers. Many adults will have fond memories of the variously misshapen daffodil-esque offerings they produced as children, and here at Mall Galleries, we have come up with a creative way to continue this tradition of springtime motherly delight.

Robbie Wraith, Lilacs & Brushes

On Buy Art | Buy Now, we have curated a selection of floral artworks by some of the UK’s best contemporary artists, including Scottish artist and television broadcaster, Lachlan Goudie, award-winning painter Charlotte Sorapure, meticulous still-life artist Susan Angharad Williams, and President of the Pastel Society, Jeannette Hayes. Flora features works in all mediums and styles to guarantee a perfect bloom for every mum, and through Buy Art | Buy Now, you receive free delivery to mainland UK, and a two-week grace period to make sure that mum is wholly happy with her new bouquet.

Here’s what some of our contributing artists had to say about the practice and purpose of floral painting:

‘A painting of flowers sits at the intersection of nature, human creativity, and the man-made object’, says 2018 finalist of the Artists & Illustrators Artist of the Year Awards, Michael Jules Lang.

Jeannette Hayes, Pink Gardens

‘The British painter, Winifred Nicholson, said 'to me they are the secret of the cosmos', and I agree; flowers seem to offer a profound but often intangible sense of connection. In the past few years I have travelled to many gardens for inspiration; each one expresses something of the ephemeral, and the beautiful, precious transience of the natural world, wherein we are only one part. I hope my paintings bring this sense of connection into the homes of the people who own them’, says Anne-Marie Butlin.

Anne-Marie Butlin, Delphiniums

Connect with your mother this Mothering Sunday with a work of art from Flora; browse and buy the Selection here 

All that Stuns the Soul: Landscapes Inspired by Romanticism


Browse All That Stuns the Soul Now 

David Scott Moore, Winter Landscape - Sunset III

Romanticist landscape painters rejected the rationalism of Eighteenth-Century Enlightenment thinking to return to wild and uncontrollable nature. They sought the simultaneous sensations of awe and terror, compounded into an idea known as 'the sublime'.

Rachel Arif, Sage

The aesthetic of this movement was expressed by the French philosopher, Diderot, who claimed that ‘all that stuns the soul, all that imprints a feeling of terror, leads to the sublime’. This notion was communicated by painters such as Constable and Turner into vast skies, windswept elements, and dramatic natural landscapes.

In this selection, our artists take us on a journey across the British Isles and Ireland, from the South Downs to the Outer Hebrides, across Ireland’s rocky coastline, and England’s rural countryside. A sense of awe and wonderment permeates paintings by Rachel Arif, Annie Boisseau, and David Scott Moore, who present ethereal light cascading across landscapes dominated by sky. In pleasing contrast, the humbling magnitude of nature is reinforced in Kenny McKendry’s rocky coastlines, and Sarah Spencer’s brooding stormy beach. 

Annie Boisseau, Evening Fields

This is a group of artists who bring the history of art into their painting. There are elements of Constable’s light and colour in Hannah Mooney’s small gem-like paintings, and references to Turner’s concatenation of elements in Annie Boisseau and Rachel Arif’s canvases.

Hannah Mooney, Across Ballyglass Landscape III

The works in this collection affirm Charles Baudelaire’s definition of the romantic: ‘Romanticism is precisely situated neither in a choice of subject nor in an exact truth, but in a way of feeling'. 

Kenny McKendry, On Return from the Home of Henry James 1, Rye

Browse Romantic Landscapes Now

Curator's Choice: Paul Benney

Paul Benney is an acclaimed British artist whose work is housed in public and private collections around the world. Most recently, Benney exhibited the large-scale installation ‘Speaking in Tongues’ at the 57th Venice Art Biennale. Having previously served as a judge for the Columbia Threadneedle Prize, who better to take us through their favourite artworks from this year’s exhibition, and Mall Galleries Buy Art | Buy Now?

Browse Paul's choices now


A selection from Buy Art | Buy Now...


Fleur Yearsley

Empty Chair

Yearsley’s nod to Rothko’s colour fields and the delicate but insistent horizontals of Diebenkorn, combined with the strong poetic resonance of an empty chair, renders this work incredibly compelling to its viewer.

Fleur Yearsley, Empty Chair

Kris Lock


I am drawn to the references in Lock’s work, which has much in common with several artists I admire. The subtle but distinct allegiances to the graphic qualities of Patrick Caulfield and Hockney, and the faux surfaces of Richard Artschwager, have coalesced in such a way that Synthesiser remains original, with no sense of appropriation.

Kris Lock, Synthesiser

Roxana Halls

Yellow Room

In Yellow Room, Halls offsets formal colour and compositional decisions with off-kilter, surrealistic scenarios to engage the viewer.

Roxana Halls, Yellow Room

Renata Adela


Adela has created a strange corporeal hybrid, which registers as a powerful metaphor speaking to the causal and teleological sources of Human Agency, as well as giving us pause to consider the philosophical implications raised by the Shakespearean notion of 'this mortal coil'.

Renata Adela, Shafted

Tim Patrick


Patrick’s unpretentious and deceptively random compositions are curiously seductive. They imply narrative without imposing one; they suggest rather than explain.

Tim Patrick, Tiles


...and Paul's Picks from this year's Columbia Threadneedle Prize.


Sarah Ball


Ball is a master of compositional understatement and psychological insight, and in AC11, she continues to delight with her subdued palette and restricted tonal range.

Sarah Ball, AC11

Browse Paul's choices now

Peggy Cozzi's Abstract Worlds


Peggy Cozzi is an abstract artist working in oils, whose improvisatory process facilitates fluid mark-making in a soft palette, where colours are juxtaposed to aesthetically please and conceptually arrest the viewer.

Browse the whole of the Peggy Cozzi's Collection now

A dynamic sense of movement and a rich textural quality are essential elements of Peggy Cozzi's latest works, which we have selected to feature as the first Reception Selection of 2018. We are furthermore delighted to announce that Peggy Cozzi’s Selection commences an all-female line-up for the coming year, with wildlife printmaker, Beatrice Forshall, and still life painter, Lucy McKie, to follow.

Peggy Cozzi, Passage

Each Reception Selection acts upon our intimate exhibition space to create a new and unique atmosphere at Carlton House Terrace; in the case of Peggy Cozzi, the atmosphere is unconstrained, full of fluid possibility and vigour – a perfect antidote to the regimented bustle of central London.

“I create from an awareness that everything is in flux”, says the artist, “and I hope to retain that sense of openness-to-change, even in my resolved works. My paintings never resemble closed objects, but I calibrate their openness carefully.” The openness of Cozzi’s work hovers like a question mark, inviting the viewer into the production of meaning.

A significant interlocutor in this experiential engagement is colour. When asked about the impact of colour on the viewer, Cozzi cites Derek Jarman’s argument in his book, Chroma, that colours hum with the associations accrued throughout the lived experience of humankind.

Peggy Cozzi, Night Drive

“Instead of prescribing meaning to colours, I am interested in the multiple resonances each colour has, both at a social and individual level. I hope my paintings tap into the experiencer’s associations, either psychologically or emotionally, because I feel those resonances myself.”

Cozzi is inspired to paint by a love of the medium, an inspiration which becomes self-generating as one painting prompts the next. This creative motor is evident in works such as ‘Constellation’ and ‘Night Drive’, where the paint is energetically displaced in confident arcing strokes which proliferate and extend across canvases.

Peggy Cozzi, Constellation

“For me, painting is a performative act, similar to dancing or playing music”, says Cozzi. These cross-disciplinary analogues reflect the artist’s diverse sources of inspiration. The seed of this Reception Selection was planted during the artist’s commute to her new studio, which takes Cozzi through the stunning coastline and hills of West Dorset.

“The journey fills me with optimism, and this sense of positive movement is diffused through my latest works”, she says. “I would listen to music, observe my surroundings, and contemplate my own mental landscape, becoming a mediator for this external and internal information.” Cozzi describes the resulting paintings as “internal landscapes” which evoke this symbiotic movement and potential.

Peggy Cozzi, Detour 2

Cozzi’s Selection will be exhibited in our reception space at 17 Carlton House Terrace from now until the end of May. Pay us a visit to discover these wonderful works in the flesh, and find them online at Buy Art | Buy Now.

Browse the whole of the Peggy Cozzi's Collection now

Director's Choice: Lewis McNaught


Mall Galleries' Director, Lewis McNaught selects his new choices for the new year on Buy Art | Buy Now. 

Browse Lewis's choices now


Peggy Cozzi

Broken Journey

I get transfixed by colour. The confident sweep of  Peggy Cozzi's brushwork and the textural effect of her applied colours (was the subtlety of this combination deliberate or is it fortuitous?) combine to make this little work a gem! Yes, it’s too small to hang over the fireplace, but hung with devotion, it will always excite the eye and imagination.

Peggy Cozzi, Broken Journey

Sarah Spencer

Verrucola, Tuscany

No lover of figurative painting who visits Italy today can fail to be moved by the ‘spiritual’ significance of Tuscany as the ‘cradle’ of Western art. Sarah Spencer treads lightly but reverently through this modest Tuscan interior. It doesn’t shout ‘architectural study’ or ‘history lesson’. Instead, it’s a quiet and personal reflection on encountering a divine little space that excited her attention.

Sarah Spencer NEAC, Verrucola, Tuscany

Michael Jules Lang

West Wittering III

I’ve holidayed at West Wittering since I was a child, and I keep getting drawn back to its massive skies and wide-open beaches. The stark contrasts in this vivid oil study by Michael Jules Lang of the grey sky (I remember many of those), the darkening water, and the sodden colour of the sandy beach attracted me. I particularly like the spontaneity and immediacy of Lang’s brushwork.

Michael Jules Lang, West Wittering III

Jeanette Hayes

Pink Gardens

I wasn’t surprised to see a major work by Jeannette Hayes, President of The Pastel Society, sell so quickly at the 2017 RA Summer Exhibition. She paints powerful, expressive abstract and figurative subjects with an honest, uncompromising technique. She is also widely admired - and rightly so - for the way she deploys her colour and tones. ‘Pink Gardens’ stands out as one of her most intriguing landscape studies combined with a kind of abstract ‘expressionism’.

Jeanette Hayes, Pink Gardens 

Miriam Escofet

Olive Tree and Moon

Although I seem to be drawn more and more towards abstraction, I find this painting, which is almost hyper-realistic, very exciting. Not just because there’s an olive tree involved (although the knobbly, sinewy trunk of an ancient olive tree is always mysterious and inviting), but because its surreal character excites the imagination. What kind of dialogue is the moon having with the tree? What is it telling us about the future? I love paintings that surprise me and make me think.

Miriam Escofet, Olive Tree and Moon

Michèle Jaffé-Pearce

Over and Beyond

In Over and Beyond, Michele has achieved a perfect balance of colour, tone and space. Its fluidity suggests randomness, but she hasn’t achieved this result by accident. Instead, the colours are juxtaposed carefully and deliberately to maximise the impact of the whole. You don’t need to look for forms or subject within the spaces; the artist is inviting you to enjoy the same emotion she’s experiencing. It will go on delivering much pleasure.

Michèle Jaffé-Pearce, Over and Beyond

Browse Lewis's choices now