Exhibition updates

The New English Art Club: In Their Own Words Part One

Melissa Scott-Miller NEAC RP

Bloomsbury Back Gardens

I painted this from the bathroom window of my friend Comfort’s flat in Percy Circus.

It was quite difficult, I had to balance the canvas on the edge of the washbasin, but I wanted to get as much in as I could. The children are Comfort’s five children, the little boy on the bike is actually 16 now, my son’s best friend but I painted him as I knew him when we first met, and as I remember the many lovely children's parties that happened in that garden. The same cat appears three times in the painting, he always seemed to be there, through the month it took to paint.



Jenny Wheatley NEAC

View of the Islands

This painting was inspired by regular visits to the isles of Scilly and is a composite of drawings that have come together to try to create the domestic French-inspired interior with the tranquil view over the islands that I love so much.



Jenny Wheatley NEAC

The Black Friar

Origami papers, Victorian scraps and painted torn papers come together here to try to convey both the decorative nature of the Black Friar pub on the north side of Blackfriars Bridge and the timeless nature of the elaborate façade that has stood firm when most of the buildings around it have disappeared.



Julian Bailey NEAC

Windy Pear, Weymouth

The gouaches I do are painted in my studio, usually based on pencil sketches that I make on the spot out in the open. They are completed with many layers of paint, and constant revisions, until things fall into place in a way that I feel makes for a good resolution. Gouache is endlessly malleable so long as you let the paint dry fully between layers, and the colour is an absolute joy to use.



Pamela Kay NEAC RBA

Two Tea Bowls of Primroses

Every year I look forward to the first flowers of spring and the early primroses. These delicate, almost ghostly flowers are deceptively subtle to paint. 'Much more difficult than you think' John Ward once said to me and he was right. Each year, it is important to see them as if for the first time, and collecting a range of pots, jars and bowls to put them in, gives a fresh set of 'props'

The two Chinese tea bowls are old friends that I found, chipped and dusty in the shop at the Museum in Singapore years ago. I recently returned to the Museum but it had been greatly enlarged from the old colonial building it used to be and the shop, no longer a treasure house of local antiques, but an expensive boutique.

Buy it when you see it is the best advice to any still life painter!



Michael Fairclough NEAC

At Sea - Dusk IX

It was the last of one sequence of 9 paintings, part of several series which were provoked by a Channel crossing. Other series in a similar vein are SEA PASSAGE and DOG-WATCH, each developing the theme of the fading of light until the final DOG-WATCH paintings are virtually black and very simple - except that they are actually deeply colourful and full of texture!



Part Two of this series, including NEAC President Richard Pikesley, will be posted later this week.

The NEAC Annual Open Exhibition opens to the public on 18 June. See the works online now

Six unmissable works at the New English Art Club Annual Open Exhibition

Lewis McNaught, Director of Mall Galleries, selects six of the best at the New English Art Club Annual Open Exhibition

Exhibition open from 18-27 June, 2015

View works from the exhibition online now


Louise Balaam NEAC

Light on the Clouds, Ullapool

Oil, 51 x 51 cm

Balaam’s expressionistic landscapes reveal her passion for form, colour and mark making. You don’t need scale to convey the essence of a landscape when the brush can do the work for you. This is one of five powerful oil on panel works by Balaam in this year’s exhibition.



James Bland NEAC

Roses

Oil, 30 x 26 cm

It’s good to see such high quality work from new members of the NEAC. Bland made a strong impact at the 2014 Threadneedle Prize with a work entitled Ghost. This still life is a departure from the figure studies where he is making such an impact, but the palette and brushwork are equally vigorous and accomplished.



Peter Brown NEAC PS ROI RP Hon RBA

Notre Dame from Quai des Grands Augustins

Oil on canvas, 63.5 x 76 cm

‘Pete the Street’ is best known for his street views around London and Bath (where he lives). But recently he’s been venturing across the Channel, creating some wonderful impressionistic, plein air views of Paris and other cities. This is an especially vibrant view that recalls happy memories for many of us….



Michael Cooper NEAC

Evening Landscape

Oil, 28 x 65 cm

I love Cooper’s treatment of this wide-open space, depicted sparingly using a simple but striking colour palette. The textural qualities of the finish encourage you to linger over the surface and enjoy the finished view, imposing your own thoughts about the red shape in the hillscape.



Tom Harforth

Behind Preston

Silkscreen on Washi paper & map, 39 x 26 cm

This year’s exhibition includes a new prize, awarded to a young artist from the North of England who’s created a work inspired by their surroundings. Talent abounds, although the winner has yet to be announced. It’s not hard to imagine why this exquisite but gritty, urban street view by Harforth has been selected.



Melissa Scott-Miller NEAC RP

Bloomsbury Square

Oil on canvas, 66 x 97 cm

Nobody paints London bricks as well as Melissa! Like ‘Pete the Street’ Melissa can often be spied around North London and the West End capturing the rugged hues and tones of London’s terraced architecture. In this view, she’s included a portrait of herself at Bloomsbury Square in bloom.

Six Unmissable Works at The Art of a Nation

Director of Mall Galleries, Lewis McNaught has selected six unmissable works from The Art of a Nation exhibition

More about the exhibition:

The selection on show is a marvellous profile of Irish visual art since the turn of the 20th century - The Financial Times

The first major show of Irish art in London for over 30 years – taken from a collection assembled by a bank then made available to the nation after the financial crisis – reveals a century’s worth of poetry and protest on canvas - Guardian


Letitia Hamilton, Clew Bay

This jewel of a little landscape, muted in its palette but with brushwork quivering with energy, demonstrates just how much Irish artists who travelled to France absorbed from the Post-Impressionists. Hamilton painted this work on her return to County Mayo. Using a palette knife and large brushstrokes, she has captured the energy and ruggedness of Clew Bay, part of the stunning coastline that runs along the west of Ireland.



Séan Keating, On the Run, War of Independence


There are no works by Keating in any major UK public collection. This work underlines why this is a serious omission. Keating lived through turbulent times and as a commentator on Irish political history his paintings, like this one painted in 1921 depicting freedom fighters during Ireland’s war of independence, take on an historical and artistic significance beyond the attraction of their mood and composition.



Mainie Jellett, Composition with 3 Elements


The strong, lyrical quality that runs through the Irish visual arts is perfectly captured in this wonderful poetic composition by Mainie Jellett. The influence of Modernism, and Cubism in particular, pervades this canvas. But unlike the Cubist works of Gris, Braque and Picasso there is no aggression, objection or statement to unsettle. The form and colours of this work, painted c.1935, melt into a lyrical composition that is utterly poetic.



Hughie O’Donoghue, On our Knees


Narrative runs wide and deep through Irish painting and sculpture. The great famine and exodus to North America in the middle of the 19th century continues to haunt contemporary Irish artists. O’Donoghue’s crouching figure alludes to the suffering and grinding poverty his family experienced in a remote corner of northwest Mayo. Every mark captures his emotion; every brushstroke is a wound still to heal.



Willie Doherty, Border Road (1994)


This monumental study of the barriers and roadblocks that formed the subject of his Border Road series are as important as historical documents as they are powerful photographic images. Doherty didn’t shy from producing dramatic, unsettling images during the period known as ‘the Troubles’. But the beauty of the Irish landscape pervades, overpowering the transitory nature of the barricades. There’s hope as well as unease in this image.



Shane Blount, It’s a Blue Giraffe


More narrative and more deep-rooted emotion. When Shane Blount’s brother Joseph died he chose to paint this portrait of his other brother David. Composed amidst the imagery and memories of their youths, this portrait goes beyond the exterior image of a teenage youth and captures the sorrow and loss of a sibling. It’s an outstanding painting by a self-taught artist with so much to say to the world through his art.


The Art of a Nation

Art of a Nation Mall Galleries

This specially commissioned essay is reproduced from The Art of a Nation Exhibition Catalogue. Purchase the catalogue online now. 


Introduction

By Lewis McNaught, Director, Mall Galleries

In recent years, we have had too few opportunities in this country to explore and evaluate the merits of Irish Art. Apart from a few commercial galleries that provide exhibition space for living, Irish-born painters, sculptors and photographers, it may surprise you to learn there has been no wide-ranging survey or other single exhibition in London providing an historical dimension to Irish Art of the twentieth and twenty-first centuries for more than 30 years.    

In 1980 three important touring exhibitions visited London as part of A Sense of Ireland, the London Festival of Irish Arts, mounted by The Arts Councils in Ireland. Each gave a different, personal perspective on Irish Art in the Seventies. One of these, The Delighted Eye, was curated by Frances Ruane, who became Art Advisor to the Allied Irish Banks Collection in 1980 and who has written about the formation of their Collection for this catalogue. Strongholds (1991) and Elective Affinities (1993), both at Tate Gallery Liverpool, concentrated on new art from Ireland; representative Irish works in the permanent collections of Tate, the Victoria & Albert Museum and the National Portrait Gallery are few in number, although Sir William Orpen’s wartime paintings are well represented in London’s Imperial War Museum. On the whole, London and the UK have been starved of exposure to great Irish Art.      

Sean Keating, On the Run, War of Independence

We are confident this selection will introduce you to works of enduring quality and may encourage you to cross the waters to discover more.

This is one of the reasons why Mall Galleries is proud to stage this selection of important Irish works collected by Allied Irish Banks plc. Drawn from a portfolio comprising more than 3,000 paintings, photographs and sculptures, astutely collected since the 1980s, the collection is surely one of the most important representative collections of Modern Irish Art, certainly broader in its historical range and quality than other corporate collections formed in Ireland. Tours of the works within the Republic are continuous and some of the more significant works are on permanent view at the Crawford Art Gallery in Cork. But The Art of a Nation is the first time these works have left the shores of Ireland. This exhibition is therefore the first opportunity for London gallery visitors to discover the diversity and character of works produced by artists in the Republic of Ireland from c1900 to the present day.    

But there is a further reason for staging this exhibition at Mall Galleries, home to the Federation of British Artists. Each year, these Galleries play host to the annual exhibitions of eight of the UK’s leading art societies. Several of the artists represented in The Art of a Nation were members or exhibited with these societies that for over fifty years have held their annual exhibitions at Mall Galleries. For example, Aloysius O’Kelly exhibited with the Royal Society of British Artists (RBA), the Royal Institute of Painters in Water Colours (RI) and the Royal Institute of Oil Painters (ROI); Roderic O’Conor, William Leech, Thomas Carr and Sir William Orpen all exhibited with the New English Art Club (NEAC); Letitia Hamilton and F E McWilliam both exhibited with the RBA, and Yeats with the ROI. Sir John Lavery was a member of the NEAC and showed an impressive 140 works with the Royal Society of Portrait Painters (RP).    

Letitia Hamilton, Clew Bay

As well as exhibition opportunities, the London art world has provided Irish artists with valued support and a livelihood. This vital connection has continued into recent times with William Crozier and Hughie O’Donoghue RA both playing leading roles in the British art scene; Willie Doherty and Sean Scully have both been shortlisted twice for the Turner Prize. All these artists now enjoy a worldwide reputation and feature in this exhibition with important works.   The selection of works made by the exhibition’s curators, Anthony Lester and Nicholas Usherwood, will provide you with just a small insight into the range and quality of works in the AIB Collection. We are confident this selection will introduce you to works of enduring quality and may encourage you to cross the waters to discover more.


Art of a Nation opens 13 May to 31 May

Buy the Exhibition Catalogue online now

Portrait Painters' Studios

Royal Society of Portrait Painters Sarah Jane Moon

About the project:

Behind the Scenes with Portrait Painters’ provides a unique insight into the working lives of contemporary professional artists who are engaged in what is essentially a very human endeavour; the portrayal of the other. Portraiture is an art that crosses distances between ourselves and others and seeks to undo our own subjectivity. It is illustrative of an attempt to perceive and to know another human being and therefore a fundamental activity in our increasingly individualist oriented society. To know and have an understanding of others has never been so important as our societies fracture along religious, cultural and ethical divides. We need to be able to empathise in order to not only tolerate but embrace the infinite ways there are to be human.

These stills were taken by Christa Holka as part of the Portrait Painters’ Studios Project run by Christa and Sarah Jane Moon. The two artists are engaged in a process of visiting, interviewing and photographing selected members of The Royal Society of Portrait Painters in order to gain insight into their individual working processes. They are working towards presenting their research in book form later this year.

Portrait painting in and of itself is also a largely mysterious profession and one that lies outside industry. Each and every painter will have a unique way of painting and negotiating the process of painting others.The commissioning process is also one that is highly individual. It is hoped that this volume will demystify these processes and give the reader a greater understanding of what is involved in commissioning a portrait and how works of art are made. By doing so we aim to encourage and promote the endurance of portraiture as an art form of both cultural and political significance.

 

Christa Holka:

Photographer Christa Holka is an American artist who lives and works in London documenting and archiving the communities in which she exists. She often makes photographic portraits herself of artists and performers exploring personal narrative, memory, identity, self-representation and art practice and as such is sympathetic to the challenges of portraying others. Working with a forensic eye for detail she is able to offer a unique glimpse into the life of a studio as well as capturing the artist at ease. Christa has exhibited her work in galleries in the U.S., London, Berlin and Athens.


 

Sarah Jane Moon spoke to Art Magazine Studio International at the opening of her joint exhibition in the Mall Galleries Learning Centre.

Interview by Anna McNay

Filmed by Martin Kennedy

Royal Society of Portrait Painters Prize Winners

Royal Society of Portrait Painters

The 124th Royal Society of Portrait Painters Annual Open Exhibition opened on Wednesday 15 April.

The 124th Annual Open Exhibition is Robin-Lee Hall's first as President of the RP. Writing in the exhibition catalogue Robin-Lee says 'my ambition for the Society as President, is to continue to build on our history and strong reputation for high quality commissioned portraiture and share our knowledge and experience through education.'

Robin-Lee also thanked the generosity of the RP's sponsors support and belief in the Society's remit. The Prizes that are donated are valuable to the recipients, many of whom establish higher profiles from being showcased in this way.

The 2015 exhibition sees an expansion of the RP's relationship with Seven Investment Management and their generous £15,000 Conversations Prize. It is thanks to the sponsorship from Seven Investment Management the RP are able to offer workshops during the exhibition in the excellent Learning Centre at Mall Galleries. 

The Seven Investment Management £15,000 'Conversations' Prize was awarded to John Wonnacott CBE Hon. RP. The 'Conversations Prize is awarded for the best work interpreting the theme of a conversation piece, including two or more figures.

Commission John Wonnacott CBE Hon. RP to create a work just for you


Prizes


The Ondaatje Prize for Portraiture

£10,000 plus the Society’s Gold Medal awarded for the most distinguished painting in the Society’s annual exhibition

Brian Morris

Upp åt Bäcken (Up the Creek)

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The de Laszlo Foundation Prize

£3,000 plus a Silver Medal for the most outstanding portrait by an artist aged 35 years or under

Lorna May Wadsworth

They Have Lunch Every Tuesday

Commission Lorna May Wadsworth to create a work just for you


The Prince of Wales Award for Portrait Drawing

£2,000 and framed certificate for a portrait in any recognised drawing medium

Jason Bowyer RP PPNEAC PS

Sammy G

Commission Jason Bowyer RP PPNEAC PS to create a work just for you


Changing Faces Commissions Prize

£2,000 commission to produce a portrait of a person with a disfigurement for the Changing Faces collection

Hero Johnson

Paulina


The Burke’s Peerage Foundation Award

£2,000 and framed certificate for the most classically inspired portrait in the exhibition.

Miriam Escofet

Shubha

Commission Miriam Escofet to create a work just for you


The Arts Club Charitable Trust Award in association in with The Arts Club

£1,000 to the most deserving artist in the exhibition, as judged by a representative from the Charitable Trust.

Awarded jointly to Emma Hopkins and Claire Anscomb

Claire Anscomb

Veil

 

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Emma Hopkins

Geri Morgan

Commission Emma Hopkins to create a work just for you


Smallwood Architects Prize for contextual portraiture

£1,000 prize is for a portrait in which architectural or interior features play an important part.

Tom Hughes

Living Room with Lamps

Commission Tom Hughes to create a work just for you

 


Call for Entries

The RP seeks submissions of new and traditional interpretations of portraiture. The Call for Entries is currently open, submit your artwork before Friday 29 January 2016.

For more information please click here.


Photography by Alick Cotterill

Inside Portraits - Works by Sarah Jane Moon

This exhibition showcases the most recent work of Sarah Jane Moon, recipient of the 2013 Bulldog Bursary. Sarah Jane is a committed painter who has a background in arts theory and history as well as having trained in figurative painting at The Heatherley School of Fine Art. She is originally from New Zealand and has worked, taught and lived internationally, spending significant periods of time in Japan, Malaysia and Australia.

Sarah Jane’s work is on an ambitious scale and captures her peers and contemporaries, many of whom are creatives and entrepreneurs themselves. She is drawn to personalities who are uniquely and authentically themselves and who pursue creative endeavours that reflect that.

From writers and performers to entrepreneurs and fashionistas, her sitters are often forging their own creative paths with flare, commitment and passion. Subjects in the portraits on display include writer and lecturer Dr Laura Bridgeman, designer and furniture maker Emma Leslie, performance artist and lecturer Dr Brian Lobel and entrepreneur and events manager Stav B among others.

Sarah Jane has a keen eye for detail and symbolism and as such her portraits often incorporate objects and paraphernalia specific to the sitter’s profession and identity. Her work also reflects an abiding interest in the individual’s presentation of the self, the artist’s perception of the subject and the gap that forever persists between. What is the relationship between the socially constructed persona and the self? Who are we in the presence of ourselves and others? Where is identity located and how is it performed?

Many of her subjects are from non-heteronormative backgrounds and it is hoped that her portraits will form part of a wider narrative of celebrating the vast pool of talent, creativity and drive that flourishes in these milieux.

https://sarahjanemoon.com

Inside Portraits - Works by Emma Hopkins

Emma Hopkins Inside Portraits

“As we climb, the wooden stairs creak their protest. We wind our way slowly up to the attic studio. Once there we drink coffee, chat, observe and record. He paints me and I paint him. Each week Geri Morgan and I repeat this ritual and it is these encounters, which form the heart of my exhibition.

     

Our reciprocal arrangement has enabled me to explore the opposing yet married states of mind within the painter and the painted, the subject and the object, the observer and the observed. In this exhibition I have included some of my works produced in the attic with Geri as well as the work it has inspired.”

Find out more about the Inside Portraits Exhibition

Read a full interview with Emma Hopkins at Jacksons Arts Blog

Emma Hopkins

Photographer - Robin Farquhar-Thomson

An Essential Guide to Tina Jenkins’ ‘Hystoria’

To celebrate Tina Jenkins’ Hystoria opening at Mall Galleries, we have created an ‘Essential Guide’ to the artist and her work


These works have come out of an initial interest in the subject of hysteria. I am not trying to illustrate or express the hysterical in my paintings but whilst contemplating the subject, ideas and compulsions become starting points for making works.

 

The Plastic 

It is underlay for buildings, so sometimes it has dents and marks. I wanted it to look really pristine and I would ring the suppliers and say, ‘It’s damaged!’ and they would reply, ‘Well, it’s for buildings’.

But I am getting less and less annoyed about it, it is what it is. It retains a lot of the marks of the working process and it’s the trauma of the work that comes through.


The Process

Sometimes the figures go in first. They are painted just on clear plastic and then, I turn it round and cover the background so that the colour shows through.

With a knife, I cut bits and tear them down; some parts come off really easily, others make a whole area rip off. I will go on to fill in the gaps and back to cutting, ripping and backfilling again and again.


The Bad Bits

A bad bit for me is something that I can’t reconcile in my mind. I take them out and then fill them in again and bad bits will get back in. Playing around with everything that I feel is wrong is very subjective. Other people might not see it as wrong, but for me it’s just not right.

I will continually work through an area until it becomes something that I can bear. You peel away and sometimes a whole figure is gone.


Recycling and Discarding

I have a real problem with throwing away the ripped bits of paint. I use tape to take them off so nothing goes to waste. I have boxes and boxes of archived ripped paint. I used to work with oil based gloss which I found very problematic in terms of landfill, but even though the paint is now waterbased, I still don’t want to just stick it in the bin.

I have to do it like that. For parts of ‘Hystoria’, I have taken pages from old auction catalogues and the discarded paint that I have removed from my paintings and bound them together. These catalogues list the estimated value of the objects they depict. The objects once sold, render the catalogue as a defunct guide of proposed value past. A historic record of image and value gained and lost.


Painting and Hysteria

Because of the way I create my paintings, I am always analysing what I am doing and why I am doing it. Looking at different artists and thinking about the whole history of painting in terms of different types of abstraction, makes you wonder whether you can re-do those processes. Exploring and constantly replaying these notions, means that the paintings themselves were becoming more hysterical. I was thinking that if they were hysterical, then what does this sort of painting look like. And if that is hysterical, what does it have to offer painting as opposed to more traditional approaches.

Painting is a way of thinking. You see certain works and it feels that the person that made them is a painter and it could quite often be a sculptural work, or an installation, or anything. It is a way of putting things together. Painting is not something you define by the act of painting. It is about a certain way of thinking things through.

 


Hystoria

Tina Jenkins

Mall Galleries

30 March to 11 April 2015

10am to 5pm

Closes 1pm on final day

Royal Institute of Painters in Water Colours Prize Winners

The 203rd exhibition of the Royal Institute of Painters in Water Colours was opened on 24 March by journalist and water colourist Jon Snow. The 203rd exhibition is also the first with new President Andy Wood at the helm.

Andy has been a member of the Royal Institute of Painters in Water Colours since 1981. After serving on Council for a number of years he was elected Honorary Secretary in 2009 and elected President of the RI in 2014.

Andy has designed and built the RI's website and has more recently encouraged the Institute to embrace social media such as Facebook and Twitter. He sees his role as being to keep the society in the present while always looking to the future.

The opening exhibition also included the Prize Giving. This year there were several new awards that have been generously donated by sponsors from home and abroad. These included a prize from the Shenzhen International Watercolour Biennial, China and a new award to encourage young artists given by the venerable London guild - The Worshipful Company of Leathersellers'.

The big winner at the Prize Giving was Deborah Walker RI who won three awards for her work 'Detail'. Deborah was awarded the Anthony J Lester Art Critic Award, The Escoda Barcelona Award and The Turner Medal, a medal in honour of Turner which is awarded to a member of the RI and RWS.

 

Detail - Deborah Walker RI

Turner Medal

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Prizes & Awards

 

The Leathersellers' Award

Tim Patrick

Barren Room

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The Matt Bruce RI Memorial Award

J Richard Plincke RI

Come Helen, Come Bring Me My Soul Again

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The Winsor & Newton / RI Award

Delia Cardnell RI

All works

Commission this artist


The John Purcell Paper Prize

Filipe Miguel das Dores

Mario Night

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Schmincke Award

Varsha Bhatia

Entrance, Natural History Museum

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The Frank Herring Easel Award

Christopher Forsey RI

Puss in Souk

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Shenzhen International Watercolour Biennial Prize

Xi Guo

Victim

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Wicked Watercolours Award

Jan Munro

Winter

Commission this artist


Dry Red Press Award

Lisa Graa Jensen RI

Hide & Seek


Call for Entries

The RI seeks the best contemporary watercolour and watermedia painting. The Call for Entries is currently open, submit your artwork before Friday 8 January.

For more information please click here.


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Image credit

Deborah Walker RI, Detail, detail