Discover more about the exhibitions held at Mall Galleries through interviews with artists, photo essays, prize winners lists and video and audio content. Mall Galleries publish content from all Federation of British Artists Art Society Exhibitions.

Capturing the Beast from the East



The snowfall this spring may have brought planes and trains to a grinding halt, but member artists of the New English Art Club were less easily deterred. Many took inspiration from the flurries, as testified by this year's New English Annual Exhibition, where works documenting life during ‘the Beast from the East’ feature strongly. Mall Galleries' Press Manager, Liberty Rowley, explores these artistic responses and contextualises them within the wider tradition of snow painting:

Winter landscapes didn’t become a popular subject for painters until the Fifteenth Century. Prior to this, western art had its sights firmly set on religious scenes, which rarely included snow. Northern European painters were the first key proponents of snow painting, being the most exposed to snowfall, especially during the ‘Little Ice Age’ of the Sixteenth to Nineteenth Centuries.

Marsh Farm in Winter, Essex by Peter Kelly Sen RBA NEAC (Oil 71 x 97 cm £4,000)

Snow Fields and Rising Moon, Dorset by Richard Pikesley PNEAC (Oil 69 x 84 cm £2,600)

Winter Track across the South Downs by Rosie Copeland (Oil 24 x 30 cm £475)

December Snow, Herefordshire by Anthony Morris RP NEAC (Oil 76 x 91 cm £2,800)

Snow Day by Jan Gaska (Oil 35 x 43 cm £600)

Bruegel’s ‘The Hunters in the Snow’ (1565) is regarded by many as the first true winter landscape painting, exposing the realities of village life for those scratching a living on the frozen land. But it wasn’t until the late Nineteenth Century that plein air painting became a primary focus, and the genre of snow painting was established.

Snowy conditions were ideally suited to the Impressionists, who hoped to capture momentary impressions of light and weather, and referred to the effets de neige (the effects of snow). With their focus on direct observation and plein air painting, the New English Art Club could be considered direct descendants of this impressionistic impulse.

Winter Sun by Lynda Payne (Oil 32 x 32 cm £450)

Silver Birch in Snow by Clare Bowen (Oil 34 x 39 cm £450)

Concentrating on contributions to this year’s New English Art Club Annual Exhibition, Fred Cuming’s The Ridge under the Snow, with its dark menacing sky, partially submerged branches and hollows recalls the danger implicit in extreme weather, and mankind's relative insubstantiality when pitted against powerful forces of nature. 

The Ridge under Snow by Fred Cuming RBA ROI (Oil 61 x 61 cm £10,780)

Fingringhoe - Winter by Michael Whittlesea NEAC (Watercolour & charcoal 48 x 56 cm £850)

Making the viewer feel small in a more nostalgic way, Andrew Macara’s scenes of ice skating and snowball fights, and Melissa Scott-Miller’s Snow in Islington recall childhood, evoking a time when snow was not merely the latest obstacle to my daily commute.

Christmas, Tower of London Ice Rink by Andrew Macara NEAC (Oil 51 x 71 cm £1,850)

Snowballers, Allestree Park, Derby by Andrew Macara NEAC (Oil 97 x 142 cm £7,500)

Snow in Islington, March 2018 by Melissa Scott-Miller RP NEAC RBA (Oil 102 x 81 cm £3,800)

Winter by Genevieve Draper (Oil 62 x 52 cm £2,100)

Snowfall is not restricted to the picturesque countryside. Paul Handley has a series of works documenting a multi-storey car park under snow, and Glyn Saunders’ South Circular, December features street lamps mingled with the bare black branches of winter trees. Lynda Minter’s buildings and cranes look almost festive in the artist’s Waterloo Winter Evening.

The Multi-Storey Car Park - Snow I by Paul Handley NEAC (Oil 41 x 28 cm £500)

The Multi-Storey Car Park - Snow II by Paul Handley NEAC (Oil 28 x 41 cm £500)

South Circular, December by Glyn Saunders (Oil 20 x 22 cm £350)

Waterloo Winter Evening Buildings and Cranes by Lynda Minter (Acrylic 67 x 68 cm £650)

Being a temperate climate, Britain rarely gets seriously cold, and snow often becomes slush with alacrity; Judith Gardner, Sarah Spencer and Sarah Manolescue capture this sludgey aftermath perfectly.

Winter, Elmley Marshes by Sarah Spencer NEAC (Oil 30 x 43 cm £1,200)

Landscape - Melting Snow by Judith Gardner RBA NEAC (Oil 36 x 33 cm £490)

Receding Snow, the Trundle by Sarah Manolescue (Oil 35 x 35 cm £425)

The New English Art Club Annual Exhibition showcases stunning examples of winter scenes, some of which I've explored here, and all of which are available to view in the gallery from 15th to 23rd June. The exhibition can also be viewed online. If you are interested in purchasing any of the works from the exhibition, contact us at or on 020 7930 6844.

Landscape - After the Rain by Charles Rake NEAC (Charcoal & pencil 97 x 76 cm £1,750)

Garden - March Snowfall by Judith Gardner RBA NEAC (Oil 36 x 36 cm £750)

Image credit

Peter Kelly Sen RBA NEAC Marsh Farm in Winter Essex (detail)

Pink Lady® Food Photographer of the Year


“Food unites us all: we must eat to survive. Though some see food as fuel, others celebrate food as one of the great joys of life. Food is about family, friendship, community and love”, says the Founder of the Pink Lady® Food Photographer of the Year, Caroline Kenyon. Kenyon launched the Awards in 2011 to celebrate food photographers and filmmakers of every age and skill-level from around the world. This year’s exhibition shares glimpses of the food cultures of countries like Bangladesh, Germany, Chile, India, Australia and Taiwan, and features work produced by photographers as young as ten years old.

Finishing Touches by William Lindsay-Perez, Winner of the Category for 15-17 year olds

Images are judged by a panel of forty, including three Michelin-starred chef Pierre Koffmann, acclaimed pastry chef Emily Luchetti, the James Beard Foundation, and the internationally-renowned food photographer, David Loftus. This star-studded panel selects winners for each of the twenty-one categories, as well as an overall winner who receives the title of Pink Lady® Food Photographer of the Year, and a cash prize of £5,000. This year's overall winner is Noor Ahmed Gelal for Praying with Food, which shows a section of the Hindu community preparing to break their day-long fast in one of the local temples at Swamibag in Bangladesh.

“It's very important to us that the Awards are open to all - professional and amateur, old and young - anywhere in the world”, says Kenyon. “Dedicating a category to images taken on mobile phones means that absolutely anyone can enter - you don’t need to have an expensive camera!” In keeping with this spirit of inclusivity and global mindedness, part of the exhibition’s proceeds goes to Action Against Hunger, a charity working to end child hunger, especially in Syria.

A Fisherman's Life by Probal Rashid, Winner of the World Food Programme Food for Life Category

While categories such as Food Bloggers and Marks & Spencer Food Portraiture showcase mouth-watering images to inspire food lovers, Pink Lady® Food Photographer of the Year also promotes a humanitarian focus through its Politics of Food and World Food Programme Food for Life categories. “Here, images expose and challenge contemporary realities of food production, and highlight situations where food makes the difference between life and death”, explains Kenyon. Food for Celebration, which is sponsored by Champagne Taittinger, explores the connection between eating and expressions of faith, presenting a selection of the myriad religious festivals which place food at their heart.

Praying with Food by Noor Ahmed Gelal, Overall Winner of Pink Lady® Food Photographer of the Year, and Winner of the Food for Celebration Category

“It’s brilliant to see how this amazing project touches peoples’ lives in ways I couldn’t have imagined”, says Kenyon. “A year ago, I was invited to dine with the owners of a B&B where I was staying for work, and they told me an incredible story. My hostess had been very ill for several years; when she heard about the Pink Lady® Food Photographer of the Year, she decided it could be the motivation for her recovery. Although bedridden, she was able to take photographs on her phone and build up her skill day by day. As her images improved, so did she, and by the time I met her she was so much healthier that plans were afoot to enter the Awards that year. From being housebound, she was going to travel from Cumbria to London just to see the exhibition!”

Pink Lady® Food Photographer of the Year is passionate about supporting and encouraging the artists behind the images. “To be shortlisted or a finalist can mean so much to our photographers, and has given many the confidence to develop their passion into a profession”, says Kenyon. “A finalist from 2012 said something to me which has meant a great deal; he said, ‘thank you for making food photography important’.”

Calum in his Pie Room by John Carey (UK), Winner of The Philip Harben Award for Food in Action

The Pink Lady® Food Photographer of the Year Exhibition is open at Mall Galleries from 25-29th April 2018. The gallery is open 10am-5pm, and admission is free.

New English Art Club Annual Exhibition Prizes and Award Winners 2017

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The New English Art Club awards several prizes and awards every year. This year's recipients were announced at the Private View by President Richard Pikesley.

This year's exhibition runs at Mall Galeries until 25 June. Works from the exhibition are available to Browse & Buy online.

Award Winners 2017 


The Doreen McIntosh Prize

Paul Gildea NEAC Night Watch

Contemporary Arts Trust Award

Alex Maczkowski Toil

The Peter Ashley Framing Prize

David Cobley NEAC, Marvellous Mr Hockney

The Woodhay Picture Gallery Prize

Arthur Neal NEAC, KT II

Jackson's Art Prize

Michael Collins Study for Birling Gap

The NEAC Critics' Prize

Peter Brown NEAC Absolutely Chucking It Down George Street, Bath

The Dry Red Press Award

Ann Shrager NEAC Diwali Elephant

View more work from the New English Art Club Annual Exhibition

Image credit

Paul Gildea Night Watch

New English Art Club Annual Exhibition 2017 – In the Artists’ Words

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Member artists of the New English Art Club reveal all about some of the works featured in this year’s Annual Exhibition…

It has been said about the New English Art Club, fairly, that, "the contents of its exhibitions ... include invented figurative painting, expressionism, satirical subjective painting and abstracted work along with observed objective painting which is the core of the New English tradition" (The New English Art Club Exhibitors 1886-2001, Volume 1, p. XVII). Here, several member artists tell us about some of the works in the New English’s Annual Exhibition 2017, which illustrate its varied contents well…

Neil Pittaway European Library

“My multimedia picture, European Library, celebrates the collective ideas and ideals of Europe and the EU, showcasing its rich heritage and cultural treasures in an imagined library ... The work is particularly poignant as Britain exists the European Union, and remains a reminder of what is great about our collective shared European identities.”

Diana Armfield Teatime in the Garden

“I grew up with the turquoise coloured shed on the edge of the New Forest, which housed chickens. It was dismantled and arrived in my London home with inherited furniture in 1956, then re-erected by my husband and fellow New English member Bernard Dunstan who, over the years, has kept it going turquoise - both useful and a feature at the end of the garden.”






Melissa Scott-Miller 2017 View of My Area of London

“This is a view near where I live in Islington. I had walked past the block of flats that it was painted from nearly every day for a few years and imagined that it must be a great view of the surrounding area, known as the Hillmarton Conservation Area and then the City and the east of London beyond that, and I longed to go up there and draw or paint it. Then, I became friends with a fellow dog owner in the nearby park and she told me that she lived on the estate and kindly introduced me to the caretaker, who gave me permission to paint on the landing of the tenth floor. I spent the whole of last winter there: every morning I would walk round carrying this (to me, at least) huge canvas and my easel and paints in a trolley. On the way there and back a lot of people would see me and shout words of encouragement as they saw the painting progress!”

Bridget Moore Evening Blue

Evening Blue was made from a trip to France – the sun was going down, the moon was up and there was a beautiful golden edge to the hills, and my skinny little nephew, Wilf, was playing statues in the garden.”

Caroline Frood Teasels Leaning

“The teasels were given to me by a friend at the end of last summer. They sat in the studio slowly turning golden and brown until I was able to focus my attention on them. I love the way they dance with their shadows.”

Richard Sorrell Brexit Camp

Brexit Camp is concerned with Brexit and its consequences, particularly the violent discussions leading up to the Referendum. The figures, from the left, show ignorant compliance, fierce self-interest, pedantry, and narrow defiance. The standing man is an ambitious manipulator; the family walking along the shore are the inheritors of the consequences.”

Michael Fairclough Lyme Bay - Golden Cap VI

“My paintings (including Lyme Bay – Golden Cap VI) are meditations on the passing of light into darkness, at sea or on the shoreline. The sea is used as a reflecting or contrasting surface, the land, a shore or a cliff, as a solid theatrical prop against liquid elements of sky and sea. Sunset can be a fast changing sequence of variations, the twilight that follows can be full of rich flashes and veils of colour.”

John Dobbs Kawasaki Z900

“I ride KTMs and the motorbike shop I go to in Hemel Hempstead had this beautiful Kawasaki Z900 on display. Now when I was a teenager and growing up, this was one of the most iconic bikes of that era. It was incredibly fast, had a reputation for poor handling, but we all aspired to own one. With the dealer’s permission, I sat and drew the motorbike for a few hours. I was then able to go to print school at the Heatherley School of Fine Art in London and use these drawings to make this drypoint print with chine-collé.”

Tessa Coleman A Room of One’s Own

“The idea for my painting A Room of One’s Own was sparked by a small black and white photograph I came across of a rather elegant self-contained woman in a large floppy hat. She struck me as a dead ringer for my idea of Virginia Woolf’s Mrs Dalloway, so I used her to populate a painting about Virginia Woolf’s books. I included a still life set up in the foreground that contained references to some of her books, a Charleston style screen that I made up, and spent a while moving around the various elements in the picture to produce a composition that included the suggestion of an open door in the background to allude to the importance of a private space to work in that Woolf discusses in her book A Room of One’s Own.”

Browse the New English Art Club Annual Exhibition online now

Image credit

Neil Pittaway European Library

Royal Society of Portrait Painters Annual Exhibition Prizes and Award Winners 2017


The Royal Society of Portrait Painters awards several major prizes at its Annual Exhibition every year. This year’s recipients were announced at the Private View by President Robin-Lee Hall and represent the best of contemporary portraiture.

This year’s Annual Exhibition runs at Mall Galleries until 19 May 2017 and includes over 200 portraits by more than 100 artists.

Award Winners 2017


The Ondaatje Prize for Portraiture 

Shawn McGovern, James

The Ondaatje Prize is the Society’s major annual award to the painter of the most distinguished portrait of the year. The Prize takes the form of a £10,000 cheque in addition to the Society’s Gold Medal. 

The de Laszlo Foundation Award

Jamie Routley, Alex Liederman at 17

The de Laszlo Foundation Award – The de Laszlo Medal for Excellence, together with a cheque for £3,000 – is awarded to the artist aged thirty five or under, judged to have submitted the best portrait.

The Changing Faces Prize

Daphne Todd OBE PPRP, Professor Susan Smith, Mistress of Girton

The Changing Faces Prize is awarded to the artist whose portrait most powerfully conveys the energy of their subject, the directness of their gaze and an attitude that exudes openness and confidence. The Prize is a £2,000 commission to paint a portrait of a person who has a facial disfigurement for the Changing Faces Collection, which aims to ensure that people with unusual faces are well and fairly represented in modern-day portraiture.

The Prince of Wales's Award for Portrait Drawing

Bernadett Timko, Lucas 

His Royal Highness The Prince of Wales has lent his name to the Society’s prestigious award for portrait drawing for the last eighteen years. The Award – a framed certificate and cheque for £2,000 – highlights the importance of drawing within contemporary portraiture.

Burke's Peerage Foundation Award for Classically Inspired Portraiture

Andrew Festing RP, Portrait of Count Alexis Limburg-Stirum at Walzin 

The Burke’s Peerage Foundation Award for Classically Inspired Portraiture was instituted to celebrate the art of portraiture included in Burke’s Peerage since its foundation by John Burke in 1826. It is presented annually with a framed certificate and a cheque for £2,000.

The Smallwood Architects Prize for Contextual Portraiture

David Cobley RP NEAC, Made to Measure 

The Smallwood Architects Prize is an award for a portrait in which architectural or interior features play an important part in enhancing the human subject by creating energy and a sense of place, and giving insight into the subject’s life. 

Contemporary Arts Trust Alice Batkin Award

Vania Comoretti, Dual 

The Contemporary Arts Trust offers £1,000 to the most deserving artist in the exhibition. The Trust’s objective is to assist deserving artists who show promise … to encourage them to remain in the arts and continue on their creative journey.

The RP Non-Member's Prize

Daniel Shadbolt NEAC, Nicholas 

The RP Non-Member’s Prize is a gift of £2,500, donated by The Patron’s Fund, which supports charitable organisations across the UK and Commonwealth for which Her Majesty The Queen acts as a Patron. 

The Royal Society of Portrait Painters Annual Exhibition 2017 is open at Mall Galleries 4 to 19 May. 

Browse and Buy works from the exhibition now

Image credit

David Cobley RP NEAC, Made to Measure (detail)

Winner of the Derwent Visitors’ Choice Award 2017


Visitors to The Pastel Society Annual Exhibition 2017 we asked to vote for their favourite work in the show to decide the winner of the first Derwent Visitors’ Choice Award. Derwent have been sponsoring The Pastel Society since 2016.

The work with the most votes was: Jugs and Roses by Patricia Whiting.


This stunning work is done in Coloured Pencil.

Patsy Whiting was born in Bolton and studied in Loughborough and Manchester. After a period of working as an artist, whilst bringing up a family, she began a career in teaching art. This eventually led, through specialist training, to an Educational Audiology post in Bolton Sensory Service, working with deaf children aged 3-18.

Patsy continued to produce art throughout her career in deaf education, working in a variety of media, including print, sculpture and painting. During the course of her teaching she developed skills in visual presentation and digital animation which became her key expressive medium. However, a visit to the Picasso museum in Paris a few years ago inspired her to begin drawing again in earnest and to leave teaching. She now has a studio in Loughborough, Leicestershire.

Artist's statement

"My still lives and figures are drawn on a roughly textured pastel ground. The image is built up gradually in layers from detailed photographs, focussing on a small area at a time. It is the play of light which fascinates and challenges me. I love the process of taking away the black to make a form appear out of the shadow. "

Content Image


Image credit

Patricia Whiting, Jugs and Roses

The Pastel Society: Persistence Pays


by Ken Gofton

Companion of The Pastel Society

That old motto, ‘If at first you don’t succeed, try, try, try again’ comes to mind, when considering the success of Steven King at this year’s Annual Exhibition of The Pastel Society.

Steven first entered for the exhibition in 2014, but without success. He tried again the following year, and had two paintings accepted in the pre-selection round, but neither was chosen to hang. Last year he submitted three works, and one made it into the show. This year, all six of his entries were approved at pre-selection, and he has three in the exhibition, which continues until 3pm on Saturday (4 March).


The Drunken Boat                                                 The Orangerie

Of the three The Co-Pilot is the star, winning not just The Pastel Society Catalogue Award (First Prize), but the £5,000 Alfred Teddy Smith and Zsuzsi Roboz Award for the best work by a young artist, aged 35 or under.

The Co-Pilot

Based in London, Steven is an artist who likes to travel. He spent a year in France after graduating, still goes there every year, and in 2016 he spent time in Guadeloupe and Belgium. The Co-Pilot was inspired by the view from his attic window in Brussels.

The last two or three years have brought him increasing recognition. A painting of his in the Royal Society of British Artists (RBA) Annual Exhibition at Mall Galleries was acquired by the William Hogarth Museum, which subsequently invited him to participate in a mixed show with other artists, and then offered him a solo exhibition. He also had a painting selected for The Columbia Threadneedle Prize exhibition last year - a showcase of the finest contemporary Figurative Art Today.

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Steven King The Co-Pilot (detail)

The Pastel Society Annual Exhibition Prize Winners 2017


The Pastel Society's 118th Annual Exhibition opened at Mall Galleries on February 20.

Thank you to all the artists who exhibited this year and a special congratulations to all the prize and award winners.

Prizes and Awards

View more highlights from the exhibition here

Image credit

Jennifer Thorpe Luminosity (detail)

By Popular Demand


Mall Galleries is currently exhibiting By Popular Demand showcasing work by winners of the Columbia Threadneedle Prize Visitors’ Choice Award spanning the eight years of the competition.

By Popular Demand exhibits new work by winners of the Visitors’ Choice Award during the Columbia Threadneedle Prize. While each work is exceptional, Tim Shaw RA’s dancing Maenad figurines piqued my interest. His fantastic monograph, including artist interviews, is available to purchase in our bookshop, displaying a wide range of his dynamic, shocking and stunning ouvre.

Also particularly striking are Ben Johnson’s three large-scale architectural works, which exemplify the pinnacle of painterly skill and the mastery of intricacy. A postcard of Johnson’s winning Visitor’s Choice work, ‘Room of the Revolutionary’, is available in the shop, alongside his book ‘Spirit of Place’. This gorgeous monograph traces the progression of his unique style from 1969 to 2015, and provides the artist’s comments on his delicate technique and career thus far.

By Popular Demand (obviously) raises debate surrounding the difference in taste and opinion between the critics choice and the public award, which will be discussed on Saturday 14 January, in our panel discussion: ‘Who Decides?’ The only year to see a consensus reached between the judges and visitors was in 2016 when Lewis Hazelwood-Horner won both the Columbia Threadneedle Prize and the Visitors’ Choice Award for his painting ‘Salt In Tea’, which was also sold during the exhibition. To mark this unlikely feat, we have created this work into a greetings card, so you can take home a memento of this record-breaking piece, too.

FBA Futures and By Popular Demand will run from 10am to 5pm daily from 9 to 20 January. Free Entry.

Who Decides? will take place at 2pm on Saturday 14 January. £5 suggested Donation, Free for Friends of Mall Galleries.

Meet the three winners of the Winsor & Newton Young Artist Awards 2016


Meet the three winners of the Winsor & Newton Young Artist Awards 2016 (for artists aged 35 or under) at this year’s Royal Institute of Oil Painters (ROI) Annual Exhibition.

Alice Boggis-Rolfe, Rob Pointon and Tom Stevenson were selected by the judges who felt that their respective works demonstrated both creativity and talent in their use of the Oil Colour Medium. Here they tell us about their winning works, techniques and upcoming plans.


Alice Boggis-Rolfe

Alice Boggis-Rolfe is a travelling landscape artist. Her work, Canoes on The Dordogne, has been awarded First Prize in the Winsor & Newton Young Artist Awards 2016. It was painted en plein air over three hours on a ‘very, very hot day’. Alice carries out most of her painting as such; on site and in similar time frames ‘as then it is as true to that moment as possible’. She prefers to paint on bright summer days, when the light does not vary too much. In terms of technique, Alice tends to use oil paint quite thinly, building up layers of colour without it going ‘muddy’. She paints onto homemade gesso boards for the same reason as they are really hard wearing and the surface is quite absorbent so the paint dries quickly. When asked about winning First Prize, Alice said, ‘I still can't believe I have won the prize, I am so, so pleased. I think when I look at my work I only ever seem to notice the mistakes so it’s always really exhilarating when someone else likes it’. Alice has spent the last year painting around the UK and France, but now plans to travel further afield to destinations that are out of her comfort zone to push her work in exciting new directions.



Rob Pointon

Second Prize was awarded to Rob Pointon for his painting, The Red Door, Montmartre. During a springtime trip to Paris, Tom and his troop of Yorkshire plein air artists based themselves in Montmartre close to the steps up to the Sacre Coeur. Rob enjoys playing with wide-angle perspectives, so the dramatic staircase and description of height and depth provided by the Parisian architecture proved good subject matter. His companions mainly work alla prima, which has influenced Rob’s technique and sped up his process. This painting was completed on location with three separate visits to the spot at similar times of day and with similar weather conditions. On winning Second Prize, Rob stated, ‘I am delighted to have won Second Prize in the Winsor & Newton Young Artist Awards this year. I have been entering the ROI for years now and this will be the fourth time I have been selected. It is an honour to be in the same room as some of the finest painters in the country; I relish the networking and last year enjoyed the ROI Paint Live competition and will give that another go this time.’ Next year Rob plans to continue his travels. He is currently International Artist in Residence with Manchester Airport Group, involving two month-long trips a year to different direct destinations to produce bodies of plein air work to be exhibited in the airport. So far Rob has painted Hong Kong with Cathay Pacific and Doha with Qatar Airways. ‘Working with an airline can be handy in getting large crates of paintings back into the country!’ 

Keep up to date with Rob on Instagram.

Tom Stevenson

Tom Stevenson won Third Prize for his painting Beer, Devon. Completed en plein air in a single sitting last summer, Tom explains that Beer is a great beach for painting; ‘the combination of bright beach furniture and the high cliffs allows you to bring a lot of light down into the bottom half of the painting and move some of the shadow higher up, disrupting the usual format of a landscape with light sky and darker ground. On this occasion I was lucky enough to have a large red parasol to paint, marking the edge of the beach where the pebbles drop away towards the shore.’ Tom uses a simple palette; two blues, two browns, cadmium yellow and red, alizarin crimson, yellow ochre, oxide of chromium and titanium white. Regarding his method, he covers the whole surface early on, then works progressively, moving the painting forward altogether. He is ‘absolutely thrilled to have won the W&N Third Prize; the materials it will cover will be gratefully appreciated. This is my second time exhibiting with the ROI. In 2014 I won (jointly) The Phyllis Roberts Award, so I felt a certain amount of pressure to be selected again. To win the Prize was an unexpected pleasure!’ 2016 was a busy year for Tom, who participated in several exhibitions. He is looking forward to keeping up the pace in 2017, returning to many favourite local spots which have lots more to offer. Desiring to paint some snow this winter, he is planning some trips up country for early 2017, as Devon is not known for its snowfall. Keep up to date with Tom’s plans via twitter and Instagram @tpstevensonart. ‘Also, if anyone happens to see me out and about painting, please do come and say hello!’




The Royal Institute of Oil Painters Annual Exhibition 2016 runs at Mall Galleries until Sunday 11 December, 1pm.


Image credit

Alice Boggis-Rolfe, Canoes on the Dordogne (detail)