Selected Articles
What moves an artist? (or what makes an artist move?!)
Being London born and bred, with short sojurns in Tunbridge Wells and Birmingham as a boy, my education was in London and each time I changed course in my career it was in London, the centre of the world!
As time passes the ties to London start to drop away and travelling around Britain and abroad makes one realise that in another place will be a more stimulating and enjoyable home.
As the pressures of earning a living become reduced, commercial commitments diminish and family ties dwindle, Cath - (my wife) - and I are searching for that place.
With what I hope will be my last ‘career move’ the place will hopefully have some studio facility and be somewhere with potential for artistic inspiration and development which I would be happy to share (not all at once please!)
I am happy that Allan Davies has agreed to take over the editorship of the EASEL, and I am sure he will inject his own personality into its pages.
This time I have not quite been able to include all the letters and articles you have sent. I hope Allan will be able to consider them in the next issue. Please support him as well as, or even better than you have supported me.
Perhaps BAS can have ‘country members’? At reduced rate of course!
Arriving early and with extra seats put out an audience of 55 to 60 people eagerly awaited an evening with Charles Evans, only to be told a quarter of an hour before he was due to
start that he was stuck on the M1 some 70 miles away and would get to us as soon as
he could.
Into the breech stepped Allan Davies with some kindly “constructive criticism” on various pictures supplied of scenes near and afar. He expressed his opinions and observations and sought feedback from the floor, prompting us with such questions as “Where is the focal point?” “What about composition and technical ability?” The general consensus was lively and animated but seemed directed more at the frames and mounts rather than the pictures themselves. After discussing several paintings we stopped for tea!
Charles Evans arrived at 9.10 in a flurry, with blue streaked smock, tanned face and golden
locks. He put down a rubber mat tripod easel, a lamp, board and bucket for water and
brushes and had set up in 8 minutes flat. With a journey of 9 hours 25 mins from Teesdale
behind him he began to paint...
He had his own particular narrative while painting, explaining as he went along why, where and what he was doing, punctuated by “Are there any questions?” He proceeded to produce with deft strokes a seascape of beach and headland with colours from his famous pallette, which rumour has it now qualifies as a Grade 2 listed building! He did clouds and cliffs, sand and waves, all in a matter of minutes in his flamboyant style and even added his P & Y people. Unfortunately time beat him and he promised, on his next visit, he would give us some extras. He rounded off by presenting his picture to Pat Tucker, our chairlady.Is this man an artist or artiste? - or both?
All in all, with Allan and Charles, we had an extra special evening with our unexpected
double-billing.
3 June 05 LS
In spite of having to cope with traffic delays, Soraya quickly got to work and showed how one could use any lidded, flat container for an acrylic pallette, with kitchen paper and a layer of greaseproof paper, although she used a proper Staywet pallette. Her support was unprepared mount board. In no time she had scrubbed on some mixed grey mid-tones and began to build up a basic geometric skeleton of the market stall subject in dark tone, using a big brush, at some point washing on a free-flowing blue acrylic ink. Keeping up a commentary she worked into this with lighter tones to expose the figures. She had previously done a pastel painting of the same subject, and was working from a small copy of that.
Being acrylic, the paint dried quickly and enabled her to keep going. She was careful to keep rinsing the brush - possibly only using one or two (as I was at the back I couldn’t see that well). She regretted the lack of time to build up the many layered, textured foreground which she had planned, but made a few marks with dry pastel, and later oil pastel, concentrated in one area on the stall and nearby, to give impact. Judging by the finish of the giclee prints which she had on display, for sale, she might not have done much more to the demonstration piece.For my taste it was excellent and left something to the imagination of the viewer.
1 July 05 PW
A group of Members of the Bromley Art Society were invited again by Mrs
Janet Berlin to stage a small exhibition and sale of cards and pictures at her
Open Garden for raising funds for the NSPCC on the 3rd and 4th Sundays
in June.
The garden, built and developed on a steep slope, has been improved yet
again, and has a beautiful and very interesting display. There are many pots,
a number of connected pools, as well as a wooded area at the bottom of the
hill slope.
On the first Sunday which was one of the hottest days this year, attendance
was down compared with last year. However on the second Sunday the
attendance increased considerably with the slightly cooler weather.
The visitors could enjoy the attractions, which included live music, guided
tours and refreshments as well as our exhibition.
Although sales were a little lower this year, we were able to present a cheque
for £40, payable to the NSPCC, to Mrs Janet Berlin as commission on
our sales
MT
I haven’t attended this event for a few years and overall I was dissappointed as there isn’t much art exhibited any more or art related items. Previously there were usually three exhibitions of Art on display, SAA annual competion winners and runners up, The Third Age and Foot and Mouth artists. This year just the SAA.
Maybe it’s because I had not been recently that I hadn’t realised that so much was given over to card making, crafts and Manga-Japanese comic characters. I also was not aware that they now publish three magazines to cover art, card
making and scrapbooking! That speaks volumes. I checked out the workshops and of the nine painting workshops four were being given by the same artist, Elda Abramson, and to me that also says a lot.
I guess if you haven’t visited before or want to attend a workshop or pick up tips from demonstrators or exhibition special offers - some half price - learn about picture framing and printing on a computer, it might still be worth the trip.
What I wanted wasn’t available so I will be making a trip to Brick Lane. I did pick a couple of Christmas presents for the grandchildren.
AH
I went for the first time, I too was dissappointed - too much art and craft supplies,
not enough art or craft. Ed.
This exhibition ran for a month in this prestigious venue. Excellent space, great variety of paintings plus ceramics and mosaics filling all the display cabinets. Was it worthwhile? In terms of the number of sales and high commission probably not. We sold six paintings and 13 pieces of pottery and mosaics, so below average. On the positive side it was good to display our paintings at a new venue and have wider exposure. We didn’t have to steward, which over such a long period must be a plus. What one always needs to sell paintings is a good footfall but those visiting Hall Place were not coming there especially to see our exhibition. So any sale was a bonus.
Will we do it again? Possibly, but only during the Summer months, and we would be raising certain items with Hall Place such as publicity, signage and the lack of lighting in the display cases. We need to attract more people to the preview evening from local and surrounding areas. We are looking for new and different ventures for 2006 and welcome
suggestions and ideas from you. Overall we know there has been a decline in sales of original art at exhibitions like
ours for several years now, which is not the fault of our exhibitions, but a general trend. As far as I can see all we can do is look at alternative ways of promoting and selling our wares. There won’t be just one solution and may involve some lateral thinking. Everything is worth considering and exploring further.
AH
An exhibition by f@nmm (formerly the Canvas Club) on at the Queens House Greenwich until November 13.
The club competition was for the best picture depicting the Nelson Era, the catalogue of the NMM’s Nelson and Napolean exhibition was the prize. This was to be acheived without infringement of copyright, and we were encouraged to produce original work by research or at least by visiting HMS Victory at Portsmouth, which some of us did. Some seven works were deselected, and the remaining 18 hang alongside a print of Honorary Member Geoff Hunt’s oil painting ‘Blue at the Mizzen’ as used on the jacket of Patrick O’Brian’s book of the same title. Some of his initial
sketches are in a showcase. His research goes into fine detail, including time of day and weather conditions for an event being portrayed.
More than half of our works depict HMS Victory, complete or in part, varying from fine detail to loose, mysterious abstrations and interiors. Archie Niven’s watercolour includes a quotation from a poem written by Nelson to Emma, Lady Hamilton. The prize went to Ingrid Riches for a large watercolour ‘Nelson’s Paradise - Nevis Island’. In addition to the prize, unexpectantly several Award of Merit certificates were presented. In the next room are the Summer Exhibition works, not part of the competition. Traditionally, marine painting has been representational, but the NMM curators responsible for selection are finding a way of breaking down barriers accepting more modern work. The RSMA is determined to maintain their standards of representational art, not accepting work of a more abstract nature. Perhaps this will encourage more adventourous marine artists to join f@nmm art.
PW
Having read Allan Davies’ article in the Spring ‘Easel’ - “To Print or not to Print”, I’d like to take issue with two statements he makes - in the first paragraph and the penultimate one. I really feel that the first paragraph is just nonsense! When an artist creates a work of art he does it firstly for himself and because something compels him to do it. He’s not thinking at that time of a “wider audience” that Allan is talking about. If it has any intrinsic value it will gradually become known
anyway, and no amount of boring reproductions will improve its chances - in fact they will decrease the value of the original.
Allan talks about “incredibly accurate reproductions”, and this is where I take issue with his other statement, where he states confidently that “a giclee print is superior to an engraving, etching etc” because the latter loses definition on a
long run of printing - and other things which can vary with hand printing. To start with, a professional etcher will only do a limited edition which he knows will not risk a loss of definition (and incidentally makes the prints more valuable to a collector). Secondly, as an etcher myself, I know the excitement of not knowing exactly how a print will turn out until you peel it off the press is the delight of etching, and every one will be a slightly different original!
I agree with Allan when he says that Artists are always finding new ways to express themselves, and I can see that
computers must be quite exciting used that way, though I am completely computer-ignorant myself. (Aha! I hear you say - that’s where she’s coming from!) However I am not ignorant enough to condemn them all together. But for me a true work of art has to be made by a ‘real’ person without the help of a computer.
Stella Harvey
I read with interest in the last ‘Easel’ the history of the Bromley Art Society. You mentioned a Mr John Waterman, in fact his name was Waterer, and in the 70s I had the pleasure of knowing this gentleman. He was appointed a Royal Designer for Industry on account of his expertise in the design, manufacture and restoration of leather artifacts in the Royal Collection and national museums and archives.
Before writing to you I contacted his daughter, Joyce Meade, whom I have known for many years, to confirm that he was in fact a founder member of BAS along with the others mentioned. At that time the family lived in Keston, just a stone’s throw away. Maybe other members may remember him also.
Audrey Oliver
In 1966, after 28 years teaching art in secondary schools in the borough, I decided to shake off the powder paint and seek new horizons. But how to fill the void thus created? I still had my enthusiasm for my subject and a desire to impart what I knew to others. I had also taught for the adult education service in the past. Now that is what I called teaching! Every student was with you because they wanted to be there and what’s more paid good money for the privilege! Evening class work had meant I was spared the teenage classroom comments, such as “I don’t want to do this. ”You don’t know what you’re talking about.“ ”Sir, I’m telling you there are two colours you can mix to get a primary red.”
Fate has a way of closing one door then opening another, and so it was that fetched up one day at the entrance of “Art for All”, premier art material shop in our fair town. The proprietor showed me the teaching atelier at the top of a winding staircase. Intimate would best describe its dimensions, but it suited me after years of capacious classrooms and the problems of voice projection. Small groups of participants were my first experience but gradually my numbers grew. I’m proud to say some of those early pioneers have persevered with me to this very day.
All of my students, more or less, come as beginners. Their lack of artistic activity might have been due to daily demands of life, or because economic pressures getting a job immediately took precedence over art college. However, with careers established or completed and family grown, new opportunities open up. Indeed, even some working folk find the challenge of creativity a soothing antidote to the pressures of business.
What all my students expect is individual attention and hands-on help. I regularly hear of past experiences with some teachers who have contributed little except a few hasty words of praise or criticism at the end of a session. The disheartened student soon gives up. Practical theory is vital, I believe; a solid base upon which I teach. However, theory, in my opinion, does not mean endless dabs of paint in neat rows and textural squiggles. I like to combine theory with practical application. I encourage the student to take on a pictorial challenge right from the start. Something they don’t think they can manage, but with mutual co-operation success can be acheived. Thus the student’s confidence grows.
The ultimate thrill for the student is seeing their work framed and displayed. This can mean so much. How often do you hear, ”I can’t show my work, I’m not a professional”? Joining the Bromley Art Society is a great boost and I actively encourage it.
I am now in my eighth year of teaching in a new spacious suite of rooms. Time has flown by. I can honestly say that the hours I spend in the company of my charges are the highlight of my week. Never boring, always a challenge, but what satisfaction.
My students, here’s to you!
Ken Murray
Teaching art at Art for All, Bromley
During the design period for the new library and theatre Bromley councillors were repeatedly lobbied by the local art community for good exhibition places to be provided in both the theatre and library. Plans were shown and assurances given that there would be “plenty of space”. In the case of the theatre the actual provision was disappointing although one exhibition was granted in part of the foyer in early days. In the new library the provision for art was better. The main annual BAS exhibitions were held in the splendid public rooms on the fourth floor for many years during the 1980s. These shows being open but subject to selection, were of high quality and usually included works by students of the fine art department of the Ravensbourne College of Art. There was, however, one obvious downside to the venue. It relied on the public having to deliberately find the lift and take it to the fourth floor if it was to be seen. Only the determined attempted this. Whilst this was undoubtably the most pleasant and spacious room used for BAS exhibitions - before or since - this barrier to easy public access together with repeated rent increases, meant that its use could not be sustained for more than a few years. We are left with what is acknowledged to be the best remaining local exhibition venue which is the first floor space in the central library. This was used first in 1993 and and proved to be one of our most successful exhibitions with the sale of over sixty works.
The hunt for good affordable venues continues. In the 1980s attempts were made to hold exhibitions out of doors - on one occasion in the Library Gardens and another in the approach to the Mall shopping area - neither was a great success. Other small shows tried in Building Society and Bank premises were patchy. In 1987 a group of members showed work as part of the Mayor’s garden party held in the grounds of the Civic Centre. Also that year a successful exhibition was held at Ripley Arts Centre. In those days at least two local press reporters could be expected to attend previews with their photographers and sales were brisk; sadly this is no longer the case and, depending on the venue, previews are less usual. Ripley remains pleasant but is remote from the town centre and has restrictions on access - perhaps it has some improved future promise following recent refurbishment. St George’s Church, Beckenham and its church hall have provided space for a society exhibition for the last few years.
Meanwhile the monthly meetings at which talks by visiting artists or art historians would be given or practical demonstrations watched and discussed formed the backbone activity of the society. These were mainly held in the first rebuild of the United Reform Church in Widmore Road and later and up to the present time in the second rebuild which took place to enable the Glades Shopping Centre to be built. The society suffered a great loss in 1987 when the exhibition organiser, Jim Ratigan, died suddenly.
Only a year or two earlier he had been responsible for the design and construction of the economical first set of exhibition screens owned by BAS; Jim was given enormous support by Norman Verrells who was always on hand when later it came to their storage, transport and erection. These screens did good service for a number of years before being replaced by the current set.
It was also in 1987 when Meryl Stringell became chairman on the death of her predecessor Stanley Buckley.
After Jean Gow retired in 1985, Gerald Lewis had taken over as secretary and produced an interesting newsletter until he retired in 2001 when Brenda Jackson effectively filled the post and George Duthy became chairman until he retired in 2001. Previously George had been treasurer for many years. Brenda not only acted as secretary but also arranged visiting speakers and demonstrators. Penny Steyning was treasurer and organiser of sketching outings up to 2001 when she temporarily took over the chairmanship until the AGM of 2002. Roy Stringer was then elected chairman, a post he held until retiring at the AGM in 2005 .
No account of BAS would be complete without a mention of Roy Dean who served the society for many years as publicity officer. He was also pivotal in organising a memorable garden party in his garden in 1997 when members had the opportunity to meet and sketch on a sunny afternoon.
In recent years we have had an active committee organising at least two exhibitions a year - usually in St George Beckenham and Bromley Central Library - plus one or two “One Day Sales” in the United Reform Church or in the hall attached to St Peter & St Paul Church, Bromley. The traditional monthly meetings continue at the Verral Hall with a series of visiting speakers and artist demonstrators and in addition weekly workshops have been introduced at Ripley Arts Centre where a group of members have the opportunity to meet, paint and exhibit together.
There have been two other developments of recent years; firstly there is the very much improved newsletter - The EASEL - edited and produced by Michael Blackwell and secondly, the new display screens now owned by the society. Not only are these screens a boon to the society when exhibiting in venues away from the library, but also a source of income from other local groups and individuals who are happy to hire them. The society owes much to Peter Dinsmore for the enormous amount of extra work involved, not only for organising their purchase, but for continuing storage, moving and hiring out of these screens.
PT
In the absence of any surviving records of the early years of the society and sparse ones of the middle period, the above has been prepared by Pat Tucker from her personal memories and those of other long-standing members. In particular she acknowledges the great help received from Keith Coleborn who was one of those responsible for its foundation. She has also had help from Peter Wait. Pat is aware that the society has survived due to dedicated work of many more past members.
Now that I find myself following in Roy’s footsteps as your Chairman, I hope that the Bromley Art Society will build on the progress which has been made during his years at the helm and go on to even greater things. The survival of a group like ours in these times is not easy and not guaranteed. Just because the society has been in existence for 58 years does not mean that it will reach its centenary without a good deal of effort and loyalty from its members. Costs are rising, exhibition venues are fewer and so, it seems are enthusiastic buyers of art. We must not be downhearted however; we have a hard working committee with ideas. They were responsible for organising the weekly Workshops at Ripley last year and these are continuing although it would be good if more of you came along when you have a Wednesday afternoon free.
When researching and writing the History of the Society recently (the second part can be found in this issue) I began to think about my own art history which has covered almost exactly the same period of time. Although life in the late 1940s was generally dreary with rationing and other restrictions of the war continuing, it
was also a period of exitement and high hopes for the future. For me, at art school, the art scene was forever revealing new experiences and influences. More mature artists were returning to their work and post-war art books with colour plates could be found - if you were lucky. Exhibitions by contemporary artists were beginning again. British artists like Sutherland, Nash and Piper came to the fore then and as the years went by, works by international artists came flooding in to London galleries. They were not to be missed. Picasso, Matisse, Rauschenberg, Jackson Pollock, Georgia O’Keefe and many more. They all had something to say and different ways of saying it. The shows still go on - of course we do not like everything we see and quite often have to ask if the exhibit can be called art. But I believe that every show has something that will catch the imagination, will cause wonder or make you want to do better. The boundaries are always being tested - “isms” come and go - Pop-art, Op-art, Kineticart have given way to computer art and videos. Some of us may usually walk past these videos but if they are by Bill Viola I suggest you sit down and watch with care- if these are not art then little is.
The art I speak of is visual art - we join other societies for the pleasures of music,
theatre and literature. Most of our membership consists of people who enjoy painting. As an art teacher most of my effort was given to teaching techniques so that students stood a chance of realising their objective - a good picture often resulted but it is always up to the painter to add that magic ingredient - and transform the picture into art. Many of you may not achieve this sublime goal, but I am sure you will enjoy your attempts.
Pat Tucker
I spoke with Ann Holdway asking the usual questions. Here are her answers
Ed: How long have you been involved with Bromley Art Society?
Ann: Since 2001, I was encouraged to join by Brenda Jackson. I sent Brenda and the committee endless ideas and thought it only fair to offer my services to the committee and within a matter of months found myself in the role of secretary as Brenda wanted to step down.
Ed: What has been the most satisfying of your artistic achievements?
Ann: Sending in paintings for the SAA exhibition and winning the beginners Still life and flowers when I had been painting for less than two years.
Ed:Outside of the art world what is your favourite pastime?
Ann: Gardening. I am not one of those gardeners who knows the latin names for plants and I take pot luck with how, when and where I plant things. Colour and what is pleasing to the eye interests me and I love flowers.
Ed: What first made you want to be an mosaicist?
Ann: I had absolutley no interest in mosaics. In the same year I decided I would try my hand at watercolour by going on a painting holiday I saw a summer school for mosaics and thought why not? Although it was not a properly tutored course, I enjoyed and was hooked. May be it stems from liking jig saw puzzles as a child, the cutting of pieces and fitting them together.
Ed: What is your favourite place and why?
Ann: I don’t have a favourite place. I like being at one with nature and space, endless sea with empty beaches, panoramic views of the countryside, driving on empty roads with huge rolling hills and vast jagged rocks.
Ed: Do you think ‘art’ is relevant to the majority of people today; or is it of an elitist minority interest?
Ann: Art in it’s widest sense is relevant to everyone. To have pieces of art in your home that give you pleasure and raise your spirit is an essential part of life.
Ed: Which books you’ve read exhibitions that you’ve visited would you recommend to others?
Ann: I would recommend any of the exhibitions organised by the British Association of Modern Mosaics (BAMM). You will be amazed, impressed and inspired by the diversity of the exhibits both in materials used and the styles
Ed: What would you say to someone who has recently found pleasure in art to encourage him or her?
Ann: Explore everything, books, exhibitions, join local groups and hands on workshops. Enjoy what your doing. Follow your heart. Find your own style and go with your instinct.
Thank you Ann for sharing your passion for what you do.
MB
The Wednesday Afternoon Group at
Ripley Art Centre,
24 Sundridge Avenue
Bromley
Kent BR1 2PX
We started meeting in March 2004 and are currently doing very well indeed. Virtually a full house every week. I hope many of you got to see it and in passing realise the potential that Ripley has as a showpiece Art Centre in Bromley. It richly deserves to be better known and visited - many amateur artists and Art Groups meet there. Ring Thelma Richardson, (020) 8464 5816, for a copy of Bromley Arts Council Diary. It tells you all, and not just about Ripley but all the artistic events in Bromley. web: www.bromleyarts.com
Parking is easy, if there is no room in the Ripley car park side roads always have room. Buses pass the door and lifts offered. To pay for our studio sessions we ask only £2.00 per artist to cover costs. Contact Peter Dinsmore for more information or to reserve your place.