Thursday, February 05, 2026

Review: Episode 4 of Landscape Artist of the Year Series 11 (2026) - Skiddaw

This week, for the fourth episode of Landscape Artist of the Year the artists are back in the Lake District to paint Skiddaw which lies just north of Keswick. 

This is my review, which covers the location, artists, wildcards, heat paintings, who got shortlisted and who won the heat. Plus the themes I found cropped up throughout the programme. 

WARNING: Go and get a cup of tea or coffee and sit down. This is a very long one!
I got half way through this post and decided to call it THE MEGA WHINEY post. I really, really, really want to stop whining and complaining. Please!

There will be yet more screaming - for various reasons....

If you anticipate wanting to enter for next year
  • At the bottom of this post you will also find links to my REVIEWS of all previous episodes in Series 11.
  • Plus you can find all my REVIEWS of previous LAOTY Series from Series 4 (2018) TO Series 10 (2025) - which ALL have lots of tips - on my Art on Television page.

Episode 4: Skiddaw


LAOTY 2026: Episode 4 - Skiddaw Fell
The wildcards arriving - with Skiddaw in the background
aka "Look no houses!"

    Location and Weather

    The 931-metre (3,054 ft) summit of Skiddaw is traditionally considered to be the fourth-highest peak and the sixth highest in the UK. Its slopes are grassy towards the bottom and the ridges are covered in ice-shattered scree and stones towards the top. It's located in what are called the Northern Fells

    Up until the middle ages, its slopes were covered with a temperate rain forest. The Cumbria Wildlife Trust has an appeal for a 100 year project to help restore the Skiddaw Forest to its slopes 

    I think they relocated the LAOTY Pods from the edge of Derwent Water to the other side of Crow Park and then turned them around so they were facing the view of Skiddaw above the town of Keswick.

    Interestingly Skiddaw actually looks very like Croagh Patrick (to be painted for the Commission) - so this was "the ideal audition". Except it wasn't.....

    I'm guessing the pods were located where it was flattest. That's because I was somewhat surprised at the angle of the location. I was expecting them to be more turned towards Skiddaw - on the extreme left in the pic below - instead of being lined up in front of the town of Keswick. 

    Wildcards and Pods
    trees in the foreground, Keswick in the middle ground
    and then Skiddaw in the background

    This was another very hot day - as happened for the first episode at Derwent Water. I'm not going to repeat all the hot weather recommendations from previous episodes of this series.

    Episode 4: The Artists in the Pods


    Episode 4: The Heat 4 Artists - out of their Pods and waiting to be shortlisted

    Episode 4 pod artists are listed BELOW in the alphabetical order of their surnames.
    • Including a synopsis of their background
    • Links to their websites (if they have one) are embedded in their names.
    • Social media platforms are also referenced - but typically only one
    The artists are:
    • Ian Dowding - a former chef / restaurateur from East Sussex who is a self taught artist, painting in acrylics.  (no social media relating to art that I can find)
    • Stephanie Euphemia (Instagram) - a professional artist from Shropshire. She's a  landscape artist who specialises in oil painting en plein air - and has exhibited in various art galleries in England. She's also a former tennis player who gave up a corporate career to become an artist. She brought her daughter to the heat.
    Stephanie and her mini-me
    I had such an incredible experience meeting the judges, painting alongside the other artists (and my miniature artist who decided she wanted to get in on the action) and loved seeing all of the different artistic interpretations of the Skiddaw Mountains.
    • Alison Paterson Mars - a local farmer, Alison lives and works in the rural, rolling, windswept and little known farming country of the Solway, between the high hills of the northern Lake District and the enclosing Cumbrian coast. She produces expressionistic paintings using dramatic colours. She exhibits in and around the Lake District/Cumbria. She comments on her website as follows...
    It was the hottest day of the year. There were 8 of us artists who were given a pod to work in, there were also 50 others -‘ the wildcards’ who had to fend for themselves, and sit out in the sun, We’d to be there for 7am and it was after 7pm when I left, so it was a long day. Everyone had a brilliant time and we were well looked after. 
    • Cathy Pearce (Instagram) -a professional landscape painter from Wiltshire. She has been working in pastels for the last 13 years. As she says, there can be more pure pigment in a pastel than in oil paint. She had an article about Achieving Vibrancy in Pastels in The Artist magazine last year. I was very pleasued to have it confirmed that she was using Unison Pastels - which are made in Northumberland and are my pastel of choice too! I bought my first sets in the Lake District! Plus Clairefontaine Pastelmat. I've had my eye on her very striking submission (in the introduction image) from the beginning of this series. I'd wondered if it was pastels and if they were Unison! She has artwork currently exhibited in The Pastel Society Annual Exhibition at the Mall Galleries (link is to the photo in the FB Album of her artwork!) Plus this is her explanation as to how.
    Yay - I found a pic of the Unison Pastels!!
    I've got all those boxes too!
    • Scott Simpson (Instagram) He was born in Aberdeen and has Scots Singaporean heritage. He graduated from Grays School of Art at Robert Gordon University. He is an award-winning painter now based in Alloa, Scotland. His drawings and paintings are, at the fundamental level, based on nature and seeing the world at a walking pace. He has exhibited at the Royal Scottish Academy, Society of Scottish Artists and Aberdeen Artist Society on several occasions. This is an interview with him. 
    • Dan West (Instagram) - Dan, age 24, is an emerging artist from Teddington who currently works full time in the marketing, branding and graphic design of events. He attended Esher College before studying marketing at the University of Portsmouth. He first appeared on LAOTY as a wildcard when he was 22. He works in graphite and coloured pencils. His artwork is a leisure time activity but goes way beyond the normal standard of leisure artists - particularly in relation to composition which is very good. He also does album cover designs for musicians.
    His main body of work focuses on the relationship between people and their environment, finding stories in every day life. Dan's work varies in size and material, with a consistent eye for narrative. (his website)
    This was one of the most surreal experiences of my life and it is quite the memory to look back on. I’ve watched the show with my family for years and to have the opportunity to compete on it alongside a group of passionate and inspiring artists was amazing.

    Episode 4: Submissions


    As usual, we now get no idea of how they relate to one another in terms of size.

    Theoretically, the judgement as to who gets shortlisted should be based on both the submission and the heat painting.

    The submissions were varied as usual.  Here's the numbers for size and format

    Size 

    • Small x 3
    • Medium x 2
    • Large medium x 2
    • Large x 1

    Format

    • Landscape x 3
    • Portrait x 3
    • Square x 2
    However two of the artists with really strong submissions ended up nowhere - which was, in my opinion, down to choice and execution on the day.

    Interestingly the two artists Alison Patterson Mars and Cathy Pearce both produced submissions relating to vegetation - and I wonder if I should now recommend that artists focus on LANDscapes and not items in a landscape.

    Episode 4: Themes & Learning Points


    I am just gobsmacked by how poor some of the compositions were in this heat.

    The artists - after they had finished their artwork

    Things the artists might like to ponder on - after it was all over......

    1. Were artists told about the subject of the Commission beforehand?


    The REALLY BIG QUESTION! 
    Do the programme makers tell the artists what the subject for the commission is going to be after they get to the site and before they start painting?

    This particular location was an absolute total gift to anybody who could see the similarity between Skiddaw and Croagh Patrick (i.e. the subject of the Commission) - and wanted to make a good impression.

    I assume not - because anybody with an ounce of common sense would have been aiming to paint most of Skiddaw in all its glory. Whereas only one artist (Alison) tried to do that.

    To my mind, NOT telling the artists is rather like getting through to the final of a football competition - only to find they've changed the shape of the ball!

    Plus if you don't know what the commission is when you start filming the heats, then that can only be described, I am afraid,  as very poor project management.


    2. Were the Judges informed what Crogh Patrick looks like BEFORE the competition started?


    As per this conversation
    Stephen: The winner of this series gets a commission to paint Crogh Patrick in Ireland. A mountain I know well. This is a second cousin. I mean, it's not dissimilar in looks.

    Tai Equally barren in Ireland?

    Stephen: Yeah, oh yeah
    Read that through again.

    The Judges do not know what the subject of the commission actually looks like. Yet, in each heat, they make judgements about who is the best person in each heat to paint it.

    Words fail me. Except you know I like writing so I shall carry on whining. They've given me so much....

    3.Where's the focal point? What's the unique and special aspect of this vista?


    How do you convey the "sense of place" in a way which attracts the eye?
    Magnets for the viewer are of two types: a focal point and a centre of interest. The focal point of a painting is the spot that attracts the eye of the viewer because it is visually appealing. The centre of interest is the spot that attracts the mind of the viewer because it is intellectually appealing.
    Greg Albert - The simple secret to better painting - Pleasing the eye
    The MAJOR FAIL of most of the paintings produced in this heat was 
    • the total lack of a clear focal point - associated with what was the special aspect of this view - and the sense of place.
    • Skiddaw was reduced to being "the minor bit player" in the background in some of the artworks.
    • I wonder how many people would recognise Skiddaw from the paintings produced. That's WHY it's a major fail for most of the paintings.
    In your prep for a landscape, your #1 or #2 in the basic list of things to do when aiming to produce a landscape painting is to work out what your focal point is - and then build your painting around that.

    That didn't happen. I was just gobsmacked. Totally. I seriously could not believe my eyes.

    What I found interesting was a comment on the website of Alison Paterson Mars
    We were given our painting challenge, which we could choose to accept or not, but warned that the judges took a dim view of those who did something else entirely!
    I'm just wondering if the person (who was very obviously NOT a Judge) was to "wave generally at the background" - without any words - then I could see how the artists might become confused and think they had to paint everything!

    Which is just wrong!

    VERY BIG MISTAKE!

    TIP TO JUDGES: Make sure YOU are the people who brief the artists about what they have to paint - and some of the things you might be looking for. Be onsite before they start - and describe the view - much as Tai did in the video on the Artist of the Year FB/Instagram pages.
    "Tai: It's kind of interesting from here. It's quite brutal that landscape (looking UP). And so it's kind of interesting to be in this beautiful landscape and find something for our artists with a bit of brawn. It's overwhelming. It's very high. and there's nothing there"

    Stephen:  Does that make it difficult to paint?

    Tai: Yes, because we've got a one dimensional sky as well today. You've got to make decisions about sort of horizon lines. How do you create that height or the distance? It's by putting something in front. There's plenty of stuff to work with


    and then Tai reveals he has not even see an image of the mountain which is the commission (see #2 Theme  above) !!!
    distance is no problem. Dark tones to the fore. Getting lighter on retreat. The judges should have known that.... FB Follower's comment
    I got a distinct impression that a number of the artists were producing what I call "shopping list paintings" i.e. let's count what I can see and then see how I can fit it all in
    • grass
    • trees
    • houses
    • mountains 
    • sky
    FEW stopped to have a very long hard think about:
    • What was the unusual aspect? 
    • What was unique to this place in the country?
    • Which was the bit which made the programme makers bring you here
      • the trees?
      • the houses?
      • the mountain?
    aka WHAT IS THE UNIQUE AND SPECIAL ASPECT OF THIS VISTA?
    What tells us the story of this place?
    they really didn't do justice to the sweeping grandeur of the landscape (with which I'm very familiar). I was quite surprised that many of them chose portrait, and didn't work at scale. Since the final commission is a mountain, this was an ideal opportunity to demonstrate your ability to portray one. To me its all about mastery of light and distance and grandeur (and.. gulp.. was amazed to hear the judges expressing some surprise about distance/purple/mountains. ( A Facebook follower)
    In other words, what we should have been seeing was the glory of the Skiddaw range of mountains which were on full view - without half the support being filled with trees and houses.

    Of course it needed something in the foreground and middle ground to suggest distance and height - but not half the picture plane!

    Look what happened to Cathy Pearce one of the artists whose submission I loved and who I thought was absolutely bound to produce a good artwork. Skiddaw is reduced to a tiny sliver in the top left. I really wanted to cry when I saw the laying in. 

    Cathy Pearce and a sliver of Skiddaw and rather a lot of trees

    Then there was Chris Wright's painting of two halves - which was shortlisted. I did like his mountains and graphic representation of the slopes. I have absolutely no idea what the sliver of green at the bottom was about. To me it looks like wasted space. I wish he had brought a panoramic support with him and just done a big version of the top half. He might well have then won.

    Heat Painting by Chris Wright
    try putting your hand or a piece of paper over the bottom half
    so you just see the roofs and the tops of the trees.
    What does it do to the painting?

    Just try putting your hand over the parts of the paintings which were less than necessary and see what you get. To my mind - a much better painting. I loved the fells at the top and I totally hated the white houses which were such an absolute eye magnet and distraction - and yet totally irrelevant to the place!

    The ONLY ARTIST to focus on the unique and special aspect of this view was the local lady Alison Paterson Mars 

    It takes a Lake District lady to know what the Fells really look like
    - although I'm not a huge fan of the colour palette.
    Look at her ratio of trees and houses to fells and sky. Spot on!
    More than half the painting is about the slopes and peaks
    - which spells out that this is not Surbiton!

    For more on this topic, READ MY POST

    4. Composition and Design was lacking generally


    I was so appalled by the apparent general lack of knowledge and skills relating to composition and design of landscapes on display that I went to Google AI and asked "top 10 things to do when designing a landscape painting"

    I'm trying to avoid labouring at length and pointing out all the steps which got missed out by the artists when designing their artwork in this heat!
    Designing a compelling landscape painting involves deliberate choices that transform a mere scene into a work of art.

    Based on professional artist tips and composition principles, here are the top 10 things to do when designing a landscape painting:
    1. Start with Thumbnail Sketches: Before touching the canvas, create small, fast, monochromatic sketches to test different compositions and value structures. This helps identify the strongest, most dramatic, or balanced layout without wasting paint.
    2. Choose a Focal Point: Establish one clear center of interest (e.g., a mountain peak, a tree, or a cabin) to draw the viewer's eye. Avoid placing it directly in the center to make the composition more dynamic.
    3. Apply the Rule of Thirds: Divide your canvas into a 3x3 grid and place key elements—such as a focal point or tree line—along these lines or at their intersections.
    4. Position the Horizon Line Thoughtfully: Never place the horizon line directly in the middle of the canvas, which splits the painting in half and creates a static, dull image. Use a low horizon for a dramatic, expansive sky, or a high horizon to emphasize the ground/foreground.
    5. Create Depth with Foreground, Midground, and Background: Include elements in all three areas to give the painting a sense of 3D space. Add detail and contrast in the foreground, and desaturate (mute) colors in the background to simulate aerial perspective.
    6. Simplify and Edit the Scene: Do not paint every detail you see, as a photograph captures too much clutter. Curate the scene by removing unnecessary objects that distract from your main subject, focusing on the overall mood.
    7. Use Leading Lines: Incorporate natural elements—such as rivers, paths, fences, or cloud formations—to lead the viewer’s eye through the composition and toward the focal point.
    8. Map Out a Strong Value Structure: Values (the lightness or darkness of colors) are more important than color itself. Create a "notan" or value study, ensuring a strong contrast between light and dark areas to define shapes.
    9. Use a Limited Color Palette: Restrict your palette to 3–4 colors plus white to ensure color harmony and prevent a chaotic, muddy mess. Use warmer, more intense colors in the foreground and cooler, more muted colors in the distance.
    10. Design for Asymmetry: Avoid symmetric, even distributions of elements. Instead, balance a large, dark shape on one side with a smaller, lighter shape on the other, creating "informal balance"

    For more on this topic see my posts about:


    5. Formats: Landscape vs Portrait vs Square vs Panoramic


    TIP: A lot of decisions about how to design a painting are dictated by the supports you choose to use.

    There's certainly a case for bringing different formats with you if picked to be in a heat or painting as a wildcard - or just going out to paint a landscape anywhere. (I always sketched - but when doing landscapes I invariable worked over a double page spread in my sketchbook - and the landscapes I tackled got bigger and bigger)

    What is very odd in this heat is the significant proportion of PORTRAIT format paintings of landscapes. I have noted above and below the various forms of format used by this set of artists for their submissions and their paintings in the heat. 

    Check out most plein air painters. They are typically using a standard format landscape format or a smaller panoramic format. I'm amazed that, if they had checked the landscape around where they were asked to come for the heat that more didn't bring with them a standard 16x9 format panoramic support i.e. the letterbox view which works so well for both landscapes and online. 

    Maybe some heat participants are not proper landscape painters and have just got used to creating square or portrait format paintings for Instagram?

    Maybe some/more artists ought to get out and paint plein air before they enter LAOTY?

    Decision Time


    The (very odd) Wildcard Winner


    I don't think LAOTY could have signalled who was going to be the Wildcard Winner any more clearly if they had tried. 

    First she gets the lengthy interview with the presenter - par for the course and always a give away that this one is in contention.

    What I found really odd - and made me wonder whether this was an artist who had been "invited" to come along as a wildcard artist, was that 
    • she was absolutely dressed to the nines. Not something that happens very often.
    • I simply do NOT think any self-confessed messy artist would ever go to an event like this dressed as she was. Where was the ubiquitous apron which virtually all messy artists wear?
    Also, it's an absolute dead give away that there was a LOT of play acting going on, because she had changed into clean gloves to meet with Eva Langret. Who also struck me as somebody who knew the artist already.

    Would I be surprised if a Judge has invited an artist onto the programme to get exposure? No, absolutely not - since I know it has happened before on LAOTY. I may be speculating but it is an issue which has bothered me before.  Do I think this sort of behaviour meets the requirements of ethical programming.? No I do not. It's a fiction. If I'm right, then some might call it a fraud from the perspective of all the other wildcards who spent good money to travel that far, thinking they were in with a chance.

    Other queries:
    • What is interesting is that woman has not been an artist until VERY recently. 
    • However I was very puzzled as to the fact she did not paint the view in front of her! 
      • Was it from a photo on her ipad? 
      • I mean - where did the grey mountains wreathed in mist come from? 
    • How come Eva Langrish said her colours were "very good"? When they are totally untypical of the day. She could have done her painting at home and then mailed it in as her submission as an entry for next year.
    This is a GRAY PAINTING on a very sunny day with a very blue sky

    This painting winning makes a complete nonsense of the wildcard competition - which includes very many experienced plein air artists. There's always at least one (and quite often a lot more than one) who produces a knockout painting!

    For the record, Lamyaa Elgen (Instagram) (b.1995) is a British-Moroccan self-taught landscape painter and cinematic composer based in South West Oxfordshire. She is now profiling her "very romantic" debut collection of landscape art - of the Lake District - on her website


    Heat Paintings


    I continue to despair of the photograph of the heat paintings lined up next to one another in this series. We've had sunny days before - but never ones which have shot into the sun quite as badly as during this series!

    Shoot late in the day and into the sun and all you get to see are gray oblongs - of a different kind to the one above.

    Such a depressing image of the Heat Paintings
    when you cannot see any of them properly!
    Once again the photography of the finished paintings left a lot to be desired, ie pictured with the sun behind them, leaving us all in the dark! Alistair Nicol Art
    HOWEVER, one plus point is we can now see a photo of each artist with their painting on Instagram, even if it takes an age to get posted.

    You can see them all on Instagram HERE (if you are signed in) 
    One seriously epic view… and eight brilliant final paintings to prove it. Which painting’s your favourite and what do you love about it?
    or on Facebook HERE (ditto you need to be signed in)

    Facebook presents Eight photos of ALL the artists and ALL the heat paintings
    (see link in text above)

    I do think the makers of LAOTY ought to have a long hard think above investing in a tent for sunny days which allows us to see ALL the paintings together. They could have all the heat paintings on one side and all the submissions on the other.

    What the lineup of paintings did enable me to do was count. So, in terms of 

    Size
    • small x 2
    • medium x 3
    • large x 3
    Format - this was what was so unusual (i.e. there is a reason why the horizontal format is called "landscape"!)
    • Portrait x 4
    • Landscape x 3
    • Square x 1
    So of eight artists only three managed to produce a landscape format painting - which is just WEIRD!

    The shortlist


    LAOTY Episode 4: Waiting to hear who was being shortlisted
    The shortlist comprised the following artists:
    • Dan West
    • Stephanie Euphemia
    • Chris Wright
    So that's two square, one portrait format and no landscape formats!

    Dan West


    Dan West - submission and heat painting

    Both Dan West's graphite drawings were really small. However they were also packed full of content.

    For me they were a bit too dark. If you eyes are a few inches away you can appreciate the layers and the complexity and the skill he has employed to produce these.  Further away they just merge into a greyish square.

    It's NOT a size which works well for commissions.     No matter what Kathleen Soriano says. The only people who get huge mats and a gold inlaid frame for small works are those who have their names in dictionaries of famous artists!

    His artworks were described as being 
    • his heat drawing was very dense and detailed
    • his submission seems to relate to the language of film (i.e. I assume this means like a storyboard image)
    He is the ONLY artist who got out of his pod and went and found a view that he thought he could do in the time. I applaud him for that. If you're working small and tending to work from a digital image then it makes sense to FIND the best view rather than just trying to work out what you can do with what's in front of you when you look up. He didn't go far - but his view takes in the rather smaller fells to the south east of Skiddaw.

    His is the only artwork which connects the bottom to the top and creates both the sense of height and dpeth which Tai was talking about at the beginning.

    In that sense he's the worthy winner. However I don't see him going past the semi-finals unless he starts working bigger. But you never know....

    Stephanie Euphemia


    Submission and Heat Painting by Stephanie Euphemia

    Her submission painting is of a tennis court next to a building in Morocco with the mountains in the background.

    Her heat painting is a good effort. It has:
    • a foreground (grass)
    • middle ground (trees and a house0
    • background )slopes of Skiddaw
    To my mind she's got a better balance between the fells and the land in front of her - but it might have looked even better with two thirds slopes and one third trees. Think thirds. There's no need for the grass.....

    I liked her heat painting halfway through better than at the end where it seemed to have more subdued and "greyer" - nice harmonies on the greys, but I liked them better when they were more coloured greys.

    I am emphatically not a fan of her house. A white house instantly draws the eye - and yet it's not what the painting should be about. I'd have been happy without any sense of habitation - and greens which showed more diversity in the colour they're painted.

    Kathleen noticed the same right diagonal sloping down from left to right in both paintings. They are both lines which lead the viewer in.

    Chris Wright


    Submission and heat painting by Chris Wright

    Judges commented that Chris was not particularly interested in today's sky - but then neither was anybody else!

    The point was made that he's made clear in his submission that he could paint an atmospheric sky - which is a point prospective entrants might want to note for your tick list of things you want to demonstrate you can do!

    Tai commented that Chris's paintings are "incredibly English" and what is wrong with that I ask? It means he's delivering on "sense of place".

    There was a discussion about the notion that his paintings are about solitude i.e. the shells of places where people live - but congregated together. 

    I don't think the notion had occurred to the Judges that landscapes do not have to be imbued with "meaning" - they can just be "about a place"!  Yet again we see the discontinuity between the high flying international art market level - and the level that the audience and most landscape painters operate at.

    Chris likes caravans - and has painted a lot - see his website and the carousel of pics on the home page!

    There was no discussion about what was good, what could have been better and whether an alternative format or crop could have improved the painting. 
    There again, I'm not sure the Judges think like that.....

    Heat 4 Winner


    Episode 4: The shortlisted artists waiting to hear who has won
    (left to right) Dan West, Stephanie Euphemia, Chris Wright 
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    Series 11 | Heat 4 Winner

    The Heat 4 Winner was a bit of a surprise - and one I would not have guessed at the start.

    The Heat Four Winner was Dan West who won with TWO small square monochrome drawings. Both were very good.

    Summarised as follows by Tai
    a brilliant young artist who is able to produce with graphite pencil on paper at a very small scale immensely complex drawings which saw a lot about drawing itself and a lot about the world we live in. I'm just astonished that he can do it on such a small scale with huge distances involves. I think it's magical.
    However Stephen Mangan asked the question - before the announcement - which everybody making the programme knew was going to be asked by viewers.

    How does a small graphite drawing translate into a £10,000 commission?

    Kathleen Soriano's answer was fatuous (one of the words used by somebody who follows me) and I do not disagree. I think she did her reputation no good with that answer.


    Next Week: Episode 5 ON the Thames in London


    The fifth episode involves the artists being located on a boat on the River Thames, painting the South Bank across the River Thames in London
     
    I kid you not! It reminds me of "The Final Big Challenge" of the The Big Painting Challenge FINAL 2017  when the remaining artists had to paint the Canaletto view of the former Greenwich Hospital - from a boat moored on the north bank of the Thames

    As I memorably remarked in my review (link above) at the time
    Did anybody consult the tide timetables and provide information to the artists about whether the boat was going to be sinking or rising as they painted?
    The artists on the boat - except I couldn't count eight in the views we were shown!

    Reference 


    This covers:
    • Series 11 reviews
    • Entering Landscape Artist of the Year Series 12 in 2027
    • Past Series reviews - which you're recommended to read if you want to enter - LOTS OF TIPS

    Series 11

    Entering Landscape Artist of the Year Series 12 in 2027

    For all those interested in entering the series which will be filmed this summer (during June/July) - I will be writing a blog post in the near future about Call for Entries - Landscape Artist of the Year 2026 (Series 12). (Note: It will be very similar to
    Call for Entries - Landscape Artist of the Year 2026 (Series 11 but will take into account the changes with respect to how many artists will be selected.

    The deadline for submission is NOON on Monday 23rd March 2026 - and entries are ONLY accepted online.

    Past Series

    You can read past reviews of the Landscape Series of the Year which very many artists have said they have found helpful. See my Art on Television Page which:
    lists all reviews I've published for series episodes broadcast between 2018 and 2024
    together with the topics / themes /TIPS I identified in each episode.
    Posted by Making A Mark on Thursday, February 05, 2026
    Categories , , , , , , , , , , ,

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