Showing posts with label demonstration. Show all posts
Showing posts with label demonstration. Show all posts

Wednesday, January 21, 2026

Pastel Society Events Programme

I don't normally do a post about the events programme for a national art society exhibition. However this is the BIGGEST events programme from the Pastel Society that I've ever seen - and so.....

The Annual Exhibition 2026 of The Pastel Society opened today at the Mall Galleries and continues until 7th February

The Pastel Society Studio is in the East Gallery at the Mall Galleries

There is an Events Programme 

  • all events are FREE with admission and no booking is required.
  • Unless otherwise stated, the events will take place in The Studio (East Gallery)
Here's your options - with dates and who is doing what.  Note there are lots of opportunities to try out different media and work on your own to see whether or you like dry media.

To see more of the artwork by the person giving the demonstration/talk/whatever click the link in their name (only applied to the first listing).

Events Programme | Pastel Society Annual Exhibition 2026


Simon Hodges & Richard Rees

Thursday 22 January, 11am and 2pm

  • 11am Simon Hodges PS; Use it or lose it A short illustrated talk and Q&A about Vice President Simon's thoughts on the creative process.
  • 2pm Richard Rees PPS will take you through the amazing qualities of Caran d’Ache pastel varieties and show you how they can open up a world of creativity.

Curtis Holder

Friday 23 January, 11am and 2pm

  • 11am Curtis Holder PS SGFA CBPP Demonstration Curtis will talk and draw through a pencil portrait in his own unique way. A seated model may be requested from the audience.
  • 2pm Curtis Holder; Demonstration Curtis will talk and draw through a pencil portrait in his own unique way. A seated model may be requested from the audience.

Simon Hodges

Saturday 24 January, 11am and 2pm

  • 11am Simon Hodges; Pastel & the painting process A short illustrated talk, demonstration and Q&A about his thoughts on the painting process using pastel.
  • 2pm Enjoy uninterrupted time to use pastels and dry media in the studio. A Pastel Society member will be on hand to informally demonstrate, give advice and answer questions.

Sunday, November 09, 2025

After the Mall Galleries - where smaller art societies went next and why they're loving it!

Traditionally, there have always been some smaller and more specialised art societies and groups who exhibited at the Mall Galleries.  In recent years, the nature and cost of the arrangements for renting the galleries has changed significantly. 

As a result of which, these societies started looking elsewhere for places to exhibit.  

Two of these societies are:

and this post is about where they have gone!

Details of their current and opening soon exhibitions in 2025 are at the end of each section about the societies.

Note also that these are two groups of artists which love to give demonstrations during their exhibition! You can find out more on Facebook.

The Wapping Group of Artists 78th Annual Exhibition 

- at 340 Kings Road, Chelsea


Every Wednesday between April and September, whatever the weather, the Wapping Group of Artists meets to paint at venues along the River Thames - anywhere between Henley and the Thames Estuary. 

One wall of the ground wall Gallery.

I thought I'd lost the exhibitions of The Wapping Group of Artists. Except this year I saw notices about the exhibition and decided to visit last Friday when I was in Chelsea for a meeting.

Which is how come I came to visit their 78th Annual Exhibition 2025 at the 340 King's Road Gallery

I chatted to the people running the exhibition about how they liked it - and they were VERY enthusiastic about the new location!
  • rent is much less than the Mall Galleries i.e. £3,000 plus VAT per week for 
    • space over two floors totalling 1,178 Sq Ft
    • see plan of gallery
    • agents are Sloane Stanley who merchandise the space as a "pop-up shop/art gallery"
    • the Wapping Group of Artists could afford to take it for two weeks - which is more days than most of the FBA Societies get at the Mall Galleries!!
  • they're in an excellent location in Chelsea (just before the bend in the King's Road as you go west)
  • their sales have increased since they started exhibiting here - I think they had sold nearly 30 when I was there. It proves that location is everything when it comes to passing trade. 
    • The King's Road is very much a shopping location and those who come shopping here sometimes have bigger purses/wallets than others visiting other locations.
    • That said, all the artworks I saw had very sensible prices - because they are all the size of plein air paintings - and certainly the red dots I saw on the wall indicated some of what had sold and they also had very sensible prices
New member Paul Alcock who was steward for the say
- standing next to the red dots of the sales.

Why you may ask are the red dots on the wall rather than on the wall where the  sold painting is hanging?
  • This is because when you are running your own exhibition, you can let people take their painting away after they bought it. You then hang another "reserve" painting by that artist in its place.  So in effect they refill the gaps in the wall from sales with new artwork from reserve.
  • The arrangement for the exhibition was:
    • 20 members display 6 paintings - but make 2 more available to hold in reserve
    • those who are Candidates for Membership can exhibit 2 paintings and have one in reserve.
It's not an exhibition which has a catalogue so much as a current list of what is on offer.

It also has a table of pics of all the artists in the show - showing them painting plein air "somewhere" along the Thames between Henley and the Estuary

The Exhibition has a table of great photos of each of its members 
- painting plein air on location somewhere near the River Thames

The exhibition has a simple (and very repeatable) approach to the management of the exhibition
  • there is one paid member of staff only who handles all sales - for the duration of the exhibition. 
  • Plus members and candidates staffing the floor and being able to answer questions.
It all sounded an eminently sensible arrangement to me! 


It was also wonderful to see a Group which has been around for a long time, thriving at a new location.

Exhibition Venue: 340, Kings Road, Chelsea, London, SW3 5UR
Dates: 31st October - 11th November (Until Tuesday)  Open daily during exhibitions
Free admission | No booking required

The RMS at the Bankside Gallery


The Annual "Art in Miniature" Exhibition of the RMS showcases (literally) over 500 miniature artworks
from contemporary artists worldwide, using traditional 16th century techniques, as well as many new and innovative styles.

The RMS had a similar opinion of the new proposed rents for galleries at the Mall Galleries - and promptly decamped to the Bankside Gallery 

Wednesday, May 10, 2023

The Making A Mark Award for Botanical Art

I've been highlighting the artwork of artists I like on this blog for years - and I know that is much appreciated. Last year I went one step further and created "The Making A Mark Award - for Botanical Art"!

The Making a Mark Award: a new perspective on Botanical Art

I first introduced "The Making A Mark Award" on my Botanical Art and Artists News Blog in June last year - see Plantae 2022 - and a new Award

Below is how I described the purpose of the award and who would win it
The BRAND NEW Making A Mark Award will allow me to make a cash award to any one (or more) of the following:
  • a first time exhibitor at the exhibition who impresses
  • people who bring a fresh and different approach to botanical art and illustration
  • artwork demonstrating a genuine new perspective on how to portray habitat
  • artwork about plants which don't often get illustrated
  • drawing excellence - maybe in less used media
In essence, it's about:
  • a new perspective on botanical art
  • artists who "make their mark" with the artwork they create which catches my eye - because it's excellent and different.

The award comprises:

  • a £100 Award
  • an interview with the artist which will be written up as an interview on my Botanical Art and Artists News Blog.
I'm actually minded to also produce a similar award for other national art societies.....

 

The winner of the inaugural Making A Mark Award in 2022: 
Inês-Hermione Mulford


Winner of the Inaugural Making A Mark Award
Inês-Hermione Mulford
with her four small graphite drawings of mosses and lichens
(in the grey frames at either side)

Inês-Hermione Mulford won the first award because she fulfilled a number of the criteria I'd identified for the recipient. These were
Hence why she won the award.

On her website you can see 

Dwindling by Inês-Hermione Mulford
(Wooly fringe moss with highland granite and lichen
Oil on 120x120cm Backed Board

An Interview with Inês-Hermione Mulford

Tomorrow my blog post on Botanical Art and Artists you will be able to find my interview with Inês-Hermione which looks at

  • how and why she got into art
  • how she started drawing plants
  • her approach to drawing macro views of bryophytes and lichens
  • what lessons she learned from exhibiting with the SBA

Inês-Hermione Mulford is also back at Plantae 2023 at the Mall Galleries NEXT WEEK with another drawing.

One of the first time exhibitors next week will also hopefully be identified as the most appropriate recipient of my the Making A Mark Award for 2023!


Plantae 2023



Plantae 2023 - the annual exhibition of the Society of Botanical Artists - opens next week. The exhibition includes over 360 artworks by 186 artists.
  • Venue: Mall Galleries
  • Dates: 
    • 16th May from 2.30pm – 5pm and 
    • 17th to 20th May from 10am – 5pm daily
  • Entry Fee: £5
There are also demonstrations of botanical art as follows. 

Thursday, March 17, 2022

How Art Societies can use Zoom

Is your art society running its AGM on Zoom. If not why not?

Does your Art Society deliver any online demonstrations / webinars / critiques online?

One of the aspects of art societies which has always struck me as being rather unsatisfactory is the way that those societies which cover large land areas (i.e. NOT the local painting group) have had a habit in the past of holding their Annual General Meetings at a date, time and place which suits those running the society - but is often not one which suits most of its members - particularly those who have to travel long distances to attend.

I remember well attending AGMs at 3.30pm on a Sunday afternoon, when I'd driven halfway across the country to attend - and had to drive back and go to work the next day! I was not impressed with the amount of thought and consideration given to the membership at large.

As a result, an AGM can often generate the following results

  • poor attendance (as a percentage of its total membership)
  • an unexciting agenda i.e. no thinking or discussion about what the society should be doing / how it might change / what it could do in the future
  • elects the same people again to do the same jobs.

Should we be surprised? 

Probably not. It's exactly the same way as many companies and organisations have conducted their AGMs for decades - if not centuries!

However one of the benefits of the pandemic is that it's provided a new way of doing things.

I looked online - and found a number of examples of art societies who moved online for regular meetings and/or their AGM. Mostly these were societies who had taken to using Zoom for other aspects of their continuing activities during the pandemic eg talks to members and/or critiques.

The ZOOM AGM held by the
Frimley and Camberley Society of Arts

February 2022
Once again Coronavirus, this time in the form of the new Omicron variant, meant that the AGM has had to be held via Zoom. There were relatively few members able to attend in this way but members will receive this in their Newsletter via email.

A decade or more ago, the issue would be about whether you could use email for routine communication with members. 

Now email is routine and the next challenge is getting members to sign up to Zoom!

How Zoom can move organisational change up a gear.

The advantages of thinking about using Zoom as one option for AGMs is that use of Zoom can:

  • promote increased interactive involvement and attendance by a wider membership - when travel is an issue. That means more people have scope to be engaged with and contribute to the ongoing wellbeing and development of the art society
  • eliminate boring and longwinded speeches
  • make organisers think more about agendas and who will speak 
  • develop time management skills amongst organisers and those attending - given the 'free option' comes with limits on who can attend and how long meetings can be (i.e. for 3 to 100 participants, Zoom meetings are limited to 40 minutes)
  • make art societies think about the paid option - thus allowing them to have meetings of unlimited length for a variety of purposes all year round. The cost of a paid licence at Basic level (£119.90 per year in the UK) can be cheaper than the hire of a hall for an AGM!
  • reduce greatly the travel expenses paid to core members who must be at the meeting - and who get their travel expenses paid.
Of course, Zoom won't suit everybody - especially those who refuse to engage with technology. If 'core participants' feel excluded because of the use of Zoom it might serve to remind them what it feels like for all those who live e.g. a long way from London (or where ever the annual exhibition/event is being held which the AGM has been tacked onto). 

However for anybody with a smartphone it's perfectly possible to participate using Zoom - you don't actually need a computer!

The other major benefit of Zoom is that for the paid version events can be recorded and stored online and then accessed via a link by anybody unable to access and participate at the exact time and date. Not something you can do with a live event unless you video it yourselves.

Art Society activities on Zoom

I took a quick look round to see what I could find by way of art society activities on Zoom

Local Art Societies

Check out Newsletter 389 of the Berkhamsted Art Society which highlights:

  • Zoom Coffee Mornings - described as 'very popular' and a place where people can converse about art, tips and techniques, art appreciation and consider their themed "homework"
  • Zoom Life Drawing Sessions - based on organising a proper life model to work from
  • Zoom Demos - using remote tutors to provide demonstrations of how to tackle particular topics - in much the same way as regular talks. Except everybody has the benefit of exactly the same view
As it was our first online demo, we were pleased to find that our view of the artist and his work was better than often achieved in the Civic Centre!
  • Critique Evenings - which can work in the same way as normal such sessions - but just online.
What I found interesting is that looking forward there was a good amount of Zoom sessions for different activities in their forward planner. 

To me this indicates that a lot of people valued the way they could 
  • continue to be part of a community of like-minded individuals
  • participate from home - and reduce travel time/costs and feel safe
  • continue to learn about an important interest and activity
Other Art Societies organising activities via Zoom. For example
What was disappointing was that I didn't find more art societies which had taken the initiative to explore a new way of engaging with their members.

[UPDATE] These are comments left on the Facebook post associated with this blog post.
Dorking Group of Artists - throughout the pandemic, Dorking Group of Artists supported and involved our 185 members with regular weekly topics/programmes via zoom, social media, and our website, and very quickly introduced practical demonstrations from a wide variety of artists as well as life drawing. We held our AGM online in 2021, and set up an online selling gallery for our members at the beginning of lockdown. For those members without the technology, we kept in touch with them by landline or mobile. For many of our members we were a lifeline, maintaining their interest in art, drawing and painting, helping them to keep occupied and diverted from the generalised Covid anxiety that everyone suffered from. During summer 2021 we resumed weekly plein air drawing and painting sessions in different parts of our local area. In October 2021 we at last met again at our usual weekly venue, although we still have Zoom demos and lectures.
The South African Society of Artists, of which I am a member, held our monthly meetings, demonstrations, and lectures on zoom throughout the lockdown period of the pandemic. It was a learning curve all round. We've recently resumed our normal in person monthly meetings

National Art Societies with an International membership


I've now attended three Annual General Meetings and Annual Conferences of the American Society of Botanical Artists
This is something many more national art societies with international memberships should be doing.
  • HOWEVER I would caution that delivery needs to be thought through carefully when delivering across an international dateline.
  • Speaking personally I would not seek to replicate face to face Conferences - but rather space sessions and events out over a longer period so that you don't challenge people too much with the timezone differences.

What happens when Art Societies don't Zoom?

Monday, June 07, 2021

VIDEO: Melissa Scott-Miller painting backs of houses, back gardens and urban landscapes in London

 

This is a wonderful video of Melissa Scott-Miller painting her wonderful detailed urban London landscapes in lush oil paint.

"I like to feel I'm portraying the essence of an area"

LEARN:

  • what the inside of an artist's home really looks like (oil paintings occupy every wall while they dry and wait for exhibitions, canvases for painting stack against walls)
  • how to paint with an easel on the stairs
  • why shopping trollies are a wonderful way to transport kit for plein air painting
  • how to respond to really irritating people who want to talk about your painting while you're working (keep responses brief and don't encourage more questions and be nice to those who nice to you)
  • how to respond to "how much" questions
  • how painting plein air facilitates marketing - so don't forget to take your business card!

"If I really had my own way, I'd just be painting backs of houses
The video was created for the recent Royal Society of British Artists Annual Exhibition 2021

We follow Melissa Scott-Miller RP NEAC RBA as she paints in her studio, on the stairs, and out in the streets of London.

Growing up among the tall red-brick mansion blocks of Kensington, Melissa Scott-Miller was an enthusiast for London's streetscapes from an early age. She has made the urban landscape her specialty, choosing metre-square canvases to record the rich detail of the city.

The video was made by Jack Elliott Hobbs, digital content creator and documentary filmmaker.

Saturday, November 30, 2019

Why I'm not reviewing the ROI and RMS Exhibitions - yet!

The short answer is that it's very definitely not for the want of wanting to travel into London to see the annual exhibitions of:
at the Mall Galleries this week and next - until 1pm on Sunday 8th December.

The longer answer is I've been kiboshed by my duff ankle yet again. Earlier this month a Consultant Radiologist at Barts Hospital gave my ankle an ultrasound and announced I had three bits of bone floating free in my right ankle.  I looked at the picture - they looked rather big and rather sharp to me. They probably account for why I keep suffering from extreme pain and immobility i.e. I have to stop walking. I knew from the last lot of scans in 2016 that I had one bone fragment in my ankle due to my osteoarthritis (it had broken off). It would seem that the increasing rate of problems with my ankle is almost certainly due to the increased number of slivers of bone which are in places they shouldn't be.

Being on my feet for much of the evening at the PV of a new exhibition last week finished off my ankle for this week. Hence why I have not yet visited these two exhibitions which I always love to visit.

Normal service will be resumed as soon as possible. Shopping this morning was OK for the first half and not OK for the second half - which suggests that a trip into the Mall Galleries might have to wait a bit longer still. I hope to get there at some point next week.

More about the 2019 Annual Exhibitions


Mall Galleries pages with details of each exhibition are below

Below are some links to those who would like to visit or catch up on who has done will in the prizes and news of demonstrations

Royal Institute of Oil Painters


The Mall Galleries website includes a virtual exhibition of the work in the show. Just scroll down this page to see most of the works in the exhibition.

ROI 2019 prizewinners on the ROI website is a news item about the winners of the prizes at their exhibition - with images of the winning paintings - one of which is pictured above.

White Peonies in a Green Bowl by Linda Alexander ROI SBA
Winner of the The Alan Gourley Memorial Award
Oil on linen, 42cm x 42cm
£2950
(Currently in the ROI Exhibition at the Mall Galleries)

The ROI Art Event Evening will be held on 3 December 2019, 6:00pm to 8:30pm - however the event is now sold out.


Royal Society of Miniature Painters Sculptors and Gravers 2019


This page on the RMS website details the awards made to artists as a result of artwork exhibited in the 2019 Annual Exhibition.

I'm very pleased to see that Dorian Radu, an artist who has been a client of mine is amongst the prizewinners. I thought his painting skills might be well suited to the demands of the RMS - where paintings are limited to not bigger than 4.5" x 6" (11.5 x 15cm) - and recommended their open exhibition to him!



The RMS have member artists demonstrating on the following days.
  • Sun. 1st December - Marian Tumelty VPRMS - A composition of natural objects in watercolour on vellum.
  • Mon. 2nd December - Paul Eaton VPRMS - Sculpture using investment casting wax to create original sculpture, using low voltage soldering iron and various stainless-steel carving tools
  • Tues. 3rd December - Alison Griffin RMS - A Conservatory interior scene in acrylic, on board
  • Wed. 4th December - Carole Flanders VPRMS - A Dog in water mixable oils, on paper
  • Thurs. 5th December - Michael Coe RMS - Portrait on vellum, in watercolour
  • Fri. 6th December - Barbara Valentine RMS - Still Life in watercolour, on ivorine.
  • Sat. 7th December - Helen White RMS - Medieval inspired designs in watercolour, on vellum

Monday, April 08, 2019

Review: 207th Exhibition of Royal Institute of Painters in Water Colours

The 207th Exhibition by the Royal Institute of Painters in Water Colours continues in all three galleries at the Mall Galleries until 18th April 2018.  411 paintings have been hung in total

Cover of the RI Catalogue
is a painting by Lillias August of some of the Archive
The painting is to be auctioned in order to raise funds for the conservation of the archive
which have been deposited with the Victoria and Albert Museum.

All the exhibition information is on the Mall Galleries website - including
Members of the Royal Institute of Painters in Water Colours; Rosa Sepple, Shirley Trevena, Jean Noble and Ian Sidaway form a panel answering your questions on everything to do with water media and the Institute.
Admission to the Exhibition is £4 and Free to Friends of Mall Galleries, Friends of the RI and under 18s

HIGHLY RECOMMENDED: I've visited twice so far - on a very well attended Private View and the following day when coachloads arrived and filled the gallery.
  • It's an exhibition which is on for just over two weeks across all three galleries. 
  • Given the number of visitors it attracts it is one of the premier exhibitions at the Mall Galleries all year.  (You can see visitors to the Gallery in posts in the News section of the RI website) 
  • It's also attracting very positive comments from those who have visited on Facebook
"Fabulous exhibition and so much to see"
"A lovely exhibition. Do see it if you can"
"I saw the exhibition yesterday and loved it. Such a high standard."
I've already highlighted the artwork winning awards in RI Annual Exhibition 2019 - Awards and Candidates - plus included a photo of the Candidates Wall.

I've also highlighted "gallery view" photos of the exhibition in an album on my Making A Mark Facebook Page - which can be viewed by anyone irrespective of whether or not you have a FB account. Click the pics to see larger versions. (Anybody wanting credit for a body of work please let me know - and include the URL for the specific pic)

What follows below is a review of the exhibition - including an indication of exhibition metrics and sales - which I'll be analysing in more detail next week at the end of the exhibition.

Monday, March 18, 2019

Review - Lynn Painter-Stainers Prize 2019 - and pricing issues

the bottom half of the prizewinning painting by Jennifer McRae 
This is about the recent Lynn Painter-Stainers Prize Exhibition. It covers:
  • the prizewinners
  • the nature of the artwork selected
  • the artwork I liked
  • pricing of artwork
You can still see all the artwork in the virtual exhibition on the website - except you don't get a sense of size - and some were very big and some were very small.

Prizewinners


The wall of Lynn Painter-Stainers Prizewinners 2019

First Prize (£20,000 and a Gold Medal): 

Jennifer McRae, Past, present, future: tracing the female line (2018), £16,000



I was fairly cockahoop having said in my blog post about selected artists last week
Terrific contemporary figurative painting! This is who I'd give the LPS Award too. Jennifer McRae never ever disappoints.
Seeing it in the exhibition, I was even more impressed with it.

The concept behind it - of three generations in one painting - and the utter clutter of the artist's working surface (see top of post) were both a joy to behold.  What I like about Jennifer mcRae's portraits - and I've admired a few in the past few years - is that she's never averse to the subject who looks straight out of the canvas - right at you!

Plus everything always feels quite natural - as if you've just walked through a door in her home (or the home of her sitters). There are very few portrait artists who can pull that off and I can only imagine it's something to do with the mindset of how she approaches her portrait painting.

Second Prize (£4,000) 

Lara Cobden, The Winterkeeper's Cabin (2018), £2,500


UPDATE: Many apologies to Lara Cobden - as I omitted commenting of her painting by mistake before publishing!

I kept getting a feeling before I saw it that is was somewhere heading into Peter Doig territory in terms of enigma and mystery - but not quite in terms of painterliness - although it's very well painted.  The painting certainly did not disappoint on viewing and I can well imagine that it was one of those which stuck in the brains of judges - which is what I always think a prizewinning painting should do.

Young Artist Award (£4,000) - For an artist who is 25 years of age or under: 

Ewan White, No.7 (2018)


It's really good to see young artists tackling scenes involving a group of figures - a subject which is ignored by very many portrait artists. This domestic subject has a curious perspective but reminded me of some of the narrative paintings of the past.

Brian Botting Prize (£5,000) - for an outstanding representation of the human figure

Charlie Schaffer, Preston (2018), NFS


I was extremely impressed with this portrait painting - and particularly liked the technique in relation to to the mark-making which you can see in the crop of detail below.  To me it's the type of portrait I wouldn't be in the least bit surprised to see in the BP Portrait Award.



The Daphne Todd Prize: £2,000

James Lloyd - in my room


James Lloyd has a habit of winning prizes with self-portraits of painting in his studio! (See James Lloyd wins The Ondaatje Prize for Portraiture 2008)

Selected artwork

I thought it a better exhibition than last year - and I LOVED the hang on the end wall - particularly the three central paintings.

Tuesday, March 05, 2019

Lynn Painter Stainers 2019 - selected artists and events

This year's Lynn Painter-Stainer Prize Exhibition can be seen at the Mall Galleries until 17th March 2019 (Open daily, 10am to 5pm | Admission free).  However if you are unable to get to London, you can see the 87 artworks selected for the exhibition online now


The winner of the £20,000 First Prize - and the other prizes - will be announced tonight.
Very oddly there's absolutely no tweets about it online.

Selected Artists

The Judges for 2019 comprise 3 artists and 2 gallerists.
  • Christopher Green, artist and former prize winner
  • Tom Hewlett, Portland Gallery
  • Robin Lee-Hall PPRP, artist
  • Jennifer Scott, Dulwich Picture Gallery
  • Ben Sullivan RP, NEAC, artist
Below is the list of artwork they have selected (+ price of the artwork) ordered alphabetically by surname of the artist.

I do wish people putting artwork online in a digital gallery would remember that we have no way of appreciating the size UNLESS THE PROVIDE DIMENSIONS. (Yes - I am shouting to be heard!). Details of media would also be much appreciated.

There aren't enough hours in the day for me to search for all the websites of selected artists. However I'm very happy if artists want to contact me and let me know what their website URL is - and I'll embed it in their name.

Below you get my sporadic comments - very much first reactions as I worked my way through the digital gallery. Note - these were all written prior to the announcement of the prizes. I've added in the tweets - of artists with their paintings - by the Painters Company afterwards.

Sunday, April 15, 2018

Review: 206th Exhibition of Royal Institute of Painters in Watercolours

As usual I very much RECOMMEND a visit to the Exhibition by the Royal Institute of Painters in Watercolours at the Mall Galleries which continues until 21 April 2018.

Main Gallery
I've been getting queries sent to me asking about my review post! I was late getting to the exhibition due to prior commitments and a period of complete immobility so had been following online. However I finally got there last Friday and the exhibition did not disappoint. Indeed it's head and shoulders above last year's exhibition of the Sunday Times Watercolour Competition.

Threadneedle Gallery
North Gallery
I've also been getting comments from people saying they think it's the best one they've seen and that RI exhibitions have been getting better and better in recent times.

A very busy exhibition
The exhibition has been extremely well attended. That seems to be because of two things:
  • the RI has been making much better use of social media this year both beforehand and during the exhibition to show what's on display at the show and what's happening in the exhibition
  • there's a very extensive range of events and demonstrations during the course of the exhibition
Oddly, the website lacks a proper page for the exhibition and had no note of the events online. All the exhibition information is on the Mall Galleries website - including 
Anne McCormack demonstrating her curious technique on Friday
- watercolour on gesso with lots of gum arabic

Exhibition Metrics for 2017


This is a summary of the exhibition metrics for the annual exhibition in 2018

The exhibition includes 
  • 407 paintings by members and non-members were hung across the three galleries (405 if you discount the two paintings by HRH The Prince of Wales)
  • by 151 artists from 12 countries
  • 163 of works (40%) by 100 (66%) non-member artists were selected and hung in the exhibition.
  • 50 Members: averaged 4.88 works hung
  • 100 'Open' artists: averaged 1.63 works hung - although this included the people who were Candidates for Membership where the number of works hung varied between 2 and 4 paintings (I'm going to do a seperate post about Candidates to assist those wanting to see the level of work by those applying for full membership)
  • a lot of new sponsorship - and new prizes - you can see some of the Prizewinners below
Two interesting things to note are:
  • a new hardback book by the RI called "Then and Now" which provides an insight into the history of the RI and profiling its current members will be published in approx. 12 months time
  • the Victoria and Albert Museum have agreed to preserve the extensive collection of archive material from the foundation of the RI.

Other things I noticed

Sunday, February 04, 2018

Events, demos and workshops at the 2018 Pastel Society Exhibition

One of the really good aspects of the Annual Open Exhibitions by National Art Societies is the fact most make an effort to put on a range of learning events for the public.  Most do demonstrations, some do guided tours and some do workshops

The Pastel Society is better at this than most and below you can find a list of the upcoming workshops which will run during their Annual Exhibition which runs between 20 February and 3 March at the Mall Galleries.

Cover of The Pastel Society Catalogue

Below you will find the link embedded in

  • the title of the event are to a page which should tell you more about it. 
  • the name of the artist are to their website (if they have one)

Tour

Events: drink and sketch or paint

The Mall Galleries organises a drink and sketch event on the last Thursday of each month - which generally coincides with one of the annual exhibitions by one of the national art societies. They each have a different theme. There's no tutor but lots of people wanting to sketch.

Demonstrations

All these events are free to attend with admission to the exhibition
  • 21 February (12:00pm to 4:30pm)- Working with Portrait Models - Susan Relph PS will be in the gallery working from two portrait models and visitors can bring their own sketchbooks and media and join in
  • 24 February 2018 - Two members of the Pastel Society will be pastel painting in the galleries 
Pastel landscape by Cheryl Culver in the 2018 Exhibition by the Pastel Society


Workshops


The workshops will be held in the dedicated Learning Centre (accessed via the main entrance to the galleries) and run from 11:00am to 5:00pm. All workshops costs £60 or £55 if you book four workshops or are a Friend of the FBA (or £50 if a Friend books 4)
Participants may bring a packed lunch although drinks and snacks are available from the Mall Galleries Café. Easels and drawing boards will be provided, but students should bring their normal range of materials. Models will be available, but where the subject is landscape, participants are recommended to bring sketches to work from.
Now is the time to get signed up before all the spaces go!  
You can Download an Application Form 
Pastel still life by Jan Munro in the Pastel Society Exhibition 2018
PS You can see the Catalogue for the Pastel Society Exhibition 2018 on Issuu

Monday, January 18, 2016

Pastel Society Workshops and events

One of the things I very much like about the national art societies that exhibit at the Mall Galleries is they always have a good range of events, demonstrations and workshops.

In February, the main gallery at the Mall Galleries will reopen after a major refurbishment and will be boasting a new energy-efficient heating & air conditioning system and more natural daylight.

The first two exhibitions to benefit from this will be:
Details of the workshops, events and demonstrations associated with the Pastel Society exhibition are now published on the website.

I've included a summary of them below - except I've added in links to websites and profiles and videos where available plus quoted how they like to work with pastels

Pastel Society Workshops

Events Page: a sample of the pastel workshops being held during the exhibition

All of the workshops:
  • take place between 11am and 5pm allowing people to travel to London from some distance. 
  • are priced at £60 for the day. 
  • Easels and drawing boards are provided by students are expected to bring their own pastels and drawing materials/supports. 

The tutors providing the workshops are all experienced artists and tutors and signature members of the Pastel Society.
I usually work from sketches made on site. I often take a Unison pastels colour chart, which I use to annotate my sketches with colour references. I also use a digital camera for back-up information, and for detail that I may have omitted to record at the time. I paint in soft pastel on either pumice paper, solid-core mountboard, to which I apply a coloured pumice surface, Sennelier pastel card or Canson paper.
My pastels are mostly worked onto mountboard using a watercolour or acrylic underpainting.



I draw and sketch from life, using pen and ink, pencil and charcoal. These works are often completed in-situ, then used to influence larger paintings, done in the studio.



Currently involved with teaching drawing and painting abroad and in the Berkshire area and tutor to the Medical Artists’ Education Trust at the Royal College of Surgeons, London
I prefer to make pencil, pastel, charcoal or graphite pencil over soft pastel drawings from different positions, if the eventual portrait is to be an oil painting. Sometimes these drawings are the main commission and so become a prelude to a more intensive study.
"The way I work is to launch straight in with colour, without any underpainting or other preparation that might interfere with my spontaneity and energy."


Pastel Society Art Event Evening

  • The Pastel Society Art Event Evening will be on 1st March - between 6pm and 9pm and is a ticketed event - with a glass of wine, live music and drawing.  Those attending can work alongside members of the Pastel Society.

Demonstrations

All demonstrations are free with admission and in my experience the artists are generally very happy to discuss what they are doing, what sort of materials they use etc.

The artists giving demonstrations are:
  • 25 February 2016 - Ann Wilkinson PS her profile (b.1934, elected PS 2004) and website
Ann's aim is to produce a picture with an interesting surface pattern. She likes to achieve this with a composition that takes into consideration every shape, the objects and the spaces between. Ann uses a limited pallet and strong tonal variations to emphasise the overall unity.  
I use pastels rather like watercolour artists - by creating a pallet of colour and dipping into I using tissue paper and hands to apply the pastel. I use paper masks, all the time, rather like a screenprinter lays on different areas of colour. I love the blank sheet of card or paper and not knowing what I will end up with.
Roger will work on several pieces in order not to become to precious, and thereby more critical. In the studio he often uses sketches and photography to gain his first idea, and not to copy but to interpret.
  • 3 March Susan Relph PS See above for details of Susan. Come and watch her working, talk to her and find out more about portrait painting.

Wednesday, April 10, 2013

Review: Royal Institute of Painters in Watercolour - Annual Exhibition

The Mall Galleries were packed with people this afternoon when I arrived to review the Annual Exhibition of the Royal Institute of Painters in Watercolour.  This exhibition has always been very popular with the provincial art societies whose members arrive in droves - on coaches!  I gather the exhibition has been busy all week.

I very much recommend a visit to anybody interested in watercolour painting. The exhibition continues until next Thursday 18 April 2013 ( 10am to 5pm) and this upcoming Saturday promises to be very busy with artists in the gallery and a brushmaker demonstrating his craft!

Below is a photograph of John Yardley RI who was a very popular demonstrator today.  John has been painting full time as a professional artist since 1986 and was elected to the RI in 1990.  You can see his work in quite a few galleries besides the Mall Galleries - but you can also some of his work below.

John Yardley RI with his demonstration painting
Works by John Yardley
The exhibition is large and full of paintings of great quality.  I always associate the RI with being the society which does "proper watercolour" ever since the RWS started showing rather more works in acrylic.  However this year the RWS Spring Exhibition surprised me by a very clear emphasis on watercolour - and the RI surprised me yesterday with more works in acrylic than I'm used to seeing.  Apparently I wasn't the only person who made this comment.

For me, acrylic is fine in a watercolour exhibition - so long as all the work is on paper and the acrylic is used as per watercolour and gouache ie no impasto elements.  Some were very impressive. While I thought a few which I thought were getting a bit close to the edge on that definition.

That said I saw much more evidence of all the different ways you can work with watercolour in this exhibition than I did at the RWS (Leslie Worth excepted).

Below you can find some more pictures of the exhibition, followed by a list of the prizewinners and details of further events.