Australia Archives - Salcombe Art

23 April 2018 In Art

JANETTE JAGGER – ARTIST DOWN UNDER

In the Bush

Janette Jagger and I are members of SHAF (South Hams Art Forum). We both take part in the annual SHAF Arts Trail. This year, that’s 13-28 October. Put those dates in your diary!

She uses oils, acrylic, pen and wash, and water colour to suit the particular place. Her paintings range from the empty landscapes of the Red Centre of Australia to the crowded beach at Bantham full of holidaymakers enjoying themselves.

What is special about Janette Jagger’s work?

Janette’s style is larger-than-life super-colourful and fun.

Janette has travelled widely in France, Spain, the United Kingdom and Brazil, where the brilliant tropical colours changed her paintings.

She now lives and paints in Devon, a complete contrast to the desert and the tropics, and loves the coastal landscapes of the South Hams.

Near Cober Pedy

Janette also loves Cornwall and Scotland.

Janette says: My aim is to capture the feeling of different places and to convey their joy and beauty in whatever medium suits them.

Why ‘artist down under’?

Janette was born in the mining town of Broken Hill in the Australian desert. The hot earth colours and brilliant blue, cloudless skies of her birthplace in Australia still influence her colour palette.

Janette says: I was born in the Australian desert and I just love the hot colours in Australia and the vast spaces with no sign of humans. It was a real adventure traveling for five months in a small camper van. We did break down 70 kms from mobile reception and few cars on the road. But the sense of vast, empty space is wonderful.

The JANETTE JAGGER – ARTIST DOWN UNDER exhibition

Ulutu

This colourful exhibition is at Harbour House, Kingsbridge: 15-20 Ma

The gallery space is open daily: 10am to 5pm.

Janette says: It’s not all about Australia. I will have local paintings as well as other places.

Free talk at 2.30pm on on Saturday 19 May

There is a free talk on ‘Traveling with the grey nomads’.

In the southern states of Australia, when winter sets in, the retired folks jump in their camper vans or caravans and head north to the warmth of the tropics. Hence the name ‘grey nomads’.

More about Janette

Janette Jagger has painted all her life. She has been accepted by the Association of British Naïve Artists and will exhibit in St. Ives in October 2014.

If you have an exhibition which you’d like me to publicise, please let me know.

I’m very happy to promote fellow artists!

20 November 2017 In Art

Work-in-Progress: November 2017

An artist’s work is never done – and here is an update on my work-in-progress.

What do artist’s do when the ‘season’ is over?

House portrait: preliminary sketch of Anne’s daughter’s home in Melbourne, Australia

Once the SHAF Arts Trail is over – that’s at the end of October – you might think artists put down their brushes and take a holiday.

Most years, that’s precisely what I do!

Every three years, Anne and I visit her daughter in Melbourne. We aim to spend at least seven weeks travelling and, although I take a minimal watercolour kit with me, the time is mostly spent with family, and relaxing. We enjoy a well-earned rest. However, this is something I painted during our most recent visit: a house portrait of their home. This is just the sketch; the finished painting is on their living room wall.

Every three years, we also spend the Christmas holiday somewhere else by ourselves: Malta or Madeira, anywhere warm … and again I take an art kit with me. I tend to spend more time painting on these holidays but only because Anne is usually busy with a writing project. In our apartment, we set up our separate corners – a studio area for me, a writing desk for Anne – and only meet up for walks and meals! It’s a complete break from our usual routine and, even if we are only away for a few weeks, we need that change of scenery to recharge our batteries.

Every three years, and it’s this year, we stay at home – to play host to friends and family at this special time. This is also my chance to catch up on my painting. The real stuff. The paintings I need in stock ready for the start of the next season.

And Anne is very busy, writing her latest NaNoWriMo novel, so I’m grateful she’s made time to type up my blog for me.

Studio update

My new studio space

While we were away last Christmas, we had a lift installed so that our home is wheelchair friendly. This was very much appreciated by at least one visitor to our home during the SHAF Arts Trail fortnight in October.

In the redesigned part of our house, I now also have a new studio. It’s larger and lighter than the previous one, and it’s already full of my ‘stuff’. It may look a bit of a mess to you, but I know where everything is.

Work-in-progress

You’ll notice, on the far wall, the gallery-style strip at ceiling level. There is almost invisible plastic ‘wires’ hanging down on which, in other areas of the house, I hang pictures that are available for sale. In my studio, I’ve devised a system of bulldog clips to hold my work-in-progress paintings. You can see three of them on the right, and there’s another on the easel.

Yes, there are quite a few! And there are more – mostly oil paintings – drying in the airing cupboard.

At the moment, only one of these paintings is signed. I sign my paintings when I feel that I should do no more to them. A signed painting is, therefore ‘finished’ and ready for the next stage.

Are any finished yet?

A finished, signed, painting ready for the next stage

Only the one so far … as you can see, it’s an oil, on board.

My handwritten notes to myself are still visible, as well as the guidelines for the photographer.

It is square in shape and therefore ideal as a fine arts greetings card. No cropping necessary …

What happens next?

Good question! Before any of my paintings are varnished or framed and made ready for sale, I have them professionally photographed.

Rather than taking paintings one at a time, I batch them. So, two or three times a year, we book a session with the photographer and trek into Plymouth for the day.

Ahead of that appointment, Anne and I sit down together and confirm the sequential number of each painting – this one will probably be number 136 – and its title. This data is added to the computer records of my art, and also written on the back of the painting for identification purposes.

Because I paint a limited number of scenes, coming up with an original title can be a challenge. It can’t just be the place name. I need more. Low tide at … Dawn at …

Sometimes, especially when I have decided to paint one scene in different media, or in different sizes, we resort to Roman numbering: Salcombe Dawn I, Salcombe Dawn II, Salcombe Dawn III, …

Having decided on the number and the name for each painting, and recorded it, we forward that information by email to the photographer so he knows how many paintings to expect and can name his electronic files in such a way as to avoid confusion. This is especially important when I have a series of very similar paintings.

And then what?

I leave the original paintings with the photographer for a few hours, and Anne and I make good use of that time, shopping in Plymouth.

Then, I return to the photographer to see the results of his work. The images he has taken are printed onto good quality paper, so that I can check the colour match against the original. And, at a later date, I can arrange to have giclée prints made – knowing the print will be as close in tone and hue to the original as possible.

And then we put all the originals back in the boot of the car and head for home.

Job done … except then, I need to make time for varnishing the acrylics and oils and book the framer.

2 October 2017 In Art, Postcard from ...

Postcard from Oxford: Ashmolean Museum

Joseph Mallord William Turner (1175-1851): Walton Bridges

This was my fourth visit to the wonderful Ashmolean Museum.

Anne wanted to attend a literary lunch at Denman College – meeting Clare Mackintosh, author of I See You, a brilliant psychological thriller – so we decided to share the driving from Devon, and I got to spend the day enjoying once more this amazing trove of art.

With so many works of art on display, it’s difficult to pick out just a few favourites, but here are my five from this particular excursion.

At the Ashmolean: Turner’s Walton Bridges

These bridges were mentioned in a previous postcard, way back in February when Anne and I were in Australia. We were enjoying a stroll around NGV (National Gallery of Victoria). As I mentioned back then: it was a lovely surprise to see ‘Walton Bridges’.

The Walton Bridges were erected in the 1780s and were painted by Turner (twice) in 1805 for exhibitions in 1806-7.

Jean-Baptiste-Camille Corot (1796-1875): Montfermeuil, the Brook in the Wood, 1867

Turner used his artistic licence to create this idyllic pastoral landscape, minus the various houses that would have been visible to anyone present at that time.

This painting – like the one is Melbourne – brought back into sharp focus the many times in my life when, forty plus years ago, I drove from my home in Shepperton and crossed a more modern version of these bridges en route to Walton Station for my daily commute to London.

How time flies?

At the Ashmolean: Corot’s Montfermeuil, the Brook in the Wood

This oil-on-canvas painting is an example of Corot’s later work.

His palette is more monochromatic and the overall effect more blurred.

I see similar skies over Salcombe. The challenge is to capture the atmosphere before the clouds move on.

At the Ashmolean: Etty’s The Repentant Prodigal’s Return to his Father

Willian Etty (1787-1849): The Repentant Prodigal’s Return to his Father

This painting combines two scenes from the story of the Prodigal son: centre stage, the embrace between father and son; and, to the left, the return of the elder brother from working in the fields.

Etty was unique in his ability to make a successful career out of combining history painting – such as this one – with his love for Venetian colours.

He was especially keen on life drawings and studied life at the Royal Academy schools – and this painting includes four lovely ladies, in various classic poses, in the background!

I’m very much looking forward to getting back into class. The Salcombe Art Club Main exhibition ended on Saturday, and I’ll be back ‘in harness’ on Tuesdays (with Michael Hill) and Fridays (with Ian Carr).

On the occasional Monday, there’s a life drawing class too …

At the Ashmolean: two paintings by Walter Richard Sickert’s

Walter Richard Sickert (1860-1942): The Piazzetta do San Marco, Venice, 1900

Although Walter Richard Sickert was born in 1860, in Germany, the son on Oswald Sickert, a Danish-German artist, the family relocated to Britain in 1868 where they obtained British nationality.

Sickert visited Venice in the Spring of 1900.

This first painting, The Piazzetta do San Marco, Venice, with the Campanile on the left and the basilica of San Marco on the right, was dedicated to a Mrs May (Polly) Price. Polly was the daughter of one of Sickert’s closest friends, a Mrs Middleton.

I fully intend to visit Venice again soon. Wherever you look. there is a composition with perfect light, just waiting to be painted.

Sickert, as a painter and printmaker, was a member of the Camden Town Group in London – a small group of English Post-Impressionist artists active 1911-13 and influenced by Vincent van Gogh and Paul Gauguin.

Walter Richard Sickert (1860-1942): The Brighton Pierrots, 1915

This second painting, an oil-on-canvas, depicts members of the troupe of Pierrots who performed on stage in Brighton in 1915.

Sickert visited his patron and friend Walter Taylor and studied these Pierrots, making many sketches before returning to London and creating this image.

His Pierrots perform in front of rows of empty deck chairs, and presents a depressing insight into life in Brighton at that time.

However, the painting was sold very quickly and then Sickert was commissioned to paint a second version. You can see that one at the Tate.

Apparently, Sickert rarely commissions. Neither do I!

Lunch at the Ashmolean

I thoroughly enjoyed my day at the Ashmolean, not least because the rooftop restaurant is first class, albeit with a first class price tag!

I’m very much looking forward to seeing Anne browse through the new Denman catalogue. I’m sure she’ll find something she will enjoy, and that I can disappearing into Oxford again soon.

This post is one of my POSTCARD series, sharing all things ART with you when I go travelling.

13 February 2017 In Art

Postcard from Melbourne: National Gallery of Victoria (NGV)

Anne and I wanted to return to the NGV (National Gallery of Victoria) as I’d seen so many great exhibits while she enjoyed lunch with a writer friend.

I knew she’d be interested to see works by Rodin, Manet and Van Gogh, but there was so much more to see … so back we came.

WHAT WERE THE HIGHLIGHTS ON OUR SECOND VISIT TO NGV?

I took hundreds of photographs at the NGV and it’s proved very hard to decide which ones not to share with you; I have so many wonderful memories of our visit to this gallery.

However, we picked two – the ones which were most special for us.

First, since Anne and I chose a particularly hot day to return to NGV – and to make the most of the air-conditioned environment – this painting by David Davies made us laugh.

His ‘A Hot Day’ perfectly captures the Australian climate at a glance.

Second, is a gem by JMW Turner.

As we were fast approaching the end of our long vacation in Australia, our thoughts were beginning to turn towards home. Although we now live in Salcombe in Devon and, at that moment, we were in Melbourne, it was a lovely surprise to see ‘Walton Bridges’. This painting brought back into sharp focus the many times in my life when, forty plus years ago, I drove from my home in Shepperton and crossed a more modern version of these bridges en route to Walton Station for my daily commute to London. How time flies?

YOU WANT TO SEE SOME MORE PHOTOS?

I have plenty!

It will come as no surprise that many of the paintings on display in the NGV show life in Australia as it was way back and, then, as it is now.

In ‘A lord of the bush’, Hans Heyson shows no sentiment. According to the description given by NGV, Heyson was profoundly inspired by the romantic landscape paintings of Constable (and others).

By the turn of the century, the bush had become an object for nostaglia in Australia culture. Rural life was disappearing with the advent of industrialisation and increasing population, but with this iconic painting of the cost to the early Australian settler, Heyson’s able draughmanship and genuine love of the natural world helped to show Australian bush life to those who might never experience it.

Shearing the Rams Then there was ‘The Shearing of the Lambs’ by Tom Roberts: the finest example of life in the outback in the nineteenth century.

Roberts did a number of preliminary sketches on the spot at Brocklesby Station, Corowa, NSW in 1888. He then returned twice more during the brief shearing period of the following two springs to work on his painting. Once completed, it was exhibitied in his studio in Collins St, Melbourne.

John Brack Collins St also features in this next image.

This more modern painting is John Brack’s depiction of commuters in an Australian city. The heading reads: Collins St where it’s 5pm forever.

The young men in suits are shown as packs, resembling sardines.

You’ve now missed NGV’s recent exhibition of one of Australia’s greatest living artists: John Olsen. It closed yesterday!

Works by Jon Olsen in the ‘You Beaut Country’ exhibition February 2017

Olsen is noted for his lyrical depictions of the australian landscape. His work includes ceiling paintings, tapestries and decorated ceramics. All his work radiates energy and is the finest example of the abstract expressionism movement in Australia.

It was difficult to choose just one work from the ‘You Beaut Country’ exhibition to share with you, so there are three here for you to admire.

WHAT IS THERE FOR YOU TO SEE AT THE NATIONAL GALLERY OF VICTORIA (NGV)?

As well as the various individual works of art at NGV, the wonderful (see my blog of 9 January) is on until 13 March.

And, at Tate Britain, back in the UK, to mark David’s 80th birthday, there’s a large scale retrospective of his work from 9 February until 20 May 2017. I’ll be making time to go up to London for this exhibition and will report in due course here on my blog.

This post is one of my POSTCARD series, sharing all things ART with you when I go travelling.

9 January 2017 In Art, Postcard from ...

Postcard from Melbourne, Australia: The David Hockney exhibition at the NGV

This is a new type of blogpost: a postcard from Melbourne, prompted by our visit to the NGV to see the David Hockney Exhibition.

We are currently ‘on holiday’, visiting family, but wherever we go, Anne and I always make a point of seeking out art galleries, museums and gardens.

What’s on in Melbourne?

The NGV (National Gallery of Victoria) in Melbourne, Australia, is currently hosting a David Hockney Exhibition. It’s just across the road from the beautiful Royal Botanic Gardens and both are walking distance from the famous Federation Square, opposite Flinders station.

We have to catch the 86 tram to get into Melbourne and it takes about 30 minutes. The ride is interesting enough, looking at the various architectures en route.

What did I think of the David Hockney exhibition?

The day we visited the David Hockney exhibition, it was particularly hot and we were glad to be inside, in an air-conditioned space.

I had seen a similar exhibition at the Royal Academy in London, but this one included animated film of Hockey creating his masterpieces using an iPad. It was truly inspirational.

I have only been an iPad user for three years and, although I have the ProCreate app installed for a while now, I had not really come to grips with the opportunities it offers to artists.

So, since our visit to NGV, I have been ‘playing’ with ProCreate on my iPad. I don’t suppose for a moment that I’ll ever publish a finished piece emanating from this new technology – I’m far too old to change my spots! – but I can see how much David has achieved since he embraced this format.

Is it worth your visiting this exhibition?

Even Anne, who is not overly impressed with modern art, was mesmerised by the many animations. Or perhaps it was just her tactic to stay in the cool environment?

The exhibition is on until 13 March and I recommend – if you are within striking distance of Melbourne – that you take time out to visit this glorious display of so many of David’s paintings, including more than 20 portraits.

This post is one of my POSTCARD series, sharing all things ART with you when I go travelling.

25 December 2016 In Art

Merry Christmas and a Happy New Year!

Merry Christmas and a Happy New Year to you all!

What’s my news?

WIP

Anne and I are on vacation in Australia, visiting family and enjoying some c.

Meanwhile, work continues on our home – and my gallery – in Salcombe.

What’s happening at Beacon House?

A platform lift is being installed to make the house wheelchair friendly, and this involves the complete reconstruction of the front half of the property.

This photograph shows the work-in-progress of the uppermost floor. As you can see, there is currently nowhere to hang my paintings!

I’ll keep you posted on developments, and we will have a celebration when the new gallery is ready for visitors.

Watch this space!

Where can you see my original paintings?

All the galleries, including my own, are enjoying a well-earned break so I have no paintings available for sale for a while yet.

The first exhibition on my list for 2017 is the Salcombe Art Club Main Exhibition which opens on Thursday 13 April.

You can still buy my affordable art though: my fine art greetings cards.

Where can you buy my fine art greetings cards?

For the full range of 59 cards, visit Malborough Post Office.

Other stockists carry a selection:

Bonningtons, the newsagent in Salcombe
Salcombe Information Centre
Bloomers, the florist in Kingsbridge
Project Gallery at Avon Mill, and at Noss Mayo

19 September 2016 In Art

SOLD! Baltic Exchange III Standing By at Island Terrace

Baltic Exchange III Standing By at Island Terrace – the featured image above – was one of several paintings I produced in 2010 as part of my one-man exhibition in support of the Salcombe Life Boat. Since then, it’s appeared in several exhibitions and, at last – on display at Avon Mill – it has sold, and is now on its way to Australia.

Six years ago, I was living in a flat at Great Gates – above what was then the Marine Hotel and is now The Harbour Hotel – and, each time I heard the lifeboat go by, I’d rush out onto my balcony and take photos. So, I had plenty of resource material.

This painting of Baltic Exchange II was donated to the Salcombe RNLI and raffled at an event held in The Fortescue Inn.

Salcombe Heroes was bought by the mother of one of our lifeboat crew.

Return to Base is one of the few original painting not for sale. It hangs in my own gallery at home. This is because I donated the image to the Salcombe Lifeboat and, by donation, you can obtain it as a fine art greetings card in the Salcombe RNLI shop.

The original of Baltic Exchange III was sold to a Japanese visitor to Salcombe’s Summer Exhibition in 2010.

I’ve now moved house and rarely see the lifeboat unless I am taking in the view from the terrace of Salcombe Yacht Club, or by leaning out of the window of Salcombe Art Club. It’s on my list of images to revisit soon.

AFFORDABLE ART

Baltic Exchange III is also available as a fine art greetings card. As one of my best sellers, it’s on sale just about everywhere: Salcombe Yacht Club, Salcombe Information Centre, Bonningtons (the Salcombe newsagents) and at Malborough Post Office.

Just think: for less than 1% of the sales price of an original painting, you can invest in a fine art greetings card. Send it to a friend or frame it for yourself. Whistlefish sell frames that fit … about £10 each.