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Inspiration from Artist Wk96 New Year Special

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Paul (Dixie) Dean

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Bet he had chilly knees . Two more from me very old ones though I’d give the old masters a airing . Rome in Snow by Giovanni Paolo Panini, 1730. Winter by Francisco Jose de Goya y Lucientes 1786-87. 

Norrette Moore

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The Panini is new to me. I like his style, will look him up.

Tessa Gwynne

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Looking for more wintry scenes I came across www.janettekerr.co.uk a fascinating artist living and working now in Shetland , who has had artist residencies in Iceland and Greenland amongst others. She brings a whole new meaning to the idea of working en Plein air! She is worth a look if you haven’t heard of her, which I certainly hadn’t.
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Marjorie Firth

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I love these Tessa!

Tessa Gwynne

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Have a look at her website when you have a mo Marjorie!
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Paul (Dixie) Dean

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Well they certainly qualify for a wild winter , a great find Tessa. I came across Vincent Selby whilst researching another artist I’m posting few of his winter paintings now but will put him on the list so we can look more closely at his artwork.

Tessa Gwynne

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Another I hadn’t heard of, great trees!
Croft Castle drive, Autumn

Hilary Forbes

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Wonderful wintry images above, like them all. We've had paintings by Pissaro and Monet so here's a couple by Sisley.
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Paul (Dixie) Dean

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M Excellent choice Hilary , from me this evening several paintings by Henry John Sylvester Stannard  a  artist I will feature at some point . 

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by Paul (Dixie) Dean

Waddesdon Grotesque

Andrew Roles

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Here’s a rather nice one from Tom Thomson, another of the Canadian painters associated with the Group of Seven.  And this is another Lawren Harris which I like for its simplicity:
With Sarah, Phil, Ellen, Rose the dentist, and the granddaughter whose name I forget.

Robert Jones, NAPA

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The Stannards were omnipresent Victorian painters - and very fine ones: they may have started the "chocolate box" school (probably didn't!) which became such a dirty word.... why, I've never quite known; chocs are good, an appealing painting on the box also good - and snobbery isn't.  Though I suppose you can have too much sweetness and light.... Anyway, never mind my cod-philosophical observations, I wanted to say something serious, of moment, artistic.... which if nothing else, makes a change. Colour in snow shadows - I've seen too little snow to be entirely sure of my ground, and anyway atmospheric conditions are hugely important when painting anything white:  eg, a white wall in shadow - do we not all struggle to find the right colour (and tone)?  Should it tend to blue - well, it will, but it's not always a very appealing blue - or to purple; or to plain old braahn?   So to snow scenes: some of those above show a very definite blue bias in the shadows - Monsted's paintings of snow, of which few could be better, usually show colourful shadows; but then, he usually painted his snow scenes under a blue sky.  Sylvester Stannard, though, gives us snow that is - with some subtle variants - plain white; Sisley - again with subtle variants - does much the same.   The difference is the light - those snow paintings which tend not to work are those in which the snow is painted with strong or delicate washes/touches of colour which comes from..... where?  Not the snow itself; not the sky, which is leaden, or yellowish.  I wouldn't call this a tip; it's hardly even an observation: and it's not only true of snow paintings, it's just that they make the phenomenon obvious: the sky has to inform the landscape beneath it, and if it doesn't, your painting won't work. There's my contribution to landscape painting theory - feel free to analyse, and reject ad lib.  
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Paul (Dixie) Dean

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Thank  you all for joining in and making this a really good week. Next weeks featuring artists are.  John Clang and Ethel Kilpatrick. 
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