Painters Online Logo

Login/register

Studio

Inspiration from Artists Week 25 Wilf Roberts and Ann Blockley .

Welcome to the forum.

Here you can discuss all things art with like-minded artists, join regular painting challenges, ask questions, buy and sell art materials and much more.

Make sure you sign in or register to join the discussions.

Hang on Studio Wall
Showing page 2 of 5
Author
Message

Jenny Harris

  • Prestige User
  • Reputation: 4707
  • Last active:
  • Posts: 1898
Posted
But they’re not bleak, empty landscapes, they nearly all have signs of life in the form of cottages and other buildings…

Edited
by Jenny Harris

Sylvia Evans

  • Prestige User
  • Reputation: 16928
  • Last active:
  • Posts: 4788
Posted
For Lew...
My Profile pic16

Lewis Cooper

  • Prestige User
  • Reputation: 6309
  • Last active:
  • Posts: 2573
Posted
Please don't misunderstand me, I admire Wilf Roberts work very much.  I did a search on him, saw lots of marvellous work but not one with a human being in it, or cattle, sheep, dogs or even a bird.  It's the artist's choice of course.  On a personal level I much prefer to see these things in a landscape, they seem more natural.  I don't expect people to agree with me. Sylvia, I saw that figure you posted in my search for more of Wilf's work.  I'm pretty sure that's by Kyffin Williams, who did include figures etc in SOME (not all) of his paintings.  (A vagary of the GOOGLE search system, they throw in similar artists not always making it clear they aren't the ones searched for.)

Sylvia Evans

  • Prestige User
  • Reputation: 16928
  • Last active:
  • Posts: 4788
Posted
You could be right Lew it seemed familiar.  KW put quite a lot of both people and animals in his work.  Will see if I can check anywhere. 

Sylvia Evans

  • Prestige User
  • Reputation: 16928
  • Last active:
  • Posts: 4788
Posted
Grrrrrr

Edited
by Sylvia Evans

Alan Bickley

  • Prestige User
  • Reputation: 11888
  • Last active:
  • Posts: 4488
Posted
It’s KW’s figure, recognised it immediately, fabulous pose! To be honest, until Lew mentioned it, I hadn’t even noticed the lack of sheep or figures - I was just focused on his clever use of counterchange and minimal colour - but it doesn’t (for me anyway) detract from his work in any way… 
michael

Michael Edwards

  • Prestige User
  • Reputation: 3863
  • Last active:
  • Posts: 1556
Posted
It's interesting how we all view his work. For me it's the almost abstract design and the shapes and colours that appeal so much - the inclusion of animals and humans would be a distraction. 

Sylvia Evans

  • Prestige User
  • Reputation: 16928
  • Last active:
  • Posts: 4788
Posted
I had concluded that Alan but it was under Wilf Roberts.  Yes it could only be Kyffin.  It is interesting Michael everyone's reactions to them.    Very much my Wales,  I spent a chunk of time in the middle of these areas in my late teens.  I can almost get emotional about them ...a happy time. 

Denise Cat

  • Prestige User
  • Reputation: 6932
  • Last active:
  • Posts: 2620
Posted
I recognise some of his paintings Jenny and admire them very much. I like the style he developed. Mynydd Bodafon.
With Sarah, Phil, Ellen, Rose the dentist, and the granddaughter whose name I forget.

Robert Jones, Napa

  • Prestige User
  • Reputation: 24793
  • Last active:
  • Posts: 8642
Posted
I love the way both Sir K and Mr R applied paint - thick, juicy, laid down in slabs in places; do we know if he used painting knives, or brushes (or like many of us, both)?   Figures, birds, animals - made me look at my own stuff: there's sometimes a distant bird, rarely a figure or animal.  Those details can certainly help a painting, even provide a focal point, but on the whole aren't what I look for, or what I normally think to include.  I see Lew's point, though; I suppose I was put off them by having seen so many Victorian narrative paintings, in which children playing, someone milking a cow, thatching a roof, or something similar tended to become a bit formulaically familiar.  

Jenny Harris

  • Prestige User
  • Reputation: 4707
  • Last active:
  • Posts: 1898
Posted
Robert, just came across this from an interview with Wilf Roberts in which he talked about his method of painting.

Edited
by Jenny Harris

With Sarah, Phil, Ellen, Rose the dentist, and the granddaughter whose name I forget.

Robert Jones, Napa

  • Prestige User
  • Reputation: 24793
  • Last active:
  • Posts: 8642
Posted
Thanks for that, Jenny - not surprising, but interesting.  I've applied oil paint with the wrong and right end of brushes; painting knives; even a palette knife; fingers, knuckles and nails - colour shapers; and have inscribed into it with cocktail sticks and spent matches (don't tend to have those now I've stopped smoking a pipe).  But having enough trouble with credit cards already, have never used those.  You wouldn't guess that Mr Roberts used such a variety of tools, because his paint does look consistent, as if every stroke was laid down purposefully and deliberately - but I did think knives would be involved.  My most knowledgeable painting friend would deplore the use of anything but brushes and painting knives designed specifically for painting, i.e. not a palette knife - but then, discipline is his watchword.  
Showing page 2 of 5