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Inspiration from Artists Week 82 : KATHLEEN BUCHANAN and SIMON PALMER

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Jenny Harris

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Just bringing this back up again -

Jenny Harris

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A few more (including the rather unusual sponge-like texture of his hedgerows and grasses that Lewis commented on earlier - quite a distinctive feature of his work).

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by Jenny Harris

Norrette Moore

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Intersting work, and I agree about the Nash & Ravilious influences. It looks very much like it's wet on dry perhaps? I'm wondering if he uses gouache a lot.  I can see his influence on Hockney as well.  I'm sure I've seen the picture with the blank roadsigns before.  But can't remember where.
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Paul (Dixie) Dean

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Interesting work I can see that he has had a influence on quite a few artists. He is one of those artists that I admire the artwork his ability’s but wouldn’t hand one up at home , only because there are others I admire more . His work does intrigue me and I look at his trees in particular and wonder if he use a sponge or how did he achieve that look , i suppose it’s not a bad thing to look at a painting and it gets you into thought about it’s development, dose t happen that often.
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Lewis Cooper

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I see he paints several fields with what I can only describe as 'folds' in them.  Clearly visible in the first two paintings of Jenny's second post above.  The artist's choice.  A great deal of stylisation is going on.  I like his work very much.

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by Lewis Cooper

Russell Edwards

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Fascinating artist, a sense of escapism and nostalgia in his work and obviously very skilful.

Jenny Harris

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Last one, a snow scene.  Lovely sense of rhythm in his work.

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Paul (Dixie) Dean

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Like the snow scene it’s so good , the detailing in the fence post is a painting within a painting. He retains details in the background but keeps it looking distinct at the same time , I said earlier that he is for me one of those few artists that make you look closer and into their work.
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Tony Auffret

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I rather like the snow scene too, but it's rather odd.  My brain (it still works, I think) tells me the focal point should be the bridge, yet my eye is fascinated by the broken fence and its shadow.  Yet if you crop out the bridge, the painting has no real focus, other than the top right hand corner.
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Collette Hughes

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I agree Tony.  Now I may be wrong so feel free to ignore me but look at the path of the fence. 
With Sarah, Phil, Ellen, Rose the dentist, and the granddaughter whose name I forget.

Robert Jones, NAPA

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Oddness is a bit of a feature here, isn't it?  He beguiles the eye with ineffable cunning! What I can't believe is how on earth he's doing this just with watercolour: there are papers on which this would be just impossible, but I know of a German torchon paper - I think by Schoellershammer - which should be perfect for this approach.   I bet he doesn't use it, and would laugh to scorn my contention that he couldn't produce this work on certain papers, and of course I should have to concede the point: but HOW he does it is absolutely beyond my comprehension.   I suspect Paul is correct about the use of a sponge in some of these; and I'm curious about the size of them - this may be mentioned in the introduction, my usual gift for forgetting something I read five minutes ago rushing to the fore again (imagine how hard I'm finding it to follow War and Peace...).
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Tony Auffret

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Collette, I think your analysis is spot on.  It would never have occurred to me to look at it like that. Thank you.
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