The Baker's Round (after Charles Reid)

The Baker's Round (after Charles Reid)

This is great Thea, and not something you would have painted before you went on the course, so super to see you doing it, and it looks super to me! Super colours and just enough detail in the scene as well, great figurework with the man and the donkey who has a suitably worldly wise look on his face, love how the scene is set as well with the the blue door, it is great to see you moving away from boats and racehorses, says me who has just posted a horse pastel!, but this is lovely Thea, go you!

Vey well done Thea. it is very difficult to paint in the style of another artist, especially one as unique as Charles Reid . Have you come across the 'A Cotswold Sketchbook' website of Nigel Fletcher? He has started recently to paint colourful still lives in the style of Charles Reid, who he admires. Nigrl has moved to France and sends out daily paintings. I thing you would enjoy his site.

Like the way you've painted the figure in particular, the bolder use of colours you wouldn't necessarily expect to see employed. You had all the basics I think before you went on your course: I'd noticed the Charles Reid influence a long time ago; but while the lessons are fresh in your mind, and holidays are out of the way, I should be inclined to plunge in and paint as much as you can, applying those lessons to your subjects rather than Charles's. Must have been wonderful to have sat at his right hand, as it were, and I wish I'd been there with you: it's the fusing of unexpected colours he does so well, plus leaving white paper to speak for itself; I may be wrong (I often am, but disguise it cunningly) but is CR's usual paper, the Fabriano, a bit less startlingly white than some others, eg Arches? I may be confusing it with another paper entirely, but seem to recall that it is - this would help/encourage me to leave more white space; if it weren't QUITE so white.

It is lovely Thea! I like how the colours blend in the clothing and the donkey is super! You have kept it fresh and crisp, A delight to look at :)

I like the bold use of colour, the blue on the donkey, the pink on the cart, and the mixture on Mr George Titcomb himself!

Thank you very much Ros, Stephen, Robert, Sarah and Debs for your positive feedback. It is cheating a bit to copy a painting I know, but I did really have to really think about what I was doing as when you start replicating one of Charles's paintings, you realise how skillful he is. He makes it look easy but it definitely isn't! Robert, the Fabriano I used was the Artistico Traditional, which is the creamy colour. They do a High White version and I have bought a couple of sheets of that to try out as well. However, I think I am going to come down in favour of the Traditional as the creamier white paper you leave ends up looking more subtle.

Stephen - thanks for that info - I am just off to look at Nigel Fletcher's sketchbook.

I like this very much Thea! All the right details in all the right places. I like how you have left alot of paper showing and just a suggestion of detail in the background...really nice!

I'm no expert on Charles Reid's work but this looks good to me! I'm now looking forward to seeing you use the techniques that you learned to your own paintings. It isn't cheating to copy a painting. When I first started using watercolours, I copied rather a lot (well almost all) from a book that I had. I must have absorbed a lot of information which has subconsciously stayed with me and helped me to develop my own style. Had it not been for the course you went on, you might not have used these darker colours. Now you see how well that they work together. Plus, the course has encouraged you to try different things. My advice would be though , because you are already a skilled artist, you needn't copy too many, move on and use the knowledge that you learned. :)

I agree with Louise - you are already a skilled artist, Thea. Your painting is very good indeed, but I have to say, I enjoy your own style of watercolours. Your own originals have the looseness, the colours and the suggestion of detail in the background - so recognisable as paintings by Thea Cable.

Thank you very much Cheryl, Louise and Kate for your lovely comments. I don't know about being a skilled artist, although than you for the compliment. When I am struggling to work out how to paint something I feel anything but skilled lol! However, is is like swimming ducks - serene and successful looking on the surface but paddling like mad to keep up underneath!

I confess to being a bit ambivalent about this one Thea. It's a great little watercolour that anyone would be delighted to have produced, but there's something slightly hybrid and two-dimensional about the execution. I would have looked for more contrast and (though it may sound like a contradiction) tried to blend the background mid-tones into the foreground detail (donkey blanket, cart, wheel, man's coat...) creating more of a continuum. The fact that I make these gentle 'criticisms' is of course a token of my respect for your skill !

The problem with this painting,Kim, is that I couldn't use my normal instinct as I was basically copying. My instinct may be right or wrong, but the good things about using it is that you know where to you are going next. With this painting I was very hesitant and faltering as I couldn't just approach it in a dynamic way. So what you have spotted it a manifestation of that I feel. When Charles did it of course it looked pretty dammed good, but I couldn't replicate it sufficiently well. If I had been doing this painting from scratch, with no other input than mine, I would have done several things differently. I would have allowed the paint to drift out into the background more to tie to objects to it. I would have had more light and shade and colour changes in the cart and possibly even the donkey, etc. But then that is my way and as I haven't the skill or talent that Charles Reid has, the painting still wouldn't have been a patch on his. However, as always, you hit the nail on the head and give me very good feedback which I am always extremely grateful for. Never be afraid to tell it how it is as that way you can help me a lot.

Perhaps we're all benefiting execessively from hindsight Thea? Would we have made these particular comments had we been unaware of your recent experience? No matter: as someone who struggles constantly with the medium, I can empathize with your dilemma. The one thing that never helps me is to stop work: I always try to 'paint' my way out a cul-de-sac - with varying degess of success! But gradually a gentle synergy emerges that occasionally rewards me with a piece I'm pleased with. Relaxing, reminding myself why I paint (because I want to, not because I have to), cursing quietly (and constantly) under my breath with a smile on my lips, and knowing when to stop. What a privilege! What more can you ask for?

Kim, I do so agree that painting is anything but a restful pastime. It is true that when I paint I don't think about anything else or life's cares, but that is only because my mind is full of other problems to do with what I am painting. You can't win! I am attempting another painting at the moment (won't say what in case it ends up in the bin), which will be my own, but hopefully I will use some of the new found knowledge gained on my course. We'll see how it works out.

Thea, lucky you - doing a course with Charles Reid. I whole heartedly agree with what Louise and Kate have said. Well done.

This is perfectly OK. I'm sure many of us would be happy to produce something like this. Well, I would! However as already mentioned, you have your own established style, which I instantly recognise and admire as a "Thea". I'm afraid this one, a copy apparently, loses your own characteristic touch, which is a shame. As you yourself say, as a skilled artist, take what you have learned and move on.

just browsing Thea -- couldn't have tackled that carriage, nor the donkey. Great stuff!

Hi Thea, Ros here of course, just a note about your three watercolours that you posted recently on paintmyphoto website, I don't know if you realised that they did'nt post properly! I noticed at the time but thought maybe it would have been fixed or sorted out somehow, came across them again this morning and realised it was not sorted out, the thing is, no one on the site appears to be able to post any comments on them, likes can be left, but the usual comment box has never appeared on them, I did think it might just have been my iPad playing up or something, but I have been using that website alongside this one for long enough to know that really is not the case, I have not known that situation to happen on any other postings on the site, I don't as I say know if you we're aware of it, and if you maybe tried again to post or got in touch with any of the more longstanding and admin type members, Roy Simmons (u might need to check spelling of Simmons whether should be a y) for example was the founding member of that site and posts regularly very easy to contact and I suppose is like the site guru, anyway leave that one with you Thea, just didn't want to think you might not of known about the situation and just thought no one wanted to comment on your works, obviously that would not be the case, bye for now Thea xx

Thanks for the info, Ros - very kind of you. However, I am not sure why I bothered to post the paintings on PMP (probably in a bit of a bored moment one evening!) in the first place as I don't intend to use the site really. I don't look at the paintings on the site or read any material on forums, etc. I have lifted a few photos off it, but mainly I prefer to use my own material as much as possible. I can see myself using the odd photo off PMP in the future, but will leave it at that. Trying to keep up to date with POL is challenging enough lol!

Excellent thea,beautiful loose style ,I love the Charles Reid way of painting ....well done

Thank you very much, Dermot. I have always been a great fan of CR and owe a lot of my progress to studying his work. It was amazing to get the opportunity to paint with him.

Love this painting Thea

Thank you very much Thea for your lovely remarks ,i greatly admire your style and technique...the only thing i do with colour is pay attention to the tonal realationships and exaggerate a bit to create tension ,i really enjoyed your gallery keep up the excellent work Best wishes Dermot

Really like your colours, a lovely composition Thea.

beautifully done Thea excellent

Hang on Studio Wall

On the recent course I went on with Charles Reid, he did a demo of this scene. It is of Mr George Titcomb of Sheep Street in Burford, who was the local baker and delivered his bread using his donkey cart. I had brought home a copy of the black and white photo (circa 1910) Charles had used and wanted to give it a go. I did it very much as he had done, mainly to learn how he put the painting together. I don't usually copy work, but I found that I learned a lot in the process as, although my style of painting has a nod in CR's direction, there are differences and to do this totally in his style was tricky for me. Of course, it isn't a patch on the maestro's I know, but there are some bits I am pleased with and some bits a lot less so. Anyway, I thought I would post it and those who asked for a copy of Charle's version can make a comparison (help!). I also moved away from my usual Langton paper and used Fabriano Artistico Rough, which I have never liked in the past, but got on pretty well with this time. Charles used Shut Noblesse Rough for his version. This is a very toothed paper, very tricky to work with, but you do get that wonderful texture that I couldn't quite get on the Fabriano.

About the Artist
Thea Cable

I am a watercolourist first and foremost as I love the qualities of the medium, its riskiness and unpredictability. I started painting about 8 years ago and it has now become an integral part of my life. Hopefully, I will continue to paint into my dotage as I am given to understand that you can…

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