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Forthcoming Exhibition

Vermeer Vermeer
The Art of Painting, by Johannes Vermeer 130 x 110cm, 1666 “The Art of Painting” by Anne Shingleton, 26 x 16.5 cm, 2010

Why do the paintings of Johannes Vermeer (1632 – 1675) stand out from those of his contemporaries?
His handling of light entering a room and bathing the subjects and his control of tonal values is particulary remarkable. Holland in the mid 1600s was well known for the development of optical devices, including lenses, so it seems natural to assume that Vermeer could have used some sort of camera obscura as an aide to his painting.
Nigel Konstam, a sculptor and historian, living in Tuscany, invited me to carry out an experiment to show that Vermeer could also have used two mirrors. I found the experience most enlightening, despite the bad light and wintery weather outside.
I will certainly be experimenting with mirrors, in my my future work.



Anne

Working on the painting, with a large upright mirror behind me and a smaller, secondary mirror, together with my canvas on an easel.
A painted terracotta bust of Rembrandt poses, dressed in colours often favoured by Vermeer.
I am painting the image I see in the secondary mirror so that I can include myself in the painting, as we think Vermeer may well have done, in “The Art of Painting”.

For a complete write up of the experiment please go to Nigel's Blog: www.verrocchio.co.uk

You will also find Nigel's interests go further and there is plenty to check out. His Museum of Artist's Secrets discussed in his blog can be viewed by appointment at the Verrocchio Art Centre, Casole.
Art courses are held throughout the summer.



Forthcoming Exhibition

RECENT PAINTINGS
Christmas Shows 2009

4th, 5th & 6th - December 2009
at HAWKSWORTH CHURCH
Hawksworth, Nottinghamshire

&

11th, 12th & 13th - December 2009
at HIGHER HOLCOMBE FARM
Holcombe, Uplyme, Dorset, DT7 3SN...

For further details please click here


LIGHT ON WHITE

THE WILDLIFE ART GALLERY, Lavenham, Suffolk
October 18th – November 8th 2009
Tel: 01787 - 248562 - wildlifeartgallery@btinternet.com - www.wildlifeartgallery.com

To see more paintings and exhibition details please click here.





THE DISPUTE Oil on linen 130 x 160cm (4ft 3in x 5ft 3in)


APRIL SHOWERS Oil on Linen 80 x 100cm (2ft 7.5in x 3ft 3.4in)




An exhibition of oil paintings and studies on the swan

This major new one-woman show is born out of a fascination for the stunning visual impact of the ever-changing light on 'white' animals – in this case, exclusively the swan – and is the culmination of more than two year's concentrated study. The works range from large and meticulously finished studio paintings on canvas to smaller plein air studies on wood panel.

To visualize the catalogue "Light on White" go to Publications

Bozzetti

INTRODUCTION TO THE EXHIBITION "LIGHT ON WHITE" BY THE ARTIST

My beloved theme of sunlight continues in this, my latest exhibition, with two slight differences: I have focused on a single subject matter - the swan - and have created the larger works in the studio. This method of working requires not only a clear image in my head before I put brush to canvas but also an enormous amount of preliminary work - as will be seen from the number of studies on show! Studio work, as opposed to plein air painting, depends on a strong visual memory but also gives the opportunity to concentrate in greater depth on the composition and to refine the more sophisticated techniques used in oil painting.
   Although the swan and the effects of sunlight on its plumage is ever-present, each painting is different, going beyond the superficial image of this magnificent creature to portray it as it really lives. I was drawn to the swan not only because, with it's brilliant white and elegant plumage, it has always held a fascination for me but also because the only managed colony of mute swans in the world is in my home county of Dorset. Most of my studies were made at the Abbotsbury Swannery, which shelters up to 150 nesting pairs and at times up to 600 free-flying swans. My thanks go to all who make me so welcome on my visits to the reserve.
   Surprisingly, increasing familiarity with the subject matter - in this case, the swan - continues to reveal ever greater possibilities for me: the more I do, the more I want to do! Thus, this body of work on the mute swan represents the beginning of a very personal journey as well as my own vision of these magnificent birds and I hope that you will share my appreciation of their undoubted beauty.

Anne Shingleton July 2009




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