the newsletter for the friends of the new club ISSUE 16 March 2009

Artists in THE NEW ENGLISH BY THE THAMES Motion June 10th-21st, 2009, Bankside Gallery This year sees four NEAC The NEAC Biennial Summer Show members assume new roles. In December, Jason Bowyer was The NEAC’s ever-popular biennial summertime event will feature works by many NEAC Members and will be elected as the next president of marked this year by some special moments. the New English, succeeding Friends Champagne Reception Tom Coates. Tom now June 9th, 6 - 8 pm becomes Chairman of the Friends. Join Ken Howard on a summer evening by the river The NEAC Drawing School marks as he hands over the reins to Tom Coates as its 15th anniversary with a Chairman of the Friends of the New English. change of leadership from Stuart Denyer to Charles Exhibition Private View Williams (curriculum on page June 10th, 6 - 8 pm 2), and the administration of the The exhibition will be formally opened by the NEAC Friends now passes into NEAC’s newly elected president, Jason Bowyer. the hands of David Parfitt. NEAC Drawing School Workshops The revamped NEAC Drawing School will take Internet Art advantage of the inspiring setting of the Bankside Auction Patrick Cullen - Break in Clouds, Tuscany show to run two 3-day workshops entitled Draw the City, Draw the River: June 10th-12th with Tom In June the NEAC will hold the Coates and Julie Jackson and June 17th-19th with first online auction of Members’ David Parfitt and Alex Fowler. For more, see work. The planned monthly article “The 2009 Drawing School” on page 2. series will start off with a bang, offering work by past presidents More at the Tom Coates, Ken Howard and Bankside Gallery William Bowyer. Later in the year, NEAC artists will figure Each auction will run for 10 prominently in two more Bankside shows, “The Poet days. The prevailing high bid and The Painter” in November and “The Mini will be posted on the website, Picture Show” in December. and participants will be emailed Jonathan Trowell - Burnham, Overy each time a new bid is made, allowing low bidders to up their ante should they wish. NEAC Artists at the Commissioned bids will be possible and all bidding will Geedon Gallery, Essex take place online only, no April 4th-19th, 2009 telephone bids. In order to take part, you must be logged on to your account The association between the NEAC and the Geedon’s owners on the NEAC website. Those Jacqueline Wolfers and Caroline Bailey Knox goes back a who have purchased works from long way.Adescendant of the New Grafton, the Geedon the website in the past already boasts a large and sympathetic exhibition space in a have an account. To open an converted barn that overlooks Geedon Creek in a account simply visit preservation area noted for its seafood and the unspoilt http://www.newenglish beauty of its nature. artclub.co.uk/signup Situated in Fingringhoe, Essex about 6 miles south of between now and 1st June (no Colchester, the gallery enjoys an international reputation for purchase necessary) and you’ll showing modern British artists. This show will feature about 90 be set to go. works by 40 NEAC Members. www.geedongallery.co.uk Roy Freer - Red Plants and Bottles

1 Letter from the President Jason Bowyer PNEAC

Dear Friends, I am delighted to take over as president. The Friends are our lifeblood. Whether you The club continues in its aim to put on the are a collector, artist, art historian, student, best figurative exhibitions in Britain, critic, or just plain curious, get involved! develop our unique artist-led Drawing Thank you for your continuing support, and School, and attract new audiences through please join me in welcoming this year’s our website, www.neac.co.uk. new members. Self Portrait NEAC Drawing School

The Drawing School was created 15 years ago by Jason Bowyer to teach and reinforce the NEAC’s rigorous artistic principles and is at the heart of what the NEAC represents. Staffed by NEAC members, many with years of teaching experience, the school offers a thorough and sound approach to drawing in its many forms, with small classes to ensure a personal and individual tutor-student relationship. Charles Williams, Curator

On-going tuition Individual Classes and Seminars

Wednesday Evening Life Classes Draw The City, Draw The River (1) at the Royal Academy Schools Bankside Gallery Wednesdays 5:30 – 7:30 pm June 10-12 11:00 – 4:00 pm

In the inspirational surroundings of The Royal Academy Life Room, Tom Coates and Julie Jackson lead a three-day workshop of designed specifically for the practice of life drawing, Charles Williams drawing and painting by the Thames at the Bankside Gallery at 48 will take pupils through a series of exercises and other challenges Hopton Street in SE1, opposite the Modern. Tom’s brush darts designed to develop and define what drawing means to each student. about with the sureness that comes with constant, obsessive practice. Julie has built up a solid following in her years of teaching with the New Summer term: April 22 – June 24 English. A wealth of exciting subject matter from views of the river to the Cost: £200 per term, or £25 per session. bustling crowds around Tate Modern. Saturdays at the RA Schools Life Room £150 for the three days. Saturdays 11:00 - 4:00 pm Draw The City, Draw The River (2) Bankside Gallery These classes in the Life Room offer the chance for a more sustained June 17-19 11:00 – 4:00 pm period of work and are limited to 16 students. NEAC artists may also join this class at any time on an informal basis. £50 per day. David Parfitt and Alex Fowler lead this three-day workshop devoted to developing drawing and painting skills working out of doors. May 16 and May 23: Duncan Wood. Duncan’s vigorous and The forms of the City across the Thames, the Millennium Bridge, the thoughtful approach can be seen in his paintings at Browse and Darby moving and reflective river, St Paul's, and the old warehouses create a on Cork Street. In Duncan’s words, “The workshops will concentrate on vibrant and exciting subject matter for developing composition skills, the careful choosing of a composition taken directly from the life model guided by David and Alex's warm enthusiasm. and the surrounding space. Emphasis will be placed upon each £150 for the three days. student's unique way of seeing.” (The January March 14 & 21: Melissa Scott Miller (winner of the Lynn Painter masterclass with Karn Stainer Prize). “My approach to teaching is to encourage people to Holly, with critique by challenge themselves, to concentrate deeply and not to be afraid of getting Ken Howard was fully it wrong, because often you have to get worse to get better.” Anthony booked and very Green RA NEAC will visit to give a crit in the afternoon of the 21st. successful, as was the February class by June 13 and 20: Charlotte Sorapure. Charlotte’s intense paintings David Parfitt, who was are gaining her a large following. She notes, “This masterclass is head of painting at the designed for those who are willing to tackle the challenges of seeing RA Schools for 10 and translating, and who yearn to further their drawing abilities, without years.) resorting to gimmickry or novelty.” Karn Holly, Pirelli garden VII

For further information and to book, contact the Drawing School. Piers Grizzelle on [email protected] or call Piers on 020-8287-5208 or Charles Williams on 077-3048-9052. Discounts: For Friends of the NEAC and full-time students, 10% off all course fees If both Bankside Gallery workshops are booked, 10% off their fee. If the entire block of Saturday classes is booked, 10% off that course fee.

2 New English Art Club Friends Newsletter ISSUE 16 March 2009 As JASON BOWYER begins his term as president of the NEAC, Ken Gofton gives us our members at work an insight into the artist.

Jason Bowyer is not one of those slightly, perhaps looking up river artists driven to make a pilgrimage or down river. The appearance of to the Mediterranean every summer. what may be a very familiar As he wrote in the catalogue for his scene to me is also affected one-man show at the Russell Gallery considerably by light, weather, last year, “That I respond to the and time of year.” romantic notion of ‘finding beauty in Whether on the banks of the my own time and place’ is Thames, on his beloved Suffolk undoubted. I have visited both Italy coast, or in the Kew Bridge Steam and Spain over the last 25 years, Museum, Jason scorns the use of collecting ideas on colour, texture a camera and insists on drawing and emotion that intuitively and painting what is in front of weave into my paintings, but him. “I like to make studies on fundamentally, I live and work here.” site. Usually I begin with sketches From that point of view, he has and then do diagrammatic the perfect base. For a start, he is drawings without much detail, fascinated by heavy industry and and then a painting in the same the process of creating things from format. Sometimes I will complete raw materials. After completing his a work on the spot. Sometimes I post-graduate course at the Royal will take it all back to the studio, The Engineers Workshop Academy Schools, he to work on a larger version or to very difficult to balance what you It’s not; just get on with it. Enjoy the approached the Kew Bridge incorporate collage.” want with what the client wants.” process and the language. Play. Steam Museum and asked His paintings are figurative, but he Combine the learned craft with whether he could be their artist in Known to specialise in industrial likes to emphasise the abstract intuition.” Once a keen footballer residence. Initially they were not interiors, Jason was recruited to the geometric shapes which often and cricketer, Jason has more or sure what that meant, but after 10 team of expert demonstrators on occur in an industrial context less retired from his sporting years and continual painting Channel 4’s popular programme when light strikes man-made pursuits, although ”I still do a bit of forays to their premises, the Watercolour Challenge. He objects. So what determines running and swim during the week. museum offered to rent him studio showed how washes of Indian ink whether he sets out to paint a At home, I do all the cooking and space. He’s still there, and, from could be used to achieve really lyrical landscape or an really enjoy it. Now the closest I his initiative, a small artistic dark tones, and how touches of atmospheric industrial interior? Is it get to a football pitch is watching community has developed at the pastel could be used to bring out just a question of the mood he is Fulham at Craven Cottage or museum around him. the highlights in those dark areas. in at a particular time? The nipping out to watch Brentford, The fusing of pastel and Indian ink simple answer is: the whose grounds are at the end of began to interest him deeply, and weather. my road.” he developed a technique of “I find the landscape in rubbing pastel into wet ink Of his family life, Jason says, “I’m winter more exciting than in washes. The approach is unusual, lucky that my wife [ceramics summer.Ilove the skeletal but Jason argues that it is in direct producer Claire Ireland] is also an forms of the trees. However, descent from the 1950’s artists artist and understands my excessive wind and rain are Henry Moore, John Piper and idiosyncratic ways. We have not good for painting, and if Graham Sutherland, all of whom always supported each other’s the weather is too bad, I’ll made extensive use of ink with work and careers. My 14-year-old find subjects under cover.” either pastel or watercolour. son Leo has a great sense of Indoor subjects may well humour and is of an age where Jason is in the studio six days a include portraiture, for he is week. “People think art is about his parents are tolerated. Leo likes also a member of the Royal Forge Door waiting for a moment of inspiration. art, but he is quietly a wizard at Portrait Society. Says Jason, “My maths and snowboarding. portrait work is generally done in The museum’s pumps, steam my studio, from direct observation. hammers and workshops give Jason It usually takes between 15 and a ready supply of industrial subject 35 sittings and it could be more. I matter. As an added plus, his studio like portraiture. I like getting the is only a few minutes away from structure of the head, and then the Thames where he finds a further capturing the personality of the wealth of ideas for paintings. sitter. I want to be true to “I have several favourite places character and mostly paint people that I return to regularly,” he says. I want to paint. I take “I will change my viewpoint commissions, but I think it can be Wild Flower Meadow

New English Art Club Friends Newsletter ISSUE 16 March 2009 3 A tribute to TOM COATES by Richard Martineau the outside world. Also under Artists, The Royal Society of but Tom’s laid-back style has Tom, the catalogue and website Portrait Painters, the Royal contributed much to the have made great strides to Watercolour Society, and the incredible feeling of expand the Club’s horizons. Pastel Society, whose Medaille camaraderie in this group and d’Or he won in 1997. And he has done much to create a No one is more ENGLISH than has an amazing ability to special atmosphere in which the Tom, in both his art and his communicate about painting Friends want to lend their approach to life, which is characterised by generosity, support. honour and love of tradition. In Over the last five years, and turn, these values permeate the with the amazing support of Club and the Annual Exhibition. Mary, Tom, despite his very busy The following is taken from the Tom’s multi-faceted generosity is schedule, has enlivened the club speech given by Richard endless. His freely donated with his enthusiasm and his Martineau at the 2008 Friends pictures lead to hugely successful inimitable manner. There is the Dinner to mark the close of charity raffles. He has a large frequent scene of Tom and Mary Tom’s five-year term as collection of works by friends arriving to meetings with food, president of the NEAC. and colleagues he bought, in serving up a feast, and then going on to provide the I am going to speak about Tom many cases to show his belief in entertainment. I will never forget under four headings: New, their talent. His teaching is full of encouragement and the sharing Tom dancing Zorba the Greek English, Art and Club. of wisdom. or miming a four-hand piano Much NEW has developed recital with Ken. It is all part of As for ART, the pictures on our during Tom’s presidency. Tom the warm, generous, multi- walls are like friends, and the Tom painting on location has brought a lot of sponsorship talented man and artist that is artists that painted them doubly into the Club, including the Tom Coates. so. To discuss their pictures with while working on a picture, special relationship with Greg the artists adds hugely to one’s enthralling crowds at his Richard Martineau first became Ladd and the Cross Gate appreciation of a painting. The demonstrations for hours with his interested in art and artists as Gallery of Lexington, Kentucky in New English has a wonderful eloquence, while producing a a child through Stanley the United States, whose major family feel. brilliant portrait at the same time. Spencer, a friend of his support is gratefully parents. In his collection are acknowledged. Tom’s Tom is a great painter. At least Most of the guests here tonight works by many NEAC appointment of a new editor for one of his paintings has been are Friends of a CLUB. Here, Members including those of his the newsletter has led to a presented to the Queen, and his too, Tom’s contribution is great. wife, Diana Calvert. professional and informative work has been recognised by The NEAC Members are publication for the Friends and the Royal Society of British impressive and individualistic,

Mary Jackson on women in the NEAC During the NEAC’s 2008 Annual The writers and painters in the there was little sympathy toward could best develop her paintings Exhibition at the Mall Galleries, family of Charlotte Ardizzone the efforts of women to get a on her own rather than in school. Julie Jackson, Melissa Scott-Miller provided an atmosphere of degree or a job as an artist. Sue In those days women artists were and I hosted a discussion freedom to paint anywhere and Ryder was always encouraged by still not readily accepted by exploring whether women artists anything. When Charlotte’s her father, himself a keen painter. galleries, and the only way for are influenced more by their daughter came along, however, Originally, like many of her peers, her to earn money as an artist inherent qualities or by their the inevitable time constraints she wanted to work as a was to teach. circumstances of running a family limited her work. Only when secretary or nurse. Her father By contrast, the NEAC, a and a household. To prepare for schooling began did Charlotte encouraged her to pursue art. democratic organisation since its this talk and understand how other again have the time to paint. Overcoming nerves, she attended female members of the NEAC foundation in the 1880’s, has In the same vein, Diana Armfield, Byam Shaw. Eventually, together became professional artists, I played a role in the evolution of with three boys to look after, did with RP’s past president (and first interviewed some of my women painters in Britain. Today, not in fact paint seriously for eight woman president) Daphne Todd, contemporaries. Their stories, about 40% of the NEAC’s 75 or years. Fortunately, Diana feels that Sue became one of the few some of which are noted here, so active members are women. after this hiatus, her work had women members of the RP. show that the art world has had Artists of both sexes support each more passion and emotional its own “glass ceiling”, but that Jacqueline Rizvi perceived the other, and recent years have seen content. individual determination, and change to modern art in the early the admission to the NEAC of democratic institutions like the In addition to family constraints, Sixties as confusing, idiosyncratic exciting new women artists. The NEAC, are changing the picture. during much of the 20th century and nonsensical and found she evolution continues.

4 New English Art Club Friends Newsletter ISSUE 16 March 2009 FRED CUMING at his studio in Rye talks with ALEX FOWLER the artist at work

So Fred, you’ve been painting around the south coast in Camber it, and slowly, more and more, colour has become important to me, and Sands and Romney Marsh for about 40 years? the evocative idea of colour, the emotional response to colour. I think that I first saw it in 1949. I did a lot of drawing in this sort of area and in certain ways of using colour and combinations of colour can evoke Folkestone. When we moved to Hythe on the coast, my interest in the responses in people. People look at Rothko, they are not responding to sea really took hold. Since then, we’ve always stayed close to the sea. It’s terrific, absolutely marvellous, and we’ve bought a place in Somerset overlooking the sea. because here you get very broad, long beaches, high skies... Very flat, this is the thing. When I first started painting in this area I was always wondering where do I put the horizon line -- low down, middle, high? Camber Sands, in particular, it’s just off the marsh, so it’s totally flat and all you can see is sea and sky and you are rather trapped, inasmuch as you’re always on a low level yourself. You can’t get an elevated view until you get onto the hills around Hastings. But that in itself creates an interesting thing: you become aware of the sky and the changes. At low tide, the water moves out half a mile and it’s all wet In Freds Rye studio and reflective and you get a curious effect as if you’re floating, an a subject, although it is rather like looking into a landscape, but the amazing feeling. It’s very rich, rewarding, constantly changing. I have a mood response comes from the colour. I’ve moved into abstraction in studio down near the beach by the harbour. that sense. I think there’s an awful lot of abstraction in painting anyway, one of your “outposts”? from the beginning. Yes, one of my outposts. I go down there and start a painting, probably And is the composition based on a theme related to a set of colours, see something on one day and think, wow, that’s interesting and come light at a particular time of day...? back the same time tomorrow and it’s nothing like it. It’s the way English I tend to move things about in my paintings, shift things; I am a landscape painters paint. It’s bred certain kinds of painters who work in compulsive liar! Sometimes I try to achieve something about a particular mood and so I change the proportion of colour. I may be using a limited range of colours but the proportion of one to another can be absolutely crucial. If you get them even, it can be monotonous. If you put a bias on some colour and limit the others it can really get something going, some kind of tension. I remember there was a student years ago who was studying “The Battle of San Romano”… the Uccello He did a very interesting thing, taking the proportion of each colour that was in the painting. Not in a figurative way – he did it as the most beautiful diagram and it worked because of the imbalance of colour. This is a funny business, you take on what you feel is a major picture, you do a lot of little studies and an idea begins to form, and you work on the big one six months and at the end of it you throw it because it’s no good. Winter Snow And something you did in 20 minutes really has what you wanted. situ and have to develop techniques which are very rapid, whereas if you work in France and Italy you can start a landscape at ten one Do you think that’s because for some things scaling up just doesn’t morning, finish at twelve, and then the following day pick up exactly translate? where you left off and it is more or less the same, the weather is much There are certain subjects where you do a small study and it seems to steadier. The English weather is just so volatile. catch something, it has an immediacy and there is something truthful about it. Maybe the paint handling is good because it is done rapidly. And you Does that force you to paint from memory, or form an idea about a think you can blow it up, and you do it and it’s like having a marvellous particular moment in time? bowl of soup and adding more and more water and it sort of dissipates. I’ve developed a visual memory. I always carry sketch books around with me and make little notes, colour notes. They’re very important. Also And have you seen changes in attitude during your long career? important is the particular light and atmosphere at the time. I suppose all Things have changed so much, haven’t they? For a long time I’ve said the work I do is toward that particular idea. I see places, and slowly an I’m going to write a book called “A Hundred Recipes for Eating my idea starts to form. You do dozens of little studies and go work on the Hat”, because over the years I count myself taking stances, thinking, “I spot. It begins to formulate and then you take a big one on. don’t like that, I’m not interested in that, why did they do it?”, and then ten or fifteen years later I find myself taken over by it, interested by You say an “idea starts to form”. what’s going on. It s a mood. I’ve become more and more interested in colour. I was trained Euston Road style, in the manner of Sickert. I was taught by Fred Cuming will show at Thompson’s Gallery, , March 18-29 and [Ruskin] Spear, Rodrigo Moynihan, Colin Hayes, and various people at will take part in the Thompson’s Aldeburgh Annual Show June 13-28. the Royal College. It was a tonal painter’s training, that was the basis of

New English Art Club Friends Newsletter ISSUE 16 March 2009 5 PAINTING TRIPS ABROAD Jenny Wheatley & Mike Chaplin On Cyprus March 20 - April 3, 2009 In Borrowdale (above Keswick in the Lake District) April 26 – May 1, 2009 On the Greek island of Samos September 17 – 24, 2009 In Borrowdale, Lake District November 1 – 6, 2009 To register download forms from www.jennywheatley.co.uk Jason Bowyer in Pienza & Siena, in southern Tuscany’s Orcia Valley June 28 – July 7, 2009 Beautiful setting of The English Patient, wine-rich, ancient and cultured. £2395 all-inclusive Tom Coates in Essaouira & Marrakech, Morocco October 4-16, 2009 & Mary Jackson £2595 all-inclusive To register call Spencer Scott Travel: 020 7225 2988 www.spencerscott.co.uk Paul Newland Budapest in Watercolour April 14-20, 2009 Charles Williams Enrolment limited, but any level welcome, including beginners. Tuition £350 per Melissa Scott-Miller - Adam Fishing student. Non-painting partners welcome without tuition charge. For more details and to register call Charles Williams on 020 8533 5707 or email [email protected]. Arthur Neal will teach and demonstrate in SW France this summer June 16-24 About 40 miles east of Toulouse, south of Lavaur. Email [email protected] or call 07714 284485. Richard Sorrell will lead a watercolour course in conjunction with the RWS in the charming ancient town of Titignano near Orvieto in Umbria, Italy October 9-16 For details and to book Andalucian Adventures 01453 834147 ON-GOING TUITION Arthur Neal - Evening Jason Bowyer Weekly supervised professional practice at the Kew Bridge Steam Museum Tuesdays 10-1 pm and 2-5 pm. Advanced painters only E-mail [email protected] or write him at Studio 7, Kew Bridge Steam Museum, Green Dragon Lane, Brentford MX TW8 0EN. Melissa Oil painting for beginners Wednesday evenings at Heatherly’s at 75 Lots Road, Scott-Miller Chelsea, London SW10 0RW. Call Heatherly’s on 020 7351 4190 or e-mail [email protected] (Other times available by arrangement)

PAINTING AND DRAWING TRIPS & CLASSES IN THE UK Paul Newland “A Short Course in Black and White (seeing and using tone in watercolour)” at London’s Bankside Gallery Saturday / Sunday March 27-28 Call 020 7928 7521 or email [email protected] or [email protected]. Richard Sorrell will give a one-day class in watercolour at Newbury on May 12th. To register and for info please visit www.openstudios.org.uk. Richard will also teach at Art in Action from 16 through 20 July in Waterperry. For details, please see Tom Coates - Mary Jackson RWS NEAC www.artinaction.org.uk. at the easel Richard Bawden will teach Printmaking courses entitled Relief on Lino (May 29-31) and Etching (Sept. 5-7) at Broadlands Arts Centre in Dilham, North Walsham, near Norwich, Norfolk. Email [email protected] or call 01702 475361. Francis and on the Suffolk Coast July 11-13 and 15-17, 2009 Two 3-day courses (or attend Jason Bowyer for the week) in painting (oil, pastel and watercolour) and drawing. Vibrant sea and sky meet the unspoilt landscape of Walberswick and Southwold. For details and to book: [email protected] or [email protected] or write Jason at Studio 7, Kew Bridge Steam Museum, Green Dragon Lane, Brentford, Middlesex TW8 0EN. For hotel availability, call the Southwold Tourism Office 015-0272-4729. Jacqueline Rizvi offers personal tuition in her north London studio. Call 020 8203 2424. Jenny Wheatley - Rumble in the Jungle NEAC Drawing School: For complete information on courses of the recently reorganised NEAC Drawing School, please see the description and course listings that appear on page 2.

6 New English Art Club Friends Newsletter ISSUE 16 March 2009 news, events and points of interest

Farm on Parkers Road in Cotton. Several landscape etchings by PRIZE WINNER Tickets for the lecture can be Melvyn Petterson have been Each year, the name of a Friend is drawn at reserved by calling 01449 781 acquired by the British Museum. random to win a painting by an NEAC artist. This 047 or by emailing A portrait of Sir Kyffin year, Bob Brown donated his painting “Daisies in [email protected]. Williams RA painted by a Chinese Pot” for the draw. Mrs. Philippa Powell Ken will also be guest speaker at Margaret Thomas is on was the lucky winner for 2008. this year’s annual dinner of the display in the Treasures Room of Royal West of Academy, the National Library of Wales. Bob Brown, Daisies in Chinese Pot on 30th October at the RWA. Ann LeBas has done a cover Bob Brown will host an open The Annual Friends Dinner last Ken’s studios in Venice and in for the book Exmoor, The Making studio and exhibition at his November proved once again to Mousehole, Cornwall can be Of An English Upland, which beautiful home North Lodge NE be a popular event. Robust sales rented by calling Dora Howard goes on sale this spring in support of Hamstead Marshall, Berkshire and a lively atmosphere prevailed, Bertolutti in London on 020 of the Exmoor National Park. on Sunday May 31st from 11 to and the donation of paintings by 7373 2912. Ben Sullivan has done a portrait 5 for Friends and friends of Ann Shrager and Ken of the Astronomer Royal, Professor Friends. About 3m SW of M4 Howard and theatre tickets by Martin Rees, Lord Rees of Ludlow junction 13, 4m W of Newbury. the Peter Wolff Theatre Trust OM Kt PRS. The portrait was See Google Maps for postcode for the raffle and auction commissioned by the National RG20 0JD. Ring if you get lost: contributed to the festivities. Portrait Gallery and will be 01635 47181. Peter Brown won the 2008 unveiled there at the end of March, Mark your calendars for the Prince of Wales Award for Portrait to mark a display celebrating the Annual Friends Dinner on Drawing for a charcoal drawing International Year of Astronomy. of the family eating breakfast. Tuesday, November 24th, An exhibition in which Duncan Peter has brought out Brown’s followed on Thursday the 26th Wood took part in 2008 Bath, a visual recap of 12 years Andrew Macara – Canford Canal by the Private View of the ‘09 entitled Andrew Cavendish 11th of painting his adopted city of Annual Open Exhibition. duke of Devonshire was voted Bath. Available from the NEAC A biography of Andrew best exhibition by judges in the Melissa Scott-Miller won the website, booksellers and Peter’s Macara written by Jonathan renaissance heritage awards. 2008 Lynn Painter-Stainer Prize, site www.peterbrownneac.com. Riley has just been published, garnering the first prize of highlighting 30 years of Andrew’s With deep regret the NEAC June Berry was one of four £15,000 and the accompanying work on over 160 pages, many notes the passing of David “Highly Commended” exhibitors gold medal. This prestigious in full colour. Entitled Andrew Kitchen, who sadly died on in the Sunday Times Watercolour award for representational Macara, it is a beautiful limited January 21. David’s Rowley Competition held last September. painting was created in 2007. edition, with all copies signed by Gallery showed many NEAC The first winner was the NEAC’s On Sunday May 24, Ken the author. Available at about artists and he was a great friend Benjamin Sullivan. Howard will lecture at Limetree £25 from Waterstone’s. of the society.

New Members Julie Held Toby Ward Anna Gardiner Julie is a veteran of many Born in 1965 and a Anna’s graduation in 1994 solo exhibitions and a resident of Kent, Toby has from the Royal Academy member of the RWS, with produced a large body of Schools was accompanied work in many private work including many by her winning that year’s collections. The effect of portraits, murals, NatWest Art Prize. A light on colour and tone commercial designs and native resident of London, are primary for her and become part of the numerous other commissions. While still in his Anna exhibits in oils on linen and paper and spirit of each of her oils and watercolours, 20’s, he accompanied HRH The Prince of also does prints and works in gouache and ink. which can range from small to large canvases. Wales to record His Highness’s tour of the Although vitally interested in colour, she believes Julie bases her work on intense observation, Gulf States and also documented the life of the in the primary importance of drawing to help sometimes studying and meditating on a peace-keeping force in Bosnia. A tremendous achieve a balance between form and content. subject for months before painting it. Such amount of perception and characterisation Her injections of humour and the depiction of reflection contributes a sensuality to her shines through the almost deceptive ease and children add life to her body of work. In depiction of everyday scenes. For more, fluidity of his painting. Learn more about Toby December 2008, Anna won the NEAC’s Cecil www.julieheld.com. and his work on www.tobyward.com. Jospe prize for painting.

New English Art Club Friends Newsletter ISSUE 16 March 2009 7 Members Gallery: Friends Gallery: Charlotte Sorapure Penny Rose

Charlotte was elected to the an atmosphere or a mood, and all Drawing plays an important part NEAC last year, and her intense, the formal elements of composition, in Penny's life, and she always close-toned and magical paintings tone and colour are at the service makes sketches before doing a are very popular with the of that.“ painting. “I continually carry a membership; she won the NEAC’s sketch book and draw every day, Featured here is a painting called 2007 Cecil Jospe Prize for best trying to capture the feelings and Khadija's Hat which was bought painting by a non-member, expression in movement”. last year by The Worshipful awarded by the Members. Company of Painters - Stainers. Penny attended the Heatherley Discussing her work, Charlotte Charlotte explains, “Khadija was a School where she was fortunate Snooker at Chelsea Arts Club said, “All my paintings are warm, lively, intelligent and colourful to have such tutors as Daphne influenced her work in concerned with the evocation of friend who, amongst other things, Todd OBE, who introduced her to watercolour, lending a greater had been a model for Yves the NEAC. sense of movement. Saint Laurent in the 1960's. She started painting watercolours In recent years, Penny has taken “She was Lady Valentine in the 90’s and has done many part in workshops such as Thynne but adopted the name paintings in the Chelsea Arts Summerleaze, and she paints Khadija when she became Club, recently completing a series regularly with Jason Bowyer’s interested in eastern religion on snooker players at the club group of students at the Kew and philosophy. She gave me which was shown in the latest Bridge Steam Museum. this hat shortly before she died NEAC Annual show. Penny’s paintings have been and urged me to paint myself Four years ago, Penny started shown in the NEAC Annual in it. Always alert to theatricality painting in oil. This new medium Exhibitions for the last 5 years and never without a touch of Designed and printed by Clere www.clere.uk.com lets her paint more freely and has and at the Russell Gallery. humour, she told me the hat was a 1930’s tea cosy which she had ‘converted’. Sponsorship of the NEAC Charlotte will lead an NEAC The NEAC wishes to thank its sponsors for their great assistance to the Drawing School course at the Club’s efforts to meet its goal of developing British figurative art. Khadija’s Hat RA on June 13th and 20th. In particular, the Club thanks Mr Greg Ladd of the Cross Gate Gallery in Lexington, Kentucky, USA, for his most generous sponsorship of the catalogue and other aspects of the Club’s activities over the past five years. PRIZE WINNERS OF THE 2008 This year, Mr Ladd supported the Open Exhibition by funding the immediate NEAC ANNUAL EXHIBITION posting on the NEAC website of the entire selection of paintings in the show, thus making it possible to preview the works of art. This undoubtedly The Alresford Gallery Prize contributed to the healthy sales realised during the 2008 show. for an 18” x 18” painting Michael Whittlesea If you are considering endowing an art prize or offering support of the The Arts Club, Dover Street Award Alex Fowler annual catalogue, Friends dinner, the NEAC Drawing School, or other aspects of the society, please e-mail NEAC president Jason Bowyer at TheCecil Jospe Prize Charlotte Sorapure [email protected] or write to him at Studio 7, Kew Bridge Steam Museum, Green Dragon Lane, Brentford, Middlesex TW8 0EN. St Cuthberts Mill Award for a work on paper Karn Holly

The Horan Prize Paul Newland NOTE to Friends The Manya Igel Prize Richard Price A big thank you to Charles Friends e-mail address, The Oakham Gallery Prize Toby Ward Williams for his capable [email protected], or by post handling of the role of Friends at 20 Strand on the Green, The Bill Patterson Memorial Award Charlotte Sorapure Administrator in recent years. As London W4 3PH. Charles moves on to playing a The A&K Wilson GalleryAward Michael Whittlesea major part in the relaunch of the The Woodhay Gallery Prize Alex Fowler NEAC Drawing School he Susan Wolff, Editor hands over to David Parfitt and 21 Trevor Place, The Worshipful Company of his wife Sara Paton. David and London SW7 1LB Painter Stainers Prize Andrew Macara Sara can be contacted at a new [email protected]

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8 New English Art Club Friends Newsletter ISSUE 16 March 2009