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Art, Painting Commissions and Prints from Berkshire Artists
Stunning Welsh Coastline
Image Size: 12″ x 9″
Art Medium: Oil on Canvas
Painting Price: £180
Landscape and Animal Artist using Oils and Acrylics
Phone: 01628 520579
Please mention the Berkshire Artists website
Email: info@karendaviesart.co.uk
Website: karendaviesart.co.uk
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My work has become looser and more painterly over time, using thicker layers of paint. I am happy to work from good photos and accept commissions. The starting price for my artwork is £180 for smaller works. I also have high-quality Fine Art Giclée Prints of some of the paintings, which cost £40.
Art, Painting Commissions and Prints from Berkshire Artists
Seascape
Image Size: 50cm x 50cm
Art Medium: Acrylic
Painting Price: Please contact the Artist
Commissions Invited
Artist in Oils
and Art Tutor
Please mention the Berkshire Artists website
Email: wmercer81@gmail.com
Website: wendymercerartist.co.uk
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In 2013, I exhibited successfully for the first time and have continued to do so. I particularly enjoy showing my work in an environment where I am able to meet the public and discuss aspects of not only my work, but art in general.
My work captures the world around me, family, friends, nature, scenery – I love being able to put what I see and feel onto paper or canvas and watching a picture evolve.
Growing as an artist is very exciting. I love bold colours, and the natural world always inspires me. With this I mind, I’ve ventured into looser, abstract and mixed-media styles.
I am based in Maidenhead, Berkshire and exhibit locally.
Experimental, creative fun workshop having fun with paint
Fluid Art workshop
Experiment with Acrylic paint in a creative and unusual way. Using basic Acrylic paint, and a few extras create powerful stand alone images or more subtle unusual backgrounds for traditional painting. Each person will produce 3 pieces of art, using different techniques that we will demonstrate. Please contact me for more details.
Art, Painting Commissions and Prints from Berkshire Artists
Faro, in the Algarve
Image Size: 106cm x 70cm
Art Medium: Acrylic on Box Canvas
Painting Price: £395
Commissions Invited
Oil and Acrylic Artist
Art Studio in Spencers Wood - Visits by arrangement
Telephone 07768 923234
Phone: 01189 886993
Mobile: 07768 923234
Please mention the Berkshire Artists website
Email: davidcottonart@gmail.com
Website: davidcottonart.co.uk
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I usually work from my photographs and just enjoy experimenting with subjects and ways of mixing and layering colours on and off the paper. I use big brushes and rollers and at the outset usually have a clear idea of the picture I am trying to achieve; although this is not a rigid plan and I am often surprised!
I am a member of several local Art Groups and have exhibited at many local exhibitions in Berkshire, Hampshire, Surrey and Oxfordshire including Reading Guild exhibitions, The Reading Art Exhibition, AppART, THAT Gallery and The Reading Contemporary Art Fair.
I am part of the West Berkshire & North Hampshire Open Studios, a member of the Reading Guild of Artists and organised The Reading Art Exhibition for 7 years.
Art, Painting Commissions and Prints from Berkshire Artists
Painting was exhibited and sold at the Royal Society of Marine Artists (RSMA) Annual Exhibition in 2018. The title is a play on words; the painters, or ropes create a confusion but also confuse the painter who chooses to depict them.
The boats harboured in Acitrezza in Sicily, were tied to the two available rings, creating a ‘cat’s cradle’ of painters and one can only presume their owners could disentangle them. The confusion of lines and their reflections makes this a rare but necessary use of masking compound.
Image Size: 43cm x 43cm
Art Medium: Watercolour
Original Painting: Sold
Commissions Invited
Watercolour Artist
Art Tutor
Please mention the Berkshire Artists website
Email: richardccave@btinternet.com
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I have been painting watercolours seriously for over 30 years, initially as a facility to illustrate my own work as an Architect which developed into providing that service for others. An interest in the built environment, landscape and setting focussed interest of early paintings on buildings in landscape and townscape, inevitably leading me to a traditional taste in subject matter. Although such subjects from real life are still an inspiration, my work over the last ten years has been orientated toward effects of light and the development of a technique which captures this.
Subject matter is often the depiction of life ‘en plein aire’, instigated by the quality of light and form. To capture the moment, watercolour is the ideal medium and my approach has been traditional, even to the extent of not using white body colour (this is a personal preference, because of the ‘alien’ effect of body colour in a transparent medium rather than a criticism of those who use it). I also try to avoid the use of masque but this is mainly because the essence of ‘plein aire’ is usually a fleeting quality of light which does not allow the time necessary for the use of masking mediums.
Studio paintings are different, but even in in these circumstances I prefer to preserve white surfaces while painting or to lift colour in the process. I also tend to use natural earth colours as much as possible; this is partly because they best suit my normal subject matter but also because, unlike a staining colour, they can be lifted when dry to create ‘whites’. I also tend to use a heavy, rough watercolour paper as my support, which lends itself to techniques for manipulating colour including scratching to produce highlights.
One cannot practise watercolour painting and be unaware of the many great practitioners of the art, both alive and dead. One can admire some, such as John Yardley whilst recognising his approach would be impossible for me, whereas examples from John Blockley, Trevor Chamberlain, Lucy Willis and even Russel Flint and Rowland Hilder have all contributed to my own technique.
I have occasionally submitted works to national exhibitions and have had works accepted on several occasions by the Royal Society of Marine Artists. This is valuable as a means of getting work seen by a wider audience, but the high percentage of sale taken by the gallery does not make this financially advantageous. I therefore prefer to exhibit where my work can be presented for what I consider to be a fair price, without the need to overprice to meet the gallery commission. I also provide watercolour tuition to local groups and occasional commissions.
Art, Painting Commissions and Prints from Berkshire Artists
This view across the fertile coastal plain of western Sicily shows a baglio surrounded by vines which represent an oasis in the late Summer heat. The clear day has a heat haze which gives distance to the Egadi Islands on the horizon. This painting is essentially a scetch done ‘en plein aire’ in one sitting and represents a temporal memory of a changing scene, on a hot Mediterranean afternoon.
Image Size: 36cm x 26cm unframed
Art Medium: Watercolour
Painting Price: £300
Commissions Invited
Watercolour Artist
Art Tutor
Please mention the Berkshire Artists website
Email: richardccave@btinternet.com
The page you requested could not be found. Try refining your search, or use the navigation above to locate the post.
I have been painting watercolours seriously for over 30 years, initially as a facility to illustrate my own work as an Architect which developed into providing that service for others. An interest in the built environment, landscape and setting focussed interest of early paintings on buildings in landscape and townscape, inevitably leading me to a traditional taste in subject matter. Although such subjects from real life are still an inspiration, my work over the last ten years has been orientated toward effects of light and the development of a technique which captures this.
Subject matter is often the depiction of life ‘en plein aire’, instigated by the quality of light and form. To capture the moment, watercolour is the ideal medium and my approach has been traditional, even to the extent of not using white body colour (this is a personal preference, because of the ‘alien’ effect of body colour in a transparent medium rather than a criticism of those who use it). I also try to avoid the use of masque but this is mainly because the essence of ‘plein aire’ is usually a fleeting quality of light which does not allow the time necessary for the use of masking mediums.
Studio paintings are different, but even in in these circumstances I prefer to preserve white surfaces while painting or to lift colour in the process. I also tend to use natural earth colours as much as possible; this is partly because they best suit my normal subject matter but also because, unlike a staining colour, they can be lifted when dry to create ‘whites’. I also tend to use a heavy, rough watercolour paper as my support, which lends itself to techniques for manipulating colour including scratching to produce highlights.
One cannot practise watercolour painting and be unaware of the many great practitioners of the art, both alive and dead. One can admire some, such as John Yardley whilst recognising his approach would be impossible for me, whereas examples from John Blockley, Trevor Chamberlain, Lucy Willis and even Russel Flint and Rowland Hilder have all contributed to my own technique.
I have occasionally submitted works to national exhibitions and have had works accepted on several occasions by the Royal Society of Marine Artists. This is valuable as a means of getting work seen by a wider audience, but the high percentage of sale taken by the gallery does not make this financially advantageous. I therefore prefer to exhibit where my work can be presented for what I consider to be a fair price, without the need to overprice to meet the gallery commission. I also provide watercolour tuition to local groups and occasional commissions.
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