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Art, Painting Commissions and Prints from Berkshire Artists
Meconopsis Blue Poppy
Image Size: 15cm x 15cm
Art Medium: Watercolour
Painting Price: Please contact the Artist
Landscape, Floral and Animal Artist
Painting in Oil
Art Tutor - All Art Mediums
Classes in Maidenhead
Phone: 07525 160306
Please mention the Berkshire Artists website
Email: mariameerstadt@yahoo.co.uk
Website: mariameerstadt.com
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Maria has always loved to paint and feels immensely privileged to be a full-time artist.
The ideas for her work are influenced by colour. She never sees a blue sky – only shades of blue, with hints of pink, apricot, maybe grey! Trees are colours created on the trunks and leaves by sunlight, or times of the day.
Maria comes from the beautiful Channel Islands and has been lucky to have traveled extensively, always absorbing different cultures and scenery. Thirty years ago, she discovered Scotland and her main joy is capturing the beauty of the Highlands and Islands.
Maria is a member of Artists at Goring, Cookham Arts Club and is a Henley Arts Trail Artist. She exhibits regularly.
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
A Still Life of spherical objects and an exercise in direct and reflected light and how this defines spherical objects. The main subject is the mandarins and their brilliant colour provides the focus of the picture. The title is a simple crossword clue, the purpose of the crossword in the picture and the picture in the visual clue.
Image Size: 39cm x 31cm framed
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.
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.
Art, Painting Commissions and Prints from Berkshire Artists
‘Mermaid’ is one of two Trinity House boats based at Harwich, which at the time, were retrieving buoys from around the UK coast to change the power source to solar cells, one of whichcan be seen suspended from the ship’s crane.
Although the ‘Mermaid’ is the main subject of the painting, the activity in the foreground is introduced to provide context, by framing the subject and giving a sense of distance and scale – a necessary element in scenes with water, in which distances can be difficult to define.
Image Size: 67cm x 48cm framed
Art Medium: Watercolour
Painting Price: £400
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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