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D R AW I N G s P H O T O G R A P H Y s PA I N T I N G





Welcome to the latest issue of Creative Artist magazine.

his issue we have found several talented We love to hear from our readers and
artists who share their artistic styles and to showcase the work of Australian artists,
ideas with us. These artists take us on a so if you are a passionate beginner or an
journey to explain who and what inspires their accomplished artist keen to have your work
art and their stories are truly fascinating. displayed in the magazine, please send in your
We have also included a fantastic submissions to:
selection of upcoming shows and exhibitions
from galleries across Australia. There are The Editor,,
many exciting events taking place in the or post your contributions to:
coming months so make sure to mark them Creative Artist, PO Box 8035,
on your calendar. Glenmore Park, NSW, 2745.

Simon and the team

artist 3

22 EXHIBIT A Heide Museum of
Modern Art
50 International Galleries
The Credit Suisse Exhibition: Michelangelo &
Sebastiano; Frdric Bazille and the Birth of
Impressionism; What the Eyes Cannot See:
Underdrawing in Panel Paintings from the
Collections of the National Gallery in Prague,
14th-16th Centuries; Divine Encounter:
Rembrandts Abraham and the Angels

12 Philip Adams In the Landscape
26 Jenny Greentree Back of Bourke
40 Helen Cottle Capturing the Moment
56 Amanda Gray A Lifelong Obsession

18 Philip Adams Trunks and Fronds
32 Jenny Greentree After the Storm
46 Helen Cottle Murray River Albury
62 Amanda Gray Political Portrait No 1:
Darebin Creek Oils

3 Editors Page
6 The Vibe
36 Shooting for Art Habitat Association
68 Tools Patrick Hedges
74 My Space Derek Newton
78 From the Drawing Board

Cover image by Helen Cottle artist 5


14 March
William Eggleston Portraits 18 June 2017

Direct from the National Portrait Gallery in London, who is regarded as a pioneer of colour
the National Gallery of Victoria will present the photography.
Australian premiere of William Eggleston Portraits, The exhibition brings together more than 100
the irst major exhibition devoted to the portraits works by Eggleston, who is renowned for his vivid,
of the ground-breaking American photographer, poetic and enigmatic images of people in diners,
petrol stations, phone booths and supermarkets.
Highlights include Egglestons hypnotic portraits
of locals taken in towns across the American South,
a previously unseen image of The Clash frontman
Joe Strummer and a never-before-exhibited portrait
of the actor and photographer Dennis Hopper.
The exhibition also comprises a selection of never-
before-seen vintage black and white photographs
from the 1960s taken in and around the artists
home in Memphis, Tennessee.
Eggleston is celebrated for his use of colour
photography, which he began experimenting with
in the late 1960s. Egglestons 1976 exhibition
Colour Photographs, held at the Museum of Modern
Art, New York, is considered a pivotal moment
in the development of colour photography as a
contemporary art form and widely credited with
increasing recognition of the medium.
Since irst picking up a camera in 1957, Eggleston
has photographed his family, friends and the people
that he encountered in his everyday life, particularly
in his native Memphis. Eggleston is said to ind the
beauty in the everyday and his work has inspired
many present day photographers, artists and
ilmmakers, including Martin Parr, Soia Coppola,
David Lynch and Juergen Teller.

Images Wilson Centre for Photography

This page Eggleston Artistic Trust
Top Left: Untitled, c.1965-9
Pigment print, printed 2016, Opposite page
33.4 x 51cm Top right: Untitled (the
Eggleston Artistic Trust artists uncle, Adyn Schuyler
Eggleston Artistic Trust Senior, with assistant and
Bottom far left: Untitled, c.1970 driver, Jasper Staples, in
Pigment print, printed 2016, Cassidy Bayou, Sumner,
51 x 34.2cm Mississippi), 1969-70
Eggleston Artistic Trust Pigment print, printed 2016,
Eggleston Artistic Trust 111.8 x 152.4cm
Left: Untitled (Memphis, Courtesy the Eggleston Artistic
Tennessee), c.1969-71 Trust and David Zwirner, New
Dye-transfer print, York/London
55.5 x 36.8cm Eggleston Artistic Trust

6 artist
The work of William Eggleston has made an
indelible impact of the medium of photography
through his groundbreaking and striking use of
colour. Egglestons images reveal the hidden
beauty in our day to day lives and have a
powerful, vibrant aesthetic that has inluenced
many subsequent generations, said Tony Ellwood,
Director, NGV.
William Eggleston Portraits features friends,
musicians, actors and rarely seen images of
Egglestons own family. It provides a unique
window on the artists home life, allowing visitors
to see how public and private portraiture came
together in Egglestons work. It also reveals, for
the irst time, the identities of many sitters who
have until now remained anonymous.
Between 1960 and 1965, Eggleston worked photographs, including the Untitled photograph Images
exclusively in black and white. People were his showing Frank Zition sitting alone on a motel This page:
primary subject, caught unawares while going room bed. Top left: Untitled (Memphis,
about ordinary tasks. In the 1970s, Eggleston Also on display will be a monumental, one and Tennessee), 1965
increasingly frequented the Memphis night club a half metre wide print of the artists uncle, Adyn Dye-transfer print,
scene, developing friendships and getting to know Schuyler Senior, with his assistant Jasper Staples 45.1 x 30.5cm
musicians and artists. His fascination with club in Cassidy Bayou, Mississippi and Devoe Money Wilson Centre for
culture resulted in the experimental video Stranded in Jackson, Mississippi from the landmark book
Eggleston Artistic Trust
in Canton, a selection of which is on view at the Egglestons Guide (1976).
Above: Untitled, 1965-8
exhibition. Stranded in Canton chronicles visits to Dye-transfer print, printed
bars in Memphis, Mississippi and New Orleans. William Eggleston Portraits 2004
Eggleston is renowned for his experimentation 17 March 18 June 2017 30.5 x 45.1cm
with dye-transfer printing, a commercial printing NGV International Wilson Centre for
technique that produces highly saturated colour 180 St Kilda Road Photography
images. The use of this technique resulted in Melbourne, Vic, 3000 Eggleston Artistic Trust
some of Egglestons most arresting and vibrant Entry is free.

artist 7

NGA Exhibition Commemorates
World War I Artists

Images Marking the continuing centenary of the Great War with assistance from students from The Australian
Right: George Benson (1914-18), the National Gallery of Australia presents National University (ANU) as a professional
Lewis gunner 1919-20 the irst of two exhibitions exploring the works of development opportunity, Artists of the Great War
oil on canvas Oicial War Artists and their civilian counterparts in the features 50 works by celebrated Australian artists
Australian War Memorial, lead up to, and during, World War I. of the time, including Will Dyson, George Lambert,
Curated by Associate Professor David Hansen Norman Lindsay, Arthur Streeton and Hilda Rix
Below left: Will Dyson
Eternal waiting 1917 Nicholas, alongside works by soldiers, recruiters, and
charcoal, pencil and wash women behind the lines.
on paper Revealing the heroism, grief, and horror of
Australian War Memorial, the Great War through various perspectives, the
Canberra exhibition explores the themes of propaganda,
Below right: George Coates oicial commissions, and contemporary reactions to
Australian oicial war artists the war efort.
1916-1918 Propaganda is explored through posters, print
1920 oil on canvas
and caricatures and The Western Front is brought
Australian War Memorial,
Canberra to life in paintings, drawings and prints by the irst
of the Oicial War Artists, Will Dyson. Dyson was a
crucially important artists and caricaturist whose life
and career is not as well-known as the other artists
included, such as close friend, Norman Lindsay.

The exhibition showcases works of art from the

NGA and Australian War.
The exhibition will run until 17 June 2017
National Gallery of Australia
Parkes Place, Parkes ACT 2600
Ph: 02 6240 6411

8 artist
Going Digital: The Darebin Art Collection

For the past two years Bundoora Homestead Art Images

Top right: DAMP
Centre staf have been working hard to make the
Victorias Secret2014
Darebin Art Collection accessible to all members of
Acrylic paint on polymer
our community. This has now been realised with the resin statue, polymer
launch of the Darebin Art Collection website. adhesive. 96 x 36 x 38cm
The Darebin Art Collection is regularly exhibited (irregular)
and displayed at the Bundoora Homestead and other Darebin Art Collection
publicly accessible locations within the City of Darebin, Bottom left: Trevor Turbo
including its libraries, town halls, the Intercultural BROWN
Centre, as well as customer service and civic centres. Wombat Dreaming
It inspires, informs, engages and connects the
acrylic on canvas.
community in an appreciation of the visual arts
150 x 200cm
and local heritage. Importantly, it also supports Darebin Art Collection
artists in their endeavours to contribute to a Bottom right: Alice Wormald
vibrant municipal culture. Reeds Japan2014
No matter where you may be, as long as you can Oil on linen. 87 x 87cm
access the Internet, you can explore the incredible Collection:Darebin Art
works on the new online database. Artworks Collection
featured include works by artists John Borrack,
DAMP, Frances Gallagher, Aunty Gwen Garoni,
Polixeni Papapetrou, Steaphan Paton, David Ray,
Yhonnie Scarce, Vipoo Srivilasa and Alice Wormald.
We are so excited and proud to launch the
Darebin Art Collection online so that the community
can explore and enjoy the diverse artistic styles and
personal views expressed through these artworks,
says Bundoora Homesteads curator Claire Watson.
The staf will continue to add more works until
every work will be available to see online, so please
go to to browse
this wonderful resource.

Bundoora Homestead Art Centre

7-27 Snake Gully Drive
Bundoora, Vic, 3083
Wed-Fri 11am-4pm, Sat-Sun 12-5pm

artist 9

Still Life Painting Adam Pyett

Images This survey exhibition of works spanning over ten The intimate scale of Pyetts still-life arrangements
Below left: Adam years charts Adam Pyetts long-standing interest in and the artists love of the forms and colours of local
Pyett Ramones 2014 the still life genre. Mining traditional subjects from lora provide the ideal framework in which he can
oil on linen Reproduced focus on the materiality of paint and work through
leaves and lowers, transparent vessels, and skulls,
courtesy of the artist and
through to those that relect popular culture such the challenge he sets with each canvas: to make a
Sophie Gannon Gallery,
Melbourne as drink cans and rock t-shirts, still life is the genre two dimensional image that is more satisfying than
Below right: Adam Pyett through which Pyett explores his primary interest, the original three dimensional form on which it is
Flowering Gum the subject of painting itself. based. The informal positioning of the plant cuttings,
2013 oil on linen Private The exhibition charts the progression of Pyetts vessels, cans and skulls he assembles, belies the
collection Reproduced practice: his most recent works (201516) depict artists complex approach to each work.
courtesy of the artist and native Australian plants, arranged in transparent vessels, The current exhibition is the irst to
Sophie Gannon Gallery, variously atop plain or decorated surfaces. Painted in comprehensively survey the work of the Melbourne-
Melbourne based painter, an artist who has regularly been
a vibrant palette, the plant cuttings, water-illed vases,
shadows and table surfaces take on almost abstracted shortlisted in Geelong Gallerys biennial painting
forms. This series was preceded by a number of still prizes (including the Geelong contemporary art prize
life paintings in which native arrangements housed in in 2016 & 2014, and the Fletcher Jones art prize in
modest recycled water bottles and caf glasses were 2010, 2008 and 2006).
depicted in dark, dramatic settings.
Icons of consumer culture such as Fosters beer This exhibition runs from
cans and Coca cola cans, and rock t-shirts for the 20 May 16 July 2017
Ramones, Motorhead and AC/DC draped across Geelong Gallery
humble milk crates, bring a very contemporary Little Malop Street, Geelong VIC 3220
lavour to Pyetts still life subject matter.

20 May
16 July 2017

10 artist
Colonial Afterlives Contemporary Artists EXHIBITION
Examine our British Legacy 6 May
23 July 2017

Colonial Afterlives brings together contemporary

responses to the complex legacies of British
occupation by outstanding indigenous and diasporic
artists living in Australia, New Zealand, Jamaica,
Barbados, Canada and Britain.
The exhibition incorporates a diversity of views
ranging from melancholic eulogies to passionate
commentaries on the complex legacies of British
occupation through video, printmaking, photography,
mixed media and sculptural installation. The artists
are inely attuned to the histories and politics of
their own region, yet the exhibition reveals profound
and sometimes surprising conluences, raising larger
questions around the nature of post-colonial identity
in an increasingly globalised world. Rees-Pagh (Tasmania) examines some of the Image
Several of the artists explore multiple identities deep wounds of empire, as manifested in racist Above: James Newitt
through performance and photography, including stereotyping and modern forms of frontier violence. The Desires of Mute
Fiona Foley (Australia), Christian Thompson Things 2015
Installation with digital
(Australia), Charles Campbell (Jamaica), Kent Exhibition dates: 6 May 23 July 2017
Monkman (Canada), and Ewan Atkinson (Barbados). Maitland Regional Art Gallery Dimensions variable
Others are keenly attuned to the nuances and Curator: Dr Sarah Thomas
contemporary resonance of the colonial archive 230 High Street, Maitland NSW 2320
- Julie Gough (Australia), Daniel Boyd (Australia) Ph: 02 4934 9859
and Lisa Reihana (New Zealand) - while Yvonne Web:

More than 160 Artists Across Australia Images

Below left: Katerina Apale
Unite in Support of Epilepsy Below right: Claudia Gillies

On Valentines Day 2017, more than 160 in need of specialist services. Funds raised from the
prominent and up-and-coming artists from across auction will go towards supporting their vital and life
Australia joined forces to raise vital funds for changing programs such as: Ted-E-Bear Connection,
people living with epilepsy, donating original MyEpilepsyKey and their Online Academy.
artworks to the online Art for Epilepsy auction.
Close to 200 artworks went up for auction, For more information visit
including beautiful watercolours, vibrant abstracts,
intricate illustrations and more. The bidding
opened on 14th February, 9am and closed on
International Epilepsy Awareness Day (Purple
Day), 26 March. To tie in with the colour purple,
the internationally recognised colour for epilepsy,
artists were asked to feature a shade of purple in
their artworks in some way.
Celebrated Sydney artist, Mia Oatley, is an
ambassador for Epilepsy Action Australia, the charity
behind the auction, and says she is proud and excited
to be involved in the Art for Epilepsy auction again.
Epilepsy Action is the largest provider of education
and support services to children and adults with
epilepsy across Australia. There are currently 250,000
people afected by epilepsy across the country who are

artist 11

In The Landscape
An artist in awe of the natural world and its diverse source of endless inspiration.

12 artist
Philip Adams


hilip has always been interested in art, and academic skills in other areas. He continued on
drawing in particular, from an early age. He to Caulield Institute of Technology to complete a This page
showed a natural ability to capture details and Diploma of Art. While developing traditional skills, Waves and Rockpools
proportions of faces, cars, planes and birds. This it was Abstract Expressionism and Pop Art that
was encouraged by his mum, Gilva, who was herself strongly inluenced his direction. Opposite page
talented in a wide range of arts and crafts and able A year after completing his Diploma in 1969, Red Gum Wetland
to provide some guidance. Philip moved to London. He describes it as a great
Philips interest in art grew while at Mordialloc opportunity at the time to study the work of the
Chelsea High School, a time where he showed little masters in London, Paris and Madrid, while keeping >>

artist 13

Paintings in touch with the contemporary work shown in the

This page commercial galleries. The work that he exhibited in
Below: Jabiru and the two solo shows, one in London and the other
Waterlillies in Birmingham, demonstrated his interested in Pop
Right: Desert Horizon Art. It was life seen from a Bedsitter and images
Below right: Evening Sky gathered from magazines and assembled in new
Opposite page Philip returned to Australia in late 1970
Top: Coastal Vista and
after spending time in India, which changed
King Parrots
his approach to life and later, to art. Studying
meditation and yoga, landscape was no longer
an old fashioned theme for artists, but the play of
the creative power of life, and as such a source
of inspiration and delight. However, it would be
some time before this was translated into his art
On returning to Australia, Philip went back to
college, this time to become an art teacher. When
he moved to Central Victoria in 1972, it was
not just to pursue a career as an art teacher at

14 artist
Philip Adams

Maryborough Technical College, but as back to

earthers. Painting was put on hold whole a bush
block acquired, mud brick house built, gardens
established, fruit trees planted, and goat paddock
fenced. Then came children, four of them. It was
not until 1983 that a studio was built and time was
available for artistic pursuits.
Reducing teaching to three days a week allowed
more time in the studio. Philip lived in the landscape
- forest on one side and pastoral on the other - a
landscape rich in bold animal and plant life and
these became his motifs. His inluences were Turner,
Constable Impressionists, and Heidelberg, as well
as the more contemporary approaches of Fred
Williams, Lloyd Rees and Brett Whiteley.
Sadly, just a year, Philips artistic endeavours
were curtailed by a bushire that turned his
studio and environment to ashes. It was back to
gumboots and another year before he was back
at the easel. Once he was, it was the aftermath
of the bushire that inspired him. After good
rains, the blackened ground and blacker tree >>

artist 15
Philip Adams

16 artist
Philip Adams
trunks started sprouting in all variety of greens, exhibition, while another was the Reserve Bank Paintings
blues and mauve leaves. This regeneration of of Australia acquiring a Kakadu canvas for their This page
the landscape became a dominant theme, as New York oice. Ballarat Fine Art Regional Gallery Below: JRainforest
did water in the landscape, leading to a series and Central Goldields Regional Gallery have also Foliage
on rural dams. The exhibitions, based on these acquired Philips works.
themes, struck a cord with the public and were The diversity and complexity of the natural Opposite page
near sell-outs, kickstarting his career. Having world is an endless source of inspiration. Philips Top left: Northern
lived and holidayed by the sea; swimming, suring challenge is to ind ways of presenting it in Rockhole
and sailing, the coastline provided themes for paint that captures its beauty in a distinctive and Top right: Three Flying
exhibitions at seaside galleries. engaging manner. Galahs
With the children becoming independent, Philip Philip Adams work is represented at Ballarat Fine Bottom left: Pied
was able to resign from teaching and spend time Art Gallery, Metropolis Gallery, Qdos Art, Seaview Heron and Relected
travelling, exploring many of the manifestations Gallery, Spanda Studio, Framed Fine Art Gallery and Paperbark
of the Australian landscape. A Kakadu and North Jahroc Galleries.
Queensland inspired series and several residencies
at Ulara, near Uluru, allowed time to study and paint Contact details
the red centre. Philip Adams
It is gratifying for Philip when visitors from PO Box 77 Avoca 3467
Europe, North America or Asia added his paintings Ph: 03 5405 3337
to their collections. One particular highlight was Email:
Crown Casino purchasing sixteen works from an Web:

artist 17

Trunks and Fronds

Materials List I was attracted to the delicate fern fronds, illumined by the sunlight,
t (FTTP DPBUFE BDJE GSFF contrasting against the dark foliage, and the coarse texture of the trunk bark
QBQFS sketch. Simple composition, so just a few lines to get the proportion.
#MJF *NQBTUP -JHIU Step One Step Two
(SFZ )PPLFST (SFFO Trunk and Fronds is 23cm H x 51 cm W, on gesso I use acrylics as they dry quickly and are robust.
t 0JM QBJOUT 6MUSBNBSJOF coated acid free paper, which I stretched on a A spatula has been used to build up surface
#MVF 4BQ (SFFO #VSOU backing board. To stretch it, I have lightly sprayed texture. Cool colour dominates so burnt sienna
&NCFS it with water and while damp, stapled it to the is used on the tree forms to give some warmth.
t 4QBUVMB board. As it dries, the paper shrinks and becomes Ultramarine blue will provide a vibrant base colour
t 'JOF CSVTIFT tensioned. When working on a theme I usually for the shadows and dark foliage. Impasto light
t 'MBU UBLMPO CSVTIFT start with some smaller works to get a feel for grey for the lighter areas of the trunks, while
t "SU TQFDUSVN portraying that environment and work out what Impasto white with a little ultramarine blue for
t (MB[JOH HFM techniques might be suitable before tackling larger the sky. Hookers green was mixed with the
t *OOFE -JRVPM canvases. ultramarine for the foliage. Impasto application >>

18 artist
Philip Adams
Final Step

Step 1a
Reference Photograph

artist 19

with a spatula provides a great base coat for

the glaze layers to follow, which will be layered
on and rubbed or scraped back to accentuate
the texture. It is important for the underpainting
not to be too fussy, or the painting will have no

Step Three
With the major forms and tonal areas established,
spatulas are exchanged for ine brushes to
indicate leaves, fronds and bark texture. The
painting is now well deined with only the
details to be developed. I prefer to do this with
oil paint as it allows more manipulation time. I
use synthetic mediums with the oil paint. Art
Step 1b spectrum, glazing gel and liquol. Acrylic paints
remain lexible while traditional oil mediums
become more brittle with time which could lead
to crazing and laking over time. The synthetic
oil mediums are more lexible and should
adhere well to the acrylic under paint. These
mediums also speed up drying allowing me to
over paint sooner. The irst step is to thin the
liquol or glazing gel. If Im in a rush, with artists
turpentine and wash over the whole painting.
While this is still wet, oil colours are worked
in bit of ultramarine blue in the sky, sap green
in the foliage, burnt ember in the trunks. This
enriches the colours. Some areas are rubbed
back, ie, the trunk which accentuates the textures
of the underpainting.
Step 1c

Step 2

20 artist
Philip Adams

Step 3

Step Four and Final Step overworking and can remain less resolved, suggesting
To this point, the painting has developed quickly. From rather deining a form. This balance is elusive and I
now on it slows down as details, leaves, fronds and have drawers of dead paintings to prove it.
texture of the bark are methodically deined. I use
thinned liquol as a medium and ine and lat taklon Contact details
brushes. A balance has to be struck between deinition Philip Adams
and suggestion. If all the forms become clearly deined, PO Box 77 Avoca 3467
the painting becomes dead as there is nothing for Ph: 03 5405 3337
the imagination of the viewer. If the underpainting is Email:
rich in texture and colour, much of it will need little Web:

Step 4

artist 21

Heide Museum of
Modern Art
An inspiring experience of art, architecture, gardens and social history.

eide Museum of Modern Art began life in In the mid-1950s the Reeds established the
1934 as the home of John and Sunday Gallery of Contemporary Art in Melbourne's CBD
Reed and has since evolved into one of and in 1958, with the assistance of friend and
Australias most important cultural institutions. Soon entrepreneur George Moras, they relaunched the
after purchasing the ifteen acre property on which gallery as the Museum of Modern Art of Australia,
Heide stands, John and Sunday opened their home a precursor to Heide Museum of Modern Art.
to like-minded individuals such as artists Sidney Amassing an outstanding collection of contemporary
Nolan, Albert Tucker, Joy Hester, John Perceval and art of their time, the Reeds outgrew their original
Danila Vassilief. They nurtured a circle of writers farmhouse, and in 1964 commissioned the
and intellectuals who contributed to Heide becoming architecutural irm McGlashan and Everist to create
a place for the discussion, creation and promotion of a 'gallery to be lived in'. This modernist architectural
modern art and literature. icon eventually opened as a public art museum in

22 artist
November 1981 following its purchase by the State
Government. Although the Reeds lived to see their
vision fulilled of Heide as a public museum, they
both died shortly afterwards in December 1981.
Having presented almost 300 solo, group and
thematic exhibitions of modern and contemporary
art since becoming a public museum, Heide has
gained a national reputation for artistic excellence
and established a unique position in the overall
artistic and cultural history of Australia. The work of
modernist artists of the Heide circle has featured in
the exhibition program since the inaugural exhibition
Ned Kelly Paintings by Sidney Nolan, and continued
with exhibitions of works by Sam Atyeo, Arthur
Boyd, Charles Blackman, Joy Hester, Mirka Mora and
Albert Tucker.
In keeping with the Reeds support of the artists
of their time, Heide is dedicated to promoting the
work of livings artists. Solo contemporary artist
exhibitions have included Susan Norrie, Rick Amor,
Kathy Temin, Fiona Hall, Stephen Benwell and Emily >>

This page Right: Heide II exterior
Above: Installation view,
Alex Selenitsch: LIFE/TEXT, Opposite page
Heide II, 2015 Heide I exterior

artist 23

Floyd. Since 1996, Heide has also shown a series of

small project exhibitions by emerging artists including
Dylan Martorell, Charlie Sofo, Louise Saxton, Paul Yore
and Siri Hayes. Ground-breaking historical surveys
have included Modern Times: The Untold Story of
Modernism in Australia (2009), Cubism & Australian
Art (2009-10) and most recently, O'Keefe, Preston,
Cossington Smith: Making Modernism.
In terms of the architecture of Heide, the museum
is a stunning relection of the sites transformation
from a rural homestead to a public art museum. The
irst residence of John and Sunday Reed at Heide is a
distinctive weatherboard farmhouse renovated in the
French provincial style. Known as Heide I, this beautiful
cottage was home to the Reeds for thirty ive years
and is the place where Sidney Nolans Kelly series
was painted; O'Keefe, Preston, Cossington Smith:
Making Modernism. Since Heide became a public
museum and garden, the site has expanded over the
years to include the Sidney Myer Education Centre,
an elegant glass pavilion caf and Heide III, a purpose

Above: Heide III exterior Left: Installation view, O'Keefe,
Top left: Inge King, Preston, Cossington Smith: Making
Rings of Saturn, (2005-5) Modernism, Heide III, 2016

24 artist
built museum space, whose black titanium zinc facade
strikingly contrasts with the white limestone of Heide II,
while echoing the earlier buildings modernist spirit.
In addition to the expanded facilities of the
museum, Heide has an array of beautiful gardens,
ofering a space for family enjoyment and individual
relection. The gardens incorporate several of the
original gardens, which are now heritage listed.
There are over thirty stunning sculptures to
discover across the ifteen acre site, including works
by Anish Kapoor, Anthony Caro and Neil Taylor.
Visitors can discover Sunday Reeds walled garden,
original kitchen garden and the wild garden near
Heide I. Artist gardens have also been established
within the Heide landscape by artists such as Lauren
Berkowitz and Fiona Hall.
John and Sunday Reed made a lasting contribution
to Australian culture. They are remembered as
champions of modern art and literature and remain
two of Australias most important art benefactors.

Heide Museum of Modern Art is open

Tuesday-Sunday, 10am to 5pm.
7 Templestowe Road, Bulleen Vic
For more information about the museum
and any upcoming exhibitions, events or facilities,
visit or
phone 03 9850 1500.

Top Left: Neil Taylor, Theoretical Below: Installation view,
Matter, 1999-2000 O'Keefe, Preston, Cossington
Left: Monthly Makers' Market Smith: Making Modernism,
at Heide Heide III, 2016

artist 25

Back of Bourke
Nature enny Greentree resides on an ancient red ridge
motivates this overlooking Gidgee Lake quite literally out the
artist with its Back of Bourke in western New South Wales.
spectacular Her home has been a source of inspiration which
sunrises; with has helped to unlock her exciting God-given talents.
glistening light Jenny uses pastels in a style that is fresh and
reflecting off crisp. She manipulates pure colours, line and tone to
approaching capture the extraordinary images of the Australian
storms; with Outback which she experiences on a daily basis.
magical Waking up to a spectacular sunrise, or driving
Outback down the road and being struck by the glistening
evenings. light of the sun relecting of an approaching storm,
She wants cannot fail to spark the creativity of this talented
to share the lady. She still responds in wonder at beautiful
beauty of her sunsets, and is still mesmerised by the sight of
experiences the moon rising over Gidgee Lake captivating
with the world. glimpses of Natures loveliness that Jenny wants to
share with the world. >>

26 artist
artist 27
Jenny Greentree

28 artist
Jenny Greentree
I like to capture the rugged beauty, unusual scenes
and leeting moments that people would usually miss
out on unless they are living in the Outback, Jenny
explains. I want others to enjoy the beautiful and
amazing things that leave me in awe of the One who
created them.
Jenny Greentree recognises that she does not
create by herself. She is inspired by the rich scenery
in her living environment, and by her intimate
relationship with the Creator of this land which
enables her to capture the essence of what it has
to ofer. When there is water, she is inspired to paint
waterbirds. When there is drought and the birds move
away, the vegetation rolls back and the red earth is
her subject. When the storm clouds brew up and the
scent of drought-breaking rain is in the air, this is
inspiration for another kind of art.
Jenny was born in 1960. She describes herself
as a naturally gifted artist who has painted since
childhood. She has developed her artistic gift by
attending a few weekend workshops over the years.
Until just a few years ago, her medium of choice
was watercolours. After attending a pastel portraiture
workshop in Bourke (tutored by Maxine Thompson from
Noosa) she developed an afection for pastels. Maxine
taught Jenny how to use pastels, and this medium suits
the Bourke Outback landscape work admirably. >>

artist 29

30 artist
As a primary-trained school teacher, Jenny has also reproduction series entitled Moods and Colours of
taught art to children at a small community school west of Bourke has become very popular. A successful sale
Bourke. She accepted an invitation to teach high school of the originals of this series celebrated the recent
elective art at the school in 2003. This occurred when opening of the Back O Bourke Gallery.
she was developing as a pastel artist, and the teaching Jenny and her husband Steve opened the Back
work ploughed her mind theoretically and helped to O Bourke Gallery on the banks of the Darling River
develop her skills as an art educator. at North Bourke, located ive kilometres north of the
Jenny loves and appreciates the diferent stages of art legendary Australian town of Bourke in Outback New Contact details
history, and enjoys all of the modern art movements. Her South Wales. North Bourke is a developing Outback Back O Bourke Gallery
greatest inluences are the Australian impressionists tourist village and the beautifully presented gallery houses 26 Darling Street,
especially the Heidelberg school and Hans Heysen. Jenny Greentrees studio. Her working commercial gallery Kidman Way, North
Living west of Bourke for more than a decade has is now rapidly developing as a must-see gallery on the Bourke, NSW
provided rich inspiration. Jenny Greentrees Giclee Outback gallery loop from Lightning Ridge to Broken Hill. Ph: 02 6872 4674

artist 31

After the Storm

This artist is constantly inspired by her living environment. This painting is a culmination
of different sights and memories near her home at the Back O Bourke.

Final Step

32 artist
Jenny Greentree

Step 1 Step 2

Step One strokes fairly horizontal. I blend lighter areas using Materials List
I make a sketch, considering tone and compositional small, round strokes to establish lufy cloud areas. t 4PGU $IBML 1BTUFMT
arrangement, remembering that sunlight will be This is the beginning of forming clouds and getting BSUJTU RVBMJUZ

a feature of this painting. I select most colours the overall structure of the painting. More detail on o IBOENBEF CZ
before I start, choosing colours with reference to clouds occurs later. +FGG 8BUFSTPO "SU
photographs. I consider complementary colours and 4QFDUSVN BOE
often exaggerate a little for impact. I use Colourix Step Four 3FNCSBOEU
pastel paper (half a sheet of Blue Haze for this I consider the position of the emerging sun, which will t 1BTUFM 1FODJMT o
picture) taped to board for stability. throw important light on objects in the painting, and 4UBCJMP $BSC0UIFMMP
also dictate shadows. It is helpful to draw a little circle o GBWPVSJUFT JODMVEF
Step Two (on the board beside the artwork) to remind me of  $SFBN
I draw in a horizon line with pastel pencil and block the suns position at the top left in this painting. I use  %BSL #MVF
in cloud area colours with soft pastels. Straight a kneadable eraser to clean of any pastel that went (SFZ  %BSL
strokes (often the side of the pastel) are used in below the horizon line during blending; then draw a #SPXO  (SFZ
distant and streaky clouds. Curvy strokes to help distant treeline with a dark, cool-coloured pastel pencil t 4QSBZ 'JYBUJWF
form cloud shapes are used for the lufy cloud or pastel stick. I quickly and lightly sketch (with pastel t ,OFBEBCMF &SBTFS
areas. This is done quickly and roughly. pencil) approximate lines for plants and shadows on t 4UBOMFZ ,OJGF BOE
the ground. Using the basic rules of aerial perspective, 1BMFUUF ,OJGF
Step Three I block in ground colours including plant and shadow t 1BTUFM 1BQFS
With ingers, I blend cloud areas beginning with areas (dark purple/blues are good for shadow areas). $PMPVSmY CZ "SU
dark areas and the bases of clouds keeping the I use darker, warmer colours in the foreground, with >> 4QFDUSVN

Step 3 Step 4

artist 33

Jenny Greentree

Step 5

cooler and lighter colours in the background. I Step Five

roughly blend if necessary; not too smooth because Remembering the position of the sun, I add
the texture of the ground is rough. Patches of the highlights on background trees. Using pastel pencil,
Colourix paper showing through look like light lecks I draw lines in front of a few sections of the treeline
on the ground and help with unity in the artwork to indicate trunks; making some of them cream or
because colours from the sky are also on the ground. light grey to indicate that they are sunlit. I block in
The basic structure of the painting is now established, foreground and middle ground bushes with dark
so I spray it with ixative. and mid-tone pastels, again considering lighting;
and blending if necessary. I add a few horizontal
streaks of muted yellows to indicate wildlowers in
the background. Using a dark grey or brown pastel
pencil, I draw the main trunks and branches of
Wattle trees.

Step Six
I block in darks and mid-tones of foliage on the
Wattle trees using dark and mid browns, greens
and ochre yellows. I blend minimally with small,
light, round inger strokes. I develop detail on the
bushes, trees and clouds by adding lights. On
clouds, I draw lufy lines with very light greys and
mauves and carefully blend to create an illusion
of highlights. I use short strokes of mid to light
blue/greens to develop the texture and detail of
Bluebush; and a few short strokes of lemon and
yellow to develop the Wattle.

Step Seven
Shaving specks of pastel onto areas to be
highlighted is an efective way to put inishing
Step 6
touches on bushes and trees; and to make

34 artist
wildlowers. I use a blade to carefully scratch specks pastel. Adding kangaroos (coming out to drink Contact details
of pastel onto the artwork, and press them down from puddles after the storm) creates a story for Back O Bourke Gallery
irmly with a palette knife. Any excess specks can viewers to contemplate. Roos commonly appear after 26 Darling Street,
be scraped of with a palette knife. I indicate some rainstorms, thankful to ind water in their normally Kidman Way,
stems and leaves on the wildlowers, and add more parched environment. They are not always obvious, North Bourke, NSW
branch and twig details to trees and bushes using requiring a second look to really notice them and I Ph: 02 6872 4674
pastel pencil. am pleased to be able to achieve this in the painting.
Although the kangaroos are in the foreground, the
Step Eight eye doesnt ind them until after being drawn to the
I consider the work and determine how to improve back of the painting, then up to the clouds, around
it. I need to emphasise the contrast between the the Wattles and inally onto the roos.
yellow lowers and the purple clouds. I also need to
improve the composition of the painting.

Final Step
I add a streak of bright lemon yellow in the
background at the tree line. This goes against aerial
perspective rules but it is necessary to achieve
the wow factor of sunlight streaming after the
storm. I also improve the shapes and highlights of
the Wattles. I selectively tint the lighter sky colour
over areas of overbearing cloud, and use mid
greys and mauves to reduce the intensity of other
areas in the top right-hand corner. I deepen the
bottom of the closest cloud, creating an illusion
of space and distance. I add inal lights with white

Step 7

Step 8

artist 35
SHOOTING FOR ART By Margaret Hodgson OAM

Habitat Association
Hints on where to take the sketch pad and camera to find hot spots of activity.
We also take a look at a broad overview of where, when and how to click the picture.

Article and photography by Margaret Hodgson OAM

rush strokes and clicks start a new adventure
journey for the illustrator and photographer!
Botanical and wildlife can become an
addictive and rewarding pastime for the dedicated.
Exploring habitat association will abound endless
inspiration and challenges for the nature loving artist
and photographer. Habitat association of fauna
and lora takes us into a realm of natures delicate
network where everything depends upon the other
and in turn our survival relies entirely on natures

Left: Noisy Friarbird sipping nectar from the grass tree
lower spike, taken with 400mm lens, F3 Shutter 80 ISO 200
Above: Common Albatross Butterly sipping nectar from the
Ivory Curl lowers, taken with 400mm lens,
F5.6 Shutter 200 ISO 200

36 artist
Above left: Eastern Spinebill sipping nectar from grevillea lowers,
taken with 400mm lens, F5.6 Shutter 1000 ISO 200
Top right: Lewins Honeyeater eating seed from the pink pods,
taken with 400mm lens, F5.6 Shutter 500 ISO 200
Right: Male Mistletoebird feeding on a mistletoe berry, the digestion
of the seed is short and then deposited on a branch coated with
a sticky luid adhering it to the host tree, hence, spreading the
species. Taken with 400mm lens, F10 Shutter 2000 ISO 200

Habitat is the source of shelter and food for

wildlife. A few general pointers; birds, honeyeaters
in particular, follow the honeylow produced from
stands of lowering lora. For example, Eucalyptus Food association continues into the maturing
trees, Grevilleas and Banksias, each species have seeds from the lowering, which becomes another
their season where honeyeaters drink up the nectar cycle for locks of seed eating birds, such as
during the day while nocturnal marsupials and cockatoos, that relish Banksias, Casuarinas
mammals visit the honeylow during the night. and gum nuts. Grass seeds are prized by little
During honeylows you can expect to see large inches, parrots, and pigeons, just to name a
locks of nectar-eating birds which will also include, for few. Other little birds such as lycatchers will
example, lorikeets. In turn numerous species of insects feed over and along watercourses of creeks and
are drawn to the nectar for subsistence and this in turn rivers. Waterbirds will gather abundantly at water
attracts insect eating birds large and small to feed on meadows during good wet seasons. Estuaries and
the insect smorgasbord, even honeyeaters eat insects. migratory birds will work the tidal lines for ish,
It becomes an interesting cycle with great photo insect and crustaceans, sorting after little morsels
opportunities for fauna, lora and insects alike. that are part of the macro world that make magic >>

artists 37

pictures of these little gems. Breeding seasons

are an ideal time to stake out for a photo shoot
on nesting sites where constant feeding or nest
building is taking place at one spot.
The warm months are a good time to take
note on the insect life. Always check host food
plants for caterpillars and chrysalis and emerging
butterlies. The forest loor is a carpet of mixed
menu for not only birds but small marsupials and
mammals such as Pademelons, Bandicoots,
Spiny Anteaters and marsupial mice. Reptiles
usually are found close to waterways and ponds
or in the case of goannas and snakes, they are
always on the prowl for bird nests to feed on
eggs or young chicks.
Habitat association is the foundation of the
continuous food chain; everything is connected.
When the links are broken we put under threat
our fauna and lora and we lose irreplaceable
species, lost forever. Retaining large tracks
of natural habitat is necessary to sustain this
delicate balance of nature, this masterpiece is a
living and working art that keeps us inspired and
in awe of its unique beauty. It also gives us that
inner spiritual connection we all need for calming
peace that helps to keep a mental balance within
the planet we share.

This page
Top left: Red-necked Wallaby with her Joey feeding on
grassland, taken with 400mm lens, F8 Shutter 200 ISO
200Left: White-faced Heron ishing in waterway, taken with
400mm lens, F10 Shutter 200 ISO 200

Opposite page
Top left: Pelican ishing on waterways, taken with 400mm
lens, F8 Shutter 2000 ISO 200
Top right: Cattle Egrets associate with cattle capitalising
on the disturbed insects while grazing, giving the birds
an easy meal. Taken with 400mm lens, F8 Shutter 1000 ISO
200Bottom left: Osprey with ish bring it to the nest site t
o feed young, taken with 400mm lens, F10 Shutter 800
ISO 100
Bottom right: Grey-headed Flying-fox roosts in colonies
by day and feeds on fruit and blossom by night, taken
with 400mm lens, F8 Shutter 1250 ISO 200

38 artist
A hint for contemporary artists; human habitat is peoples pets to look like their owners and link
largely high density populations forming cityscapes animals to people environments to generalise
that often inluences contemporary artists to characters and attitudes? Animals and plants
draw from its numerous interesting subjects and are often linked with the fantasy and mythology
concepts. From time to time it is a good idea to take landscape.
a refresher in the natural environment to draw new
abstract ideas. Contact details:
Portraiture and fantasy artists have historically Email:
incorporated nature in their work from a Ph: 02 6647 3157
contemporary perspective. How often do we liken Mob: 0428 267 710

artist 39

Capturing the Moment

A realist journey that started at a very early age, Helen a whole new world opened up after she started
painter with has always demonstrated an eagerness to painting with the medium.
an endless draw and create from nature and life. After The driving force behind Helens love for art is
spark for receiving a set of paints and equipment for an early being able to capture a moment. Although this is
creativity 18th birthday present from her parents, Helen challenging, her main aim is to visually speak to
began painting in oils at the young age of 17. It was the viewer, to capture a mood or feeling in her work
here she found her passion for paint was ignited. and maintain their attention for longer than a brief
Oil would be Helens primary medium for around glimpse. She says this is achieved, in part, to the
ive years until she developed an allergy to turps use of hard and soft edges. This is important as
and switched to watercolour and acrylic. She recalls it creates the illusion of depth and leaves enough
absolutely falling in love with watercolour and how mystery without over stating.

40 artist
Helen Cottle

Helen has a high respect for acrylic as a medium and impressionist painter. Her subjects are not Paintings
that is lexible and fast drying, one that can be limited and she loves to paint almost anything, from This page
manipulated to achieve exciting and dynamic results. landscapes and urban scenes to lorals, portraits and Top right: Rural Beauty
Helen describes her watercolour technique as mainly more. Acrylic
traditional, with a few risk-taking leaps to keep her Helens passion for art has seen her win Above: Craftsman at
Work Watercolour
work loose and impressionistic. When using acrylic, numerous awards and prizes from the many shows
Helen prefers to work in various ways, utilising a and exhibitions she has entered over the years.
Oppostie page
range of techniques to obtain interesting efects. She She notes Camberwell art show as a favourite of Early Light Williamstown
starts with thin layers and undertones and eventually hers, along with a long list of others, far too many Watercolour
builds the thickness up to add depth to the painting. to mention. A highlight for her career occurred in
Overall, Helen considers herself to be a realist 2010 when she was invited as a guest artist to the >>

artist 41

Shanghai Biennial Watercolour exhibition. Further

to this, Helen is regularly a guest artist with the
Kevin Hill top ten Australian Artists. She exhibits
with this group around three times a year in Victoria,
Canberra and Sydney. Always an artist who likes to
stay busy, Helen has held numerous solo exhibitions
and has been involved in many group shows around
As with any artist, her journey has been inspired
by many diferent artists over the years. In her
early days of self-education, she would study the
brush work of various favourite artists such as
Hans Heysen, John Singer Sargent, Harold Herbert
and Arthur Streeton. As a self-taught artist, Helen
would spend hours at galleries and exhibitions,
examining paintings up close and observing the
texture and marks. This helped her understand how
a piece of art was created.
Helen admits that although her art journey has
come a long way, she will never stop learning! She
believes in looking beyond the obvious and passed
the prettiness of a subject. She states that seeing
the build-up of a painting is very important, as is
being observant and continuing to look for the magic
in the vision. In fact, Helen has lent her skills to
others and has taught and guided aspiring artists >>

Top left: Rural life, Macedon Ranges Acrylic
Top right: Equine power Acrylic
Left: Robin's and Rust Acrylic

Oppostie page
Stepping Out Acrylic

42 artist

This page
Right:Old Friends
Below: Just Waiting

Oppostie page
Top left: Melbourne Rain
Top right: Flower Power 2
Bottom left: Moonrise
Harmony Acrylic

44 artist
Helen Cottle

for over 27 years. She continues to enjoy sharing

her knowledge and skills with others. Previously she
has been a tutor for the National Gallery of Victoria
and currently teaches at various art venues, art
societies and private groups throughout Australia
and overseas. Helen has numerous upcoming
workshops including Dookie Art Attack in Dookie
27-30 May, Art Scene Mitchell School of Art in
Bathurst 2-7 July, Cairns Art Escape in July and
Brisbane Painting School in November.
Helens work is currently on display at The Little
Gallery, Trentham VIC; Old Post Oice Gallery,
Seymour VIC; Ibrox Fine Art, Mansield VIC; Cope
Williams Art Foundation Gallery, Romsey VIC; and
Helen Cottle Studio Gallery, Gisborne VIC. You
can also view her work at upcoming exhibitions,
Kevin Hill top ten Australian Artists 17-19 March;
Macedon Ranges Art Trail Blazing Colours
31 March 2 April; and Mansield Easter Show
14-17 April.

For more information visit

artist 45

Murray River Albury

Original image of the river scene at Albury NSW. I love reflections of any kind whether it is on
water, a wet road or any other reflective surface. My aim in this piece was to capture the illusion
of the moving river and the mood of the moment. Acrylic on linen 100cm x 100cm.

46 artist
Helen Cottle
Step 1 Step 2

Step One are introduced using cerulean blue mixed with

I begin working in thin layers of acrylic paint, thinned a little lemon yellow and yellow ochre and more
down with some gloss medium and water, using a mauves and blues. The river bank is suggested with
2inch hake brush almost in a watercolour wash style. transparent red oxide and ultramarine blue.
The irst colours are a very pale blue mix of cerulean
and white for the sky, burnt sienna and yellow ochre Step Three
in the under painting of the water and some blues With the main shapes down I can now start
and mauves in the middle distance as the back drop to introduce the main tree shapes and middle
for the trees. My irst application is kept loose and detail, still keeping my brushwork loose and
fresh. For this I used the fan and lat brushes. impressionistic. A mid tone grey mix of cerulean
blue, a little alizarin crimson, yellow ochre and
Step Two white is used for the trunks, varying the mix so
After establishing the underpainting I begin to that the grey has a warm and cool look. Darker
work on the middle distance of the foliage and brown using burnt sienna and ultramarine blue for
the bushes behind the main trees, using a dry the shapes and contrasting bark on the trunks and
brush or scumbling technique. Mid tone greens shadows on the riverbank. >>

Step 2 close up t 4NBMMFS SPVOE CSVTIFT

artist 47

Step 5

Step Four
Now I can get into some of the brighter colours and
lighter tones. Looking for patches of light foliage,
grass and leaves, mix of lemon yellow, turquoise
and some white makes a bright, almost luorescent
green. I keep moving around the painting to keep
the balance and not overworking any one area.
Steps 3 and 4
Step Five
Time to establish the relection on the water. Using a
lat brush I begin dry brushing the same colours as
above into the water. Horizontal and vertical strokes
are used to mimic the ripples on the water. I use
warm and cool pale greys as the relective lights on

Artists Hints & Tips

Helen Cottle

Sharpen your observation skills by

challenging yourself to look past the detail,
to the guts of the subject.
touching the canvas or surface.
try really hard not to iddle or over work!
right, lighten it slightly to allow for it to
will help you to keep your work fresh.
you will discover the magic between the
Step 6 seriousness!

48 artist
the water. This takes time and concentration as it
is almost abstract in application.

Step Six
Time now for smaller shapes and detail. I use
smaller round brushes to achieve iner strokes.
I am now looking for hits of light here and there
and touches of detail of the bark and branches.
I search for the use of smaller shadows to
connect shapes and add more depth.

Step Seven
Finally after stepping back for a while and letting
the colours set and deepen, I can now put the
inal touches and pure white shimmer on the
water and on the lighter sides of the trees. This
is pure titanium white used quite thickly and
applied with pieces of plastic card.

Step Eight
I wait until the next day to varnish in case I may
need to adjust anything. This also allows the
acrylic paint to cure to its deepest tonal range.

For more information visit

Step 7

artist 49

The Credit Suisse Exhibition:

Michelangelo & Sebastiano
his year the National Gallery presents the during and after their association. Examples of their
Below left: irst ever exhibition devoted to the creative extensive, intimate correspondence ofer us a unique
Sebastiano del Piombo partnership between Michelangelo (1475 insight into their personal and professional lives; their
Judith (or Salome ?), 1564) and Sebastiano del Piombo (14851547), concerns, frustrations and moments of glory.
1510 featuring exceptional loans, some of which have A key loan to the exhibition is the Lamentation
Oil on wood
not left their collections for centuries. Michelangelo over the Dead Christ, also known as the Viterbo
54.9 x 44.5 cm
& Sebastiano explores the complementary talents, Piet (about 151216) after the central
The National Gallery,
London yet divergent personalities, of the two artists. Italian town where it resides. This painting is
It encompasses approximately seventy works Michelangelo and Sebastianos irst collaboration
paintings, drawings, sculptures and letters and eloquently represents their combined
produced by Michelangelo and Sebastiano before, vision. Rarely seen outside of Italy, it is also the

Below: Michelangelo
The Entombment (or Christ being carried to his Tomb),
about 1500-1
Oil on poplar. 161.7 x 149.9cm
The National Gallery, London The National Gallery, London

50 artist
irst large-scale nocturnal landscape in history,
iconographically original for its separation of
Christ from his mothers lap.
In its time, the Viterbo Piet was received with
widespread praise, and on its merits Sebastiano
garnered his next two major commissions, both
of which were completed with Michelangelos
input the decoration of the Borgherini Chapel
in S. Pietro in Montorio, Rome (151624) and
The Raising of Lazarus (151719). The latter Martire, Bassano Romano (Italy). The Risen Christ Images
was painted in competition with Raphaels will be shown with a 19th-century plaster cast Above left: Sebastiano del
great Transiguration (now Vatican Museums) after Michelangelos second version of the same Piombo
for the Cathedral of Narbonne, France, from subject (151921), which resides in and never Study for the head of
which it was removed in the 18th century. The leaves the S. Maria sopra Minerva, Rome. Never Saint Francis: hand study,
Raising of Lazarus eventually became part of attempted before, this juxtaposition presents about 1517-19
the foundational group of paintings forming the visitors with the irst ever opportunity to see these Black chalk on paper
17.2 12.2 cm
National Gallery Collection in 1824, where it was statues side by side.
Gabinetto dei Disegni e
given the very irst inventory number, NG1. This is the irst exhibition of its kind anywhere, delle Stampe, Gallerie degli
Recent scientiic research conducted at the and the irst to showcase the work of Sebastiano Uffizi, Florence (1787 F)
National Gallery has provided new insights into in the UK. Although highly esteemed among Soprintendenza Speciale
the two artists respective work on The Raising collectors in the 19th century, Sebastiano has since per il Polo Museale
of Lazarus. Infrared relectography has revealed slipped from our awareness in large part due to Fiorentino, Gabinetto
Sebastianos contribution to be more substantial his close association with Michelangelo, Raphael Fotografico, Ministero per
and independent of Michelangelos inluence than and Titian. I hope this will encourage a new look at i Beni e le Attivit Culturali
previously assumed. It is now understood that this tremendously original artist, while highlighting Above right:
Sebastiano del Piombo
Michelangelo only intervened at a relatively advanced an overlooked aspect of Michelangelos activity,
The Visitation, 1518-19
stage in the paintings development, revising in said Matthias Wivel, curator of The Credit Suisse Oil on canvas, transferred
drawings the igure of the revived Lazarus, which Exhibition: Michelangelo & Sebastiano. from wood. 168 132cm
Sebastiano had already painted. Muse du Louvre,
Among other exhibition highlights is The Risen 15 March 25 June 2017 Dpartement des Peintures,
Christ by Michelangelo, a larger-than-life-size The National Gallery Paris. RMN-Grand Palais
marble statue carved by Michelangelo in 1514 Trafalgar Square, London (muse du Louvre) / Herv
15, generously lent by the Church of S. Vincenzo Lewandowski

artist 51

Frdric Bazille and the Birth

of Impressionism

Images rdric Bazille Exhibition explores the artists Exhibition
Below: Frdric Bazille role in the Impressionist movement at National Frdric Bazille and the Birth of Impressionism
The Western Ramparts Gallery of Art 9 April 9 July 2017
at Aigues-Mortes, Frdric Bazille (18411870) created paintings The National Gallery of Art
1867 oil on canvas inspired by contemporary life that challenged the Constitution Avenue, Washington DC, USA
overall: 60 x 100cm aesthetic conventions of his day and helped to lay
framed: 78.7 x 116.2
the groundwork of impressionism. In celebration of
x 7cm National Gallery
of Art, Washington, the 175th anniversary of the artists birth, Frdric
Collection of Mr. and Mrs. Bazille and the Birth of Impressionism brings
Paul Mellon together some 75 paintings that examine Bazille as
Top Right: Paul Guigou a central igure of impressionism.
Washerwomen on the Bazille was actively engaged with the most
Banks of the Durance, signiicant pictorial issues of his erathe revival of
1866 oil on canvas the still-life form, realist landscapes, plein-air igural
overall: 66 x 115cm painting, and the modern nude. Drawing inspiration
National Gallery of Art,
from the vibrant cultural life of Paris as well as from
Washington, Chester
Dale Fund his native Provence, Bazille painted with a style that
Bottom right: Frdric was distinctly his own.
Bazille View of the This exhibition shows Bazilles key role in the
Village, 1868 oil on developments of French painting and provides new
canvas insight into this period of impressionism, said Earl A.
137.5 x 85.5 x Powell III, director, National Gallery of Art, Washington.
2.5cm framed: 157 The outstanding partnership between the National
x 107 x 8cm Muse Gallery of Art, the Muse Fabre in Montpelier, and the
Fabre, Montpellier
Muse dOrsay in Paris made it possible to undertake
Mditerrane Mtropole
this new study of Bazilles work. We are delighted to
reveal brand-new scientiic examinations that ofer new
analyses, identiications, dates, and attributions.

52 artist
What the Eyes Cannot See:
Underdrawing in Panel Paintings from the Collections
of the National Gallery in Prague, 14th-16th Centuries

hat the Eyes Cannot See ofers an unusual reveals the painters artistic skills, shows the changes Images
experience to the visitors of the permanent in composition and details over the course of the Far left: Master of
exhibition Medieval Art in Bohemia and creative process, and helps reine attribution of the the Litomer ice Altar
Central Europe 1200-1550 in the Convent of St. works to particular masters and workshops. Shrine of the Most
Agnes of Bohemia. Visitors will have the opportunity The exhibition draws on a long-term examination Holy Trinity, detail.
to see the hidden layers in some of the original of underdrawings, carried out between 2013 and Left: Master
of the Rajhrad
artworks on display and witness the irst phase of 2016, when the entire National Gallerys collection
Altar Cruciixion
the image-making process. of Bohemian paintings from 1350-1550 was of New Orchards,
More than ifty pivotal works from the documented. This is the irst of the two exhibitions underdrawing
earliest examples of Bohemian panel painting subtitled Art and Natural Sciences designed to detail.
by the workshop of the Master of the Vy introduce the visitors of St. Agness Convent to the
Brod Altarpiece, Master Theodoricus and Master creation process behind medieval artworks. At the end
of the Trebon Altarpiece to Late-Gothic panel of 2017, the exhibition will be followed by a sequel
paintings by workshops of Master of St. Georges entitled For the Eyes to Admire devoted to decorative
Altarpiece, Master of the Litomerice Altarpiece and techniques in medieval paintings and sculpture.
the Monogramist IW are presented along with
photographs of their underdrawings. Underdrawing 24 February 17 September 2017
the preparatory layout for the inal painting is The National Gallery in Prague
an extraordinarily arresting testimony to the way StaromHstsk nmHst 12, 110 15 Praha 1
paintings were created in medieval workshops. It


artist 53

Divine Encounter: Rembrandts

Abraham and the Angels

Images he Frick Collection presents Rembrandts and the most heartbreaking of losses. At the same
Below left: Rembrandt Abraham Entertaining the Angels, a captivating time, Rembrandt also began to move away from the
(16061669) work dating from 1646. This luminous oil physicality and instantaneity of his earlier narrative
Abraham Entertaining the painting on panel has been exhibited only a handful work in favor of imagery characterized instead by an
Angels, 1646 of times in its history and was last on public view overwhelming sense of stillness and calm.
Oil on oak panel ten years ago. This exceptional loan has inspired This exhibition will provide a fresh examination of
16.1 x 21.1cm
a tightly focused exhibition in which the painting Rembrandts evolving approach to the representation
Private collection
will appear alongside about a dozen depictions by of the divine across diferent media and of
Photo courtesy The
Metropolitan Museum of Art Rembrandt of the Old Testament igure Abrahama his engagement with artistic, theological, and
Below right: Rembrandt spectacular selection of prints and drawings from philosophical questions about sight and perception.
(16061669) The exhibition will ofer a rare opportunity to
Abraham Caressing Isaac, examine the artists continuing engagement with the 30 May 20 August 2017
ca. 163745 Abraham narrative and thus with the central themes The Frick Collection
Etching, state i/iv of his work as a history painter: divine intervention, East 70th Street, New York USA
11.6 x 8.9cm revelation, and prophecy. Spanning the late 1630s
The Morgan Library &
to the late 1650s, the works in the exhibition trace
Museum, New York (RvR 40)
a shift in Rembrandts approach to biblical subject
Photo courtesy The Morgan
Library & Museum, matter. In them, the artist took a progressively deeper
New York interest in the psychological content of the Abraham
story, speciically the emotional experience of a
father confronting the most magniicent of blessings

54 artist
D R AW I N G s P H O T O G R A P H Y s PA I N T I N G
D R AW I N G s P H O T O G R A P H Y s PA I N T I N G

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A Lifelong
A flair for observing and recreating, this traditional artist creates paintings with purpose.

talented artist who has always had a passion for art, lifetime later Amandas kids had grown and her marriage ended,
Amanda Gray cannot remember a time in her life when leaving her to pursue the ine art degree she believes she should
she was not painting or drawing. Coming from a family have done as a young person. Amanda is however happy to report
of engineers, pilots and mathematicians, Amanda felt somewhat that her ex-husbands paintings still inspire and inform her, and he
like the black sheep, but art has always been an important part comes to her for advice as well. Amanda describes it as divorce,
of her life. As a small child she was fascinated by her familys artist style.
Constable prints, and always ran to pictures when visiting, to see Amanda states she was fortunate to have a wonderful, old style
what people had. For reasons unknown, Amanda has always had art master at school, by the name of Mr Jack Willis. He loaned
a lifelong love of the painted surface, something she describes as Amanda his original folio of Van Goghs letters, and taught her
a source of deep pleasure and sustenance through diicult times. the fundamentals of oil painting. Mr Willis also taught her two
She met her husband-to-be at art school, and left to marry. A great lessons - which she carries with her to this day - lessons

56 artist
which she tries to apply to every painting. The irst
is to master reality. There is nothing wrong with
abstraction or distortion, but if you master reality,
you can paint anything you want. The second is
that a painting needs two people to make it; one
to do it, another to say stop. Amanda states that as
artists, we have to cultivate those two people within
ourselves. Another essential lesson Amanda learnt
was the importance of staring. When a painting is in
progress, and immediately after she thinks it is done,
Amanda will stare complexly at it. Cup of cofee?
Go stare. Glass of wine? Staring time! This, Amanda
says, is how things that are not quite right get
picked up. Allowing time away from the painting and
returning after hours or even days can allow you to
see with fresh eyes and pick up what did not seem
quite right, or how something can be improved.
Amanda does however limit post inishing staring to
one or two days on the easel, after all you have got
to know when to stop! >>

artist 57

Like so many artists, Amanda has admitted to

struggling to learn to represent the world around
her. She says this is purely because it is beautiful
and amazing, and she simply wants to celebrate
life. Amanda tries to embrace everything when she
is out and about the sweep of lines of freeway
overpasses or the setting sun on eucalypt timber.
She constantly analyses colour and form, trying to
learn how they can be painted, and jotting down
notes in a visual diary if she has an epiphany about
something she sees.
Another major source of learning for Amanda is to
study others work. Being a self-described mediocre
watercolourist and pastelist, Amanda has completed
workshops with leading watercolourists and pastelists
to learn what these experts and various medias can
teach her. She has also observed many local art
society demonstrations, from which she says she
usually gleans something. The best form of learning
for Amanda is to study paintings she loves. Whether it
a commercial gallery, the National Gallery of Victoria

58 artist
Amanda Gray
or somewhere majorly amazing like The Met in New
York City, Amanda is content studying what each artist
has done so she can try to further understand how
they have created efects or communicated a feeling.
Amusingly, Amanda considers herself to be more of a
starer than an artist per se!
Amanda further describes the types of artists she
loves, stating they are generally from the nineteenth
century forward. She notes the pre Raphaelites,
Impressionists and post Impressionists and the
Heidelberg school in particular, describing the way
they all had something to say to light, to the lives
of the people they portrayed. They understood
colour and emotion and laid the groundwork for the
twentieth centurys evolution.
Years of staring, replicating and observing
have led Amanda to more or less develop her
own method of approach, usually painting one area
before doing the next. Lately though she
has been trying to under paint more and be
looser and more painterly. She describes an
interest in using techniques from other media and
experimenting with diferent ideas to achieve efects
without so many laborious hours. She says she
sticks to a fairly limited palette for landscape and
one for portraits, and never uses black except for
portraiture and even this is strictly limited. Amanda
explains that she occasionally does a watercolour
or pencil sketch to log colour and light, but usually
works from photos in her studio. She notes it is >>

artist 59
Amanda Gray

60 artist
important to remember that photos latten ields galleries, technology and complex artist statements.
and tone, and that you should inject the colours Ultimately Amanda wants people to see this
you observe on site into your work. The photo is a amazing world, to take responsibility for keeping it
guide, and not a particularly good one. clean and green. She has found her voice within her
There are ambitious plans in the near future as style of painting, and as a lifelong activist, that is
Amanda tries to get more professionally involved important. At present she is working on a painting
in the world of art, working towards an exhibition based on her travel to the USA, with a commentary
with a group of friends. Over the years Amanda on their new president. This to Amanda is the
has won quite a few prizes at local art shows. She reason she has spent so many years learning to
also enjoys taking commissions because of the paint representationally. A musician writes protest
challenge they present and the fact she is pushed songs Amanda paints.
out of her comfort zone. Amanda plans to take
this further and use her skills to say things that Amanda is based in Pakenham, Victoria.
matter to her. Completing a ine art degree, her Contact details:
style of work can be seen as traditional, but she Facebook: Amanda Gray: artist
prefers to think it is a resistance to art that requires Ph: 0403 622 034

artist 61

Political Portrait No 1
Darebin Creek
If I was to paint
Darebin Creek as
it was, there would
be rubbish and
discarded items
throughout the
landscape and along
the banks. The title
alludes to the idea
that this is what the
creek could look
like if people took
care of it.

Materials List

62 artist
Final Step
Amanda Gray
Step 2a Step 2b

Step One Step Two

I always work with my reference photo Blu-tacked At this point I need to start with the feeling of bare
to the easel as a guide. Firstly, I block in the sky branches behind the foliage. I am literally working
and signiicant areas like foliage and rock. Im trying from the back of the scene, forward. I ind fan
to pick up the general tone and weight to create an brushes excellent for suggesting twiggy shapes.
undercoat and a sense of where I want to go. Im Im using the same Magenta, Prussian, and a little
using very thinned paints, (turps or stand oil and Indian Red, in varied consistencies and ratios, with
turps 1:3), and throwing colour down very much White, to lay in a backdrop.
like a watercolour wash. Like water colours, I lay in
light tones, such as Naples Yellow, Burnt Sienna and Step Three
Yellow Ochre with White, then dark. That may be My technique is still very watercolour like, as I
a thicker paste, but also includes Viridian, Prussian sketch in lines to suggest shadows around rocks.
Blue and Van Dyke Brown. I use pointed Taklon These are done with mixes of Prussian, Van
brushes to sketch in my rock shadows, and allow Dyke and Viridian, with a little Burnt Sienna. The
drips and runs, as they will allow character if they purer and thicker dark mix is carefully placed to
peek through at the end. What is most important to suggest the deeper shadows; thinned paint is used
me, is to not mix too much. Ill do quick mixes on elsewhere. Im also using Naples and Prussian, as
the palette, but leave streaky paint, and pick up little well as Indian Red and Yellow Ochre, with White, to
bits of my colours raw. I let the brush mix them on place rough dashes of tone in my highlights. At this
the canvas, only tickling the edges to meld tones point, Ive licked thinned mixes at the rocky area to
where absolutely necessary. get more random splashes and splops. Sometimes
I want a warm autumnal feel here, so Im pushing they run. This is a great way to add a feeling of
a lot of Naples Yellow and Yellow Ochre into the random roughness, I picked up this tip from one of
sky, with Magenta and Prussian dark tones, tickling my favourite watercolourists, Ev Hales.
them together and laying a Whiter mix for the cloud Im using mostly round Taklons, and using iner
peaks. I stick to the same colours, but vary ratios ones to almost draw in the cracks and shadows.
for consistency and variation. Because this is oil, I can do that and come back >>

Step 3 Step 4

artist 63
an hour later and blend back to other tones where
I think its too harsh and linear. But I can also allow
a granite block to have a harsh edge, or a deined
crack to run through rock.
Im also using Yellow Ochre, tinted with Viridian,
to block in some of the highlights of the foliage, and
my dark mix, again, not well blended, to swipe in
some low lights in the creek. Im not trying to paint
these yet, Im just getting a feeling of where light
and movement need to be.

Step Four
This picture shows that there is some blending,
some harsh lines, and many tones laid roughly
together. There is nothing here that looks or feels
right or inished, and it still has a washy feel, but I
can see that patterns that answer the source photo
are forming. Not photographically, why would I do
that? I have a camera. Im trying to speak to the
rockiness, the beautiful colours in the granite that
others only see as grey. Im painting with a purpose
in mind, and that is not photo realism (perfectly
valid if that loats your boat), but to make people
see the beauty they ignore, every day.

Step Five
Im starting to use a Viridian and Van Dyke mix
to suggest still, dark water at the eddies. A little
Yellow Ochre, tinted with Viridian, and some dark
Van Dyke shadows can suggest subaqueous rocks,
and wet rock margins. Darker water is a Prussian
and Van Dyke mix. Im spreading the water paint
horizontally. Lines will need to suggest movement
and low, but still eddies and even creeks tend to
exist as neat perfect horizontal planes. Relections
and movement then interferes with that and allows
Steps 5 and 6 us to understand context.
As the water disappears back into the treed
area, it gets darker, and harder to read. The rocks
catching light are more evident.

Step Six
This photo shows the bottom right, uninished rocks, in
contrast to the sketched in and articulated main mass.
Im using the same colours, not well mixed, and Rigger
brushes to draw in the details, and mid-size brushes
to blur and soften edges. I reserve the purest Prussian,
Van Dyke and Viridian (the only Black I ever used until
l I started portraiture), to allow me to enunciate the
deepest shadows, and sculpt the forms of my rocks
cracks and crevices with them. As the brush dries and
empties, I use that to draw lighter lines, giving natural
variation and allowing fade back. Ill occasionally
drop spots of my highlight colours, mostly Naples,
Step 7 Burnt Sienna and White, and a little Pale Blue, to help
enunciate as well.

64 artist
Amanda Gray
Ive use Yellow Ochre and Viridian mixed to deine It also clearly shows how I didnt deine my mid
the water, with Prussian and Van Dyke underscoring ground rocks on the near bank, but did on the far. This
shadows, which allow me to start deining the far is a conscious choice, to draw the eye to the centre of
bank, and a mix of Yellow Ochre and Viridian to the picture, where the focal point tree will be.
block in the scrubby tree backdrop, and highlights. A couple of swipes of White into the distance
The three tones, Prussian, Viridian and Van Dyke, takes the creek back into the painting, and speaks to
give me a great Black to sketch in the pines and the rocks and light extant further upstream.
dark tunnel the creek appears from.
A smear of Naples indicates a sward on the far bank. Step Nine
Ive made a turquoise (Viridian and White, touch
Step Seven of Prussian) and put a couple of dashes in the
Im now using White, tinted with Prussian and Viridian, foreground here. I feel it lifts the water and makes
and a little Yellow Ochre, to sketch in lowing water. it more lively. Its important to not overdo this, but
Ill use my dark mix to underscore the light, and allow it keeps the focus on the creek in the foreground,
the froth to indicate the rock edges. A little White in allowing the eyes journey to be drawn along the
the eddies shows water over rock, and Yellow Ochre creek, into the picture.
indicates wet rock. A dry brush lightly loaded allows
drawing of thinner streams over ledges, and Im careful Step Ten
about how much White I use. Water arcs over a lip, Apart from a little scrubby grass on the sward, the
splashes and forms wavelets. The lighter tones have rocks and creek are cooked. I struggled with a need >>
to deine whats happening, and its important to think
about where the rocks are under the water. They will
dictate where the water goes. Using a bit of Yellow
Ochre in your Viridian makes a shallower read, and this
needs to contrast with deeper areas, in darker colours,
to give the feel of an uneven creek bottom. The water
thats falling is also tinted with Yellow Ochre. It gives a
more natural, earthy tone to creek water. I wouldnt use
it in sea water, unless sand is present in suspension. By
the time Im doing the foam, Im using Riggers and ine
watercolour brushes.

Step Eight
The middle of this photograph shows a clearer area of
water, in which Ive used my dark mix with White, and Step 8
brought a chisel brush down vertically in short strokes,
to make a still pool. Towards the bottom of the water
you can see how Ive underscored White with Viridian,
or darker tones, to suggest rocks and wavelets. A little
Yellow Ochre and Viridian with Naples Yellow is starting
to look like grass on the sward.

Step 9 Step 10

artist 65

Step 12

brush strokes to rough-in my tree tones. I get very

hung up about this, and worry too much whether its
right. It is important to let it be messy and natural.
Unless a shape is glaringly unnatural or counter to
your composition, its important to trust the process
and let it be. Its hard, my OCD kicks in big time,
and looking at this I want to go and iddle with the
inished painting! My dear old art master used to
say it takes two people to make a painting. One to
do it, and one to tell them when to stop. We have to
cultivate that second internal voice and listen.

Step Twelve
Step 11
The irst thing Ive done for the elm canopy is mix
Cadmium Yellow, Chrome Yellow, Naples, Yellow
to make the foreground trees better deined where Ochre and a touch of Viridian, in varied proportions,
they meet the ground, but realised that you often with White in only the lightest.
Amanda Gray

cant make clear delineations for scrubby plants, so I Ive then used chisel brushes, vertically held, with
left it. More mysterious, I think. the most neutral grey on my palette, and jabbed in
some branch shapes, above the background tree
Step Eleven line. These branches are pale in reality, and very
With Yellow Ochre and Viridian, and tinting with dark under the canopy.
browns and blues, Ive made a light green that I I used a fairly ine round Taklon brush to put the
now block into the trees and grass. I sketch in some leaves in in drifts, paying attention to the photo to
grass in the foreground rocks, with Riggers, and use see the darks and lights. Ive been careful to keep
Chisel Hogs Hairs to block some short dry grass in some areas very pure and some more blended to
on the far bank. give depth, and used Riggers to sketch in some
Im carefully leaving the darker areas, and using high branches and twigs. I use almost a pointillist
the darkest mix with the Hogs Hair to reinforce the technique, dotting at my canvas to build up a leafy
dark and pine shapes. The directionality of the brush impression. Some blocks of colour form, then
is important. A horizontal jab with a fairly dry brush dotting with lighter or darker can deine a sprig of
makes a pine bough-ish shape quite well. Im pulling leaves. The marks I make on the canvas are always
in bits of my component colours and use directional consistent with how the leaves hang on this tree, so

66 artist
where they are individually visible, they add veracity.
Again, I have to be disciplined to stop when
Im getting the efect I want. I caught myself just
iddling with a bit here, then there, sticking my nose
into the studio when I was supposed to be cooking,
to iddle. Resist this. Its hard, but this is the critical
point where you must know when enough occurs.
Im using the Viridian, Prussian and Van Dyke mix to
sketch in some horizontal boughs on the pine, and,
using the nearly spent brush load, a very dry brush,
to suggest boughs further back in the tree.

Step Thirteen
In the previous image, the mauves and violets
between the upper branches were placed in with
vertical and angled mid-sized Hogs Hairs. With oils
it is really handy to drop your sky or background
colours in over the trees to open up canopies. Here,
Ive used a Rigger to sketch in boughs and twigs.
Again, less is more. The mauve is meant to suggest
a density of twigs, so we only need to sketch in
a few. Break the lines so that they are hidden and
exposed in relation to the leaves. Study real trees
to see how twiginess interplays with canopy and
leaf, and remember most branches are relatively
uncurved, changing direction at speciic points , and
always thin toward the ends.

Final Step
Lastly, I sketch in the trunk and lower boughs, using
Van Dyke with Prussian, and a ine Taklon. A little Step 13
White and Burnt Sienna adds tone variation to the
wood, but not too much. Its shaded after all. Some
foliage hangs over the creek, breaking its visual low
back, and the fan brush has been used to jab some
of the lighter green mix - Viridian, Yellow Ochre
and a little Cadmium Yellow, onto the sward, and
in the crevice grass to the fore. Ive used the same
brush to pick up some dark tones to underscore
the sward and sketched in a couple of dead
boughs under the foremost shrub. I used some of
the darkest greens to sketch in a little more of the
ragged, distinctive, Pinus Radiata branches, letting
the thinning of the paint suggest tonal variation.
I can think of about a thousand things I could
fuss with, but I must not, because I think its fairly
accurate to my vision, and works as an image.

Amanda is based in Pakenham, Victoria.

Contact details:
Ph: 0403 622 034
Facebook: Amanda Gray: artist

Final Step Close Up artist 67


The International Society of

Scratchboard Artists Annual
Exhibition, South Australia 2017

ne of the criticisms levelled at me, exhibitions didnt know where to put us. They educate people to understand this. Easier
fairly, is that I dont know how to would often say what media is this? and said than done? Maybe. But to be quite
sell myself. Well, today Im selling we would say scratchboard, to which they honest, I genuinely believe we are well on
myself. In 2010 I had an idea to create a would reply oh, you belong with crafts! the way. What I needed to do was to make
scratchboard society. I knew this had been This was always a kick in the teeth. Im certain that we started a society and didnt
tried before and failed. I was also warned not criticising crafts, but scratchboard is quit until it was working, with momentum.
that I would probably fail too. The idea and always has been a ine art medium I was lucky that other people felt the same
was born out of the frustration that many which means we belong with ine art way. We all could see that there were oil
scratchboard artists felt when shows and mediums. All we needed to do was to painter societies, pastel societies, water

68 artists
Patrick and Avril

colour, coloured pencil, charcoal you

name it. All around the world ine art
mediums were well represented. But no
one had taken on the job of positioning
scratchboard as a ine art medium. To my
knowledge, not even at a local level.
The other people who joined me in
this were the kind who put the rubber on
the road. There were four Americans, a
couple of Canadians and myself. And we
made it work. The International Society of
Scratchboard Artists was born in 2011.
The enduring founding members are our
past president Lorna Hannett from Canada,
our current president Cathy Sheeter from
the USA, our membership and website
person Sue Rhodes from Canada and
myself, and we now have great people
on board taking us onward. In 2012 we
had our irst annual exhibition in California >>

This page
Above left: Patrick and Avril
Above right: Open Section, Award of Excellence

Hector Fernandez, USA, Devata

Right: Masters Section Silver Award - Ann Ranlett,
USA, Safety

Opposite page
Masters Section Gold Award - Lesley Barrett,
Australia, Jaguar Beauty

artists 69

Left: Masters Section Bronze Award Lorna Hannett,
Canada, Puppy Love
Bottom left: Masters Section Award of Excellence
Ginger Gehres, USA, Laissez Le Bon Temps Rouler
Below: Masters Section Award of Excellence
Rikki Fisher, Australia, Enchanted

which I attended, building a holiday around

it for my family. Legendary scratchboard
artist Diana Lee organised this exhibition
and it was a huge success. From this a
membership base was built that spans most
continents and all manner of countries. All
our subsequent exhibitions have been in
Canada or the United States, but in 2017
I brought the exhibition to South Australia.
This was a real coup. It gave the
international name some serious credibility
and artists from all round the world entered
their work into it. The standard displayed
on the walls of the Stump Hill Gallery
in the beautiful McLaren Vale, a lovely
wine growing area of South Australia,
was unparalleled as can be seen by
the accompanying images. The opening
night was hugely attended, as beitting an
international exhibition of the highest class.
Avril Thomas judged the masters section.
Avril is, in my opinion, one of Australias

70 artists
inest ever portrait artists and I had every
conidence that she would make a great
judge. Her passion for art simply shines out
of her body and people get carried along
with her enthusiasm.
In one of her Facebook posts Avril
shares this;
In SA (South Australia) we deserve ...
DESERVE art of a certain calibre!! This is
about raising the bar on expectations for
visual art! often we are overlooked....
fed a diet of hobby art...its so ho-hum....
as a visual artist myself who has had to
go interstate/overseas (and so many really
extraordinary artists from here have had to
do it)......I SEE it, see whats happening....
artists raising the bar - with the net ...
with travel... there is no excuse now!!......
only too proud to get the word out .......
for exceptional handmade art to come
to SA!!!! Im thrilled to bits. Its here.... its
now ... thank goodness!!! The International
Society Of Scratchboard Artistsshow is
on now atMcLaren Vale & Fleurieu Visitor
Information Centres Stump Hill gallery...
this IS handmade skill >>

Above: Open Section Gold Award Maxime Thifault,
Canada, Apple Tree Flowers
Right: Open Section Silver Award Carolyn Henry,
Australia, Liam at One

artists 71

As you can see by the words lowing

out of Avril, she was enthused! I am so
delighted to have had her agree to be part
of the show. She presented the awards
that she had picked out and I beamed her
across the world with Facebooks new
Live video platform. This was viewed in
too many countries to count and artists
that couldnt attend said it was just like
being there. I think Facebook have a
winner with this new innovation. It certainly
helped me get scratchboard out there
across the world even more.
I had a couple of pieces in the show
myself and my orangutan board A
Mothers Love was the irst sale we made,
which Im very pleased with.
As with all major events, there are some
funny stories to tell, like the one when I
had to rent a 22 seater bus. Many artists
had lown in from around Australia and
we also had two artists from China, one
from America and one from South Africa. I
had to get them from their hotel in North
Adelaide to McLaren Vale which is about
an hours drive. Of course, Murphys Law
had to intervene. After some very pleasant
days and nights, South Australia was hit
with 40C temperatures, just when the
artists arrived, and the bus I rented wasnt
quite up to it. As soon as we set of I knew
something was wrong. We were sweltering.
I could feel the vents had cool-ish air
coming out of them, but that air wasnt
reaching us. With all the windows we were
literally cooking in an oven. Then, when we
had to go up our irst hill, the best I could
muster out of the old thing was between

72 artists
15 and 25 kph. It was embarrassing. These Back on the road for our last leg to
people had come here for a good time and the gallery and we hit the inal hill and
I was killing them with heat. At one point were back to 15-25 kph. A one hour
we were going so slowly I jokingly told trip took two stiling hours so the next
them all to get out and walk and wait for day I rang them up and said, the bus
me at the top of the hill! is outside my house, the keys are in the
The company that I rented the bus from letterbox and I dont ever want to see
had their headquarters half way to the it again. They duly picked it up and as
gallery so I drove of the freeway and went soon as they hit a hill driving it back
in and complained. They told me that there to their depot, they knew I was telling
was nothing wrong with the bus and that the truth. They took the fuel cap of,
it tested up ine the day before. However, and snifed, and realised the previous
after 20 artists told them diferently, they renter had illed a diesel engine up with
decided to check if the air-conditioning petrol. Its a wonder it didnt blow up.
gas was full. It took them 30 minutes to ill Fortunately they then did the right thing
something that was supposedly ine. and refunded us the entire rental fee and
everyone now has a great story to tell.
I must admit, there is something about
Images scratchboard artists they seem to have
This page the best sense of humour and the best
Above left: A Mothers Love by Patrick Hedges ability to forgive.
Above right: Lynn Kibbe's Encouragement Award After the opening night we had and I did an introduction to tools and
Winnie Hebert, USA/China, The Kitchen two days of workshops. Rikki Fisher, techniques.
Right: Workshop Attendees one of Australias inest scratchboard The four day event was rounded out by
artists taught us how to ill our boards an excellent trip to Monarto Zoo, the largest
Opposite page
with drama. Heather Lara, a master open plains zoo in the world.
Top left: Open Section, Bronze Award Scott Krohn,
USA, Dispose of Properly scratchboard artist from California, taught All in all, 30 artists had a great time
Top right: Open Section, Award of Excellence Elena us about her colour theories. Jan Lowe, and we all learned from each other a
Kolotusha, Australia, Fascination from Victoria, encouraged us to use great gathering of minds. And yes, as you
Below left: Open Section, Award of Excellence scratchboard for landscapes, something can see from the photo of the workshop
Tracey Stoll, South Africa, Cape Protea not everyone associates the medium with, attendees, I was the only bloke!

artists 73

Two for the price of one

Artist Jude Scott and Craftsman Rob Scott

s Perth inally shakes of its winter that move through the shallow water.

A chills, and the sun starts to creep

over the Darling Range in the early
mornings with a little venom in its smile,
Monets Garden, well not quite, but this
lovely oasis is the home of our two artists
featured today. In this article we meet Jude
we in WA also smile, and our spirits start and Rob Scott, who live in the middle of
to lift after what seemed to be a long cold one of Perths fastest growing residential
winter. Warming days and lengthening areas, surrounded by new housing estates.
shadows are replacing grey skies and Theres little to give its secrets away as
winter woollies. Today, I was venturing you turn into the short driveway, until
south of the Swan River, past the wide your invited a little deeper into a secluded
sweep of Melville waters that unite the sculptured garden, deinitely the creation
Swan and Canning rivers. The water was of two very creative people, both with their
sparkling and pelicans sat precariously own individual creative talents, brought
atop the lamp posts, some nestling down together and relected throughout the
while others stood deiantly, displaying garden with Robs sculpture and Judes
their bellies and wings, like prize ighters creative touch. So lets go in and meet
ready to claim their share of the small ish artist Jude Scott in her space.

1 Artist Jude Scott

Now Id met Jude through the watercolour
society here in Perth, and knew her work
through the society, but its not until you
get the opportunity to see an artist in
their own environment that so much more
of there talent and personality comes
through. Jude spends a lot of time out
here, both on personal art projects and
running art classes. Its a large, well-
organised studio, and you soon realize that
Judes warm, engaging personality would
soon put her students at ease.
In trying to summarise Judes style, the
quality is obvious, as can be seen here
in just two pages of a recently published
book of her work. To get to this level
would be the envy of many of us. I love

1. Down the garden path, in Canning Vale
2. Jude in her studio
3 & 4. Judes book
5. Judes Studio

74 artist

Jude: If Im not able to get into

the studio I dont feel well!
the softness of light and the drama the
light brings to the trees, while across the
page lost horizons draw your eyes deep 3 4
into her paintings. Rather than summarising
the Jude Scott, it would be easier for me
to just show a collection of her work and
leave you to be inspired.
On the day I visited, the studio was
quiet, and I found Jude working on a still life
painting on stretched watercolour paper. I
have always felt the urge to create and any
time spent doing creative stuf is my idea
of heaven, explains Jude. I love to paint
difused light in my work, especially the early
morning and early evening landscapes, its
such a restful and beautiful time of day to
portray. When the viewer is able to feel the
serenity and calmness intended, I feel I have
accomplished my goal.
Jude is a popular tutor and demonstrator
and runs regular workshops throughout the
year in her Canning Vale studio. She is also
in demand as a tutor in many areas and
art societies around town, including the 5
Atwell Gallery and Claremont school of art. >>

artist 75

Sculptor Rob Scott Iron Man

But, not just any old iron. Rob collects
interesting bits and pieces and especially
loves those old metal tractor seats and the
like; objects that are long past their use-by
date but are now inding a new use in a
garden setting. Cutting and welding, Rob
is almost a metal surgeon operating on his
next patient. Judging by Robs stockpile
of metal hidden around the back of his
workshop and studio, he will be making the
sparks ly for a long time to come.
Back in the garden, you are never going
to be short of company as many of Robs
Minions are watching. Some deep in the
foliage, while others stand like guards
on duty, but seemingly ready to share
your cofee or beer should an invite be
So a glimpse into Rob and Judes
world of back to back studios where the
6 sparks ly between the two, Rob with his
welding and grinding and Judes wonderful
7 8 paintings and drawings.Two for the price of
one, a union of art in the Perth suburbs.
As I was leaving, Jude gave me a bottle
of Coonawarra Cab Sav, the last bottle
from her own label, and a lovely thought.
I would like to end this My Space with
a quote from the label. Art is not about
what you see, its all about what you
enable others to see!

Contact Jude Scott:

Rob atwork
ractor seat sculpture
On garden duty
udes Wine

We would love to see your space in our magazine. Please send some good quality images (300dpi) on cd or dvd or
photographs of your studio you want to display in the magazine. If you would like to, you may include a photograph
of yourself to accompany the picture/s of your studio. Please also supply your name, suburb and state.

Mail your studio photos to: My Space, Creative Artist magazine, PO Box 8035, Glenmore Park NSW 2745 or
email to
Be sure to include a contact telephone number.

76 artist
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Hi Brett, Hi Brett,
How do you know when youre inished a drawing? My current project is drawing my 2 year old
Astrid. granddaughter. I thought it would be quite easy but
it has me frustrated already. Should I add some tone
Hi Astrid, to the background to see the proportions easier? Im
Ive learnt over the years to do your best to do not sure how to proceed,
everything possible during the normal drawing Cheers, Bill
process to get a inished result obviously, trouble
is you get so close to it in the process you really
cant see it clearly anymore. Thats when I sign it Hi Bill,
(I call it being provisionally signed) and put it away If its one thing Ive learnt over all the years is that
for a day or two. Draw something else for a while nothing at all is ever actually easy to draw but some
or play catch ups with the dishes and the yard, then things can be harder than others. Portraits of humans
get it back out and prop it up on an easel with the you are very familiar with are up there in the hardest
reference image you used right next to it and leave category if for no other reason than your human brain
it like that for a while, comparing them (drawing (as opposed to your artist brain) thinks it already
and reference) now and then with quick glances as knows the shape and makes your hand draw that
you pass by. The passage of time (hours and days) instead of the actual shapes presented in the reference
will freshen up your perception like magic. Youll image. I havent seen your reference image but it
see small details you missed that need attention but sounds from your words that in it the little girls face is
much more importantly youll see whole areas of light tones and the background darker. Your developing
the drawing in which the tonal values need line drawing would be light face/light background
more general adjustments (using gentle but (white paper with outlined shapes), so yes, adding tone
intentional fudging and squirling techniques in to the background would indeed help with ongoing
a more broadly applied way) that are just not proportional judgements. A couple of tips before you
visible to you when caught up so deeply in the add any tone (hatching) to anything, any actual clearly
main body of the project. Once youve done all outlined features of the girls face must be expressed
your newly freshened perception has suggested, as a very clear precise lines, even slightly blurred or
walk away and repeat the process after another sketchy outlines do NOT lend themselves to clarifying
couple of days. Finding yourself making lots of proportions by adding tone. The next most important
inal adjustments each time you re-approach it thing is; you only have to add a very light grey tone
means further putting of calling it deinitely done. to the background to remove the vast majority of
Brett A Jones

Once you are only making very small touches optical illusions, even if the background is ultimately
and basically iddling its inally ready to be going to be very dark in the inal lush. Every bit as
proclaimed actually inished, and ready for ixing important as that is the initial toning is kept as neat
and framing. Sometimes its only a few last and uniform as possible, any patchiness or looseness
touches, sometimes (often) letting your eyes and in your irst layer of hatching very much detracts from
mind freshen opens an entire series of further its usefulness as an aid in proportional judgements.
changes and reinements but no matter how big or Another tip not related to tone is shapes. Portraiture
small, the right inal touches never fail to make the is prone to fooling you. Dont draw a little girls face,
piece. I can deinitely say for sure that engaging draw the collection of abstract shapes that just happen
your eyes and mind on something other than the to represent that face in that position.
current drawing is one of the magic bullets to
helping you see and acknowledge the right inal Hi Brett,
touches, in proportion, tone (especially generally), I bought some of your beautiful playing cards and
and detail. DaVinci famously declared an artwork they have inspired me to try and design my own
is never inished, only abandoned. I guess the trick deck. What would you say was the hardest part in
then is to abandon it at the optimal point in its your experience?
development. Kind regards, Jan.

78 artist
Hi Jan, Hi Tony,
There were lots of extreme diiculties to overcome There are a lot of diferent magic pencil tricks (see
during the creation of the design but I reckon Magic Pencil Tricks and More Magic Tricks in
the hardest aspect and the one that caused me Drawing with Brett A. Jones- Vol.1) that are all
the most frustration from drawing with a pencil useable on their own but ininitely more efective
to developing every single detail freehand on a when used in conjunction. In fact they really
graphics tablet was maintaining uniformity of dont deliver their full potential unless all used in
design throughout the entire deck. Doesnt sound conjunction. There are a few very common pitfalls
that onerous till you realise the whole time you are and misunderstandings when it comes to using magic
working on completely original card designs you pencil tricks so Ill nail a couple down for you. First
are improving the overall aesthetics instinctually of all you are never directly transferring dimensions
as you go along out of sheer necessity, which from reference image to drawing board, your drawing
directly leads to the very real and ever-present will NEVER be 1:1 scale, it might be similarly sized
danger of adding, modifying, or improving some but the very nature of freehand drawing means that
aspect or another and while chasing that particular theres no way of knowing the exact size the subject
improvement back through the rest of the deck, will end up on the inished drawing. The constant
becoming distracted/diverted onto a diferent and continual reining and adjusting as you go along
improvement as you go along until you ind means that theres never any point using your pencil
yourself chasing not only your own tail but several to measure anything on the reference image. The
tails at once. It was an ongoing mineield and took trick there is to compare one dimension against
many years to work all 58 individual designs into another on the reference image (or real life) holding
a contiguous and balanced overall design. If you the pencil about halfway between eye and image (or
decided on all design parameters before you began at arms length in real life situations) and using that
and did not deviate from that path it wouldnt information to help you improve the proportions on
come up at all but I intentionally let the developing your drawing. Another often overlooked aspect is
design lead me into whatever untrodden territory to periodically use your magic pencil tricks to study
that seemed productive. It really stretched the the largest shapes and proportions of your drawing;
ininite option to breaking point and did my its always extremely easy once all the main shapes
nervous system no good at all but the end result are drawn in to make the mistake of concentrating
speaks for itself. Therere lots of deck designs out on small areas and details of the composition. As
there but nothing like the end result of hammering you make your reinements on this level the larger
my weird brain for all those crazy years. Be careful proportions can and do wander. Remember to bring
dreaming of designing a whole deck from scratch, the entire drawing up at once and never lose sight of
your sanity will never be the same. the fact that magic pencil tricks are always used to
help you see your developing freehand drawing more
Hi Brett, clearly, not for trying to mark out the drawing on
Why dont magic pencil tricks work for me? Im blank paper, Ive seen several of my students go up
fairly sure Ive got the methods right but I just seem this blind alley over the years and sufer exponentially
to go round in circles moving things around and for it as a result. Draw till youre stuck for a
back again. Help? productive way ahead, then use the various magic
Regards, Tony pencil tricks to show the way forward.

If you have a question for Brett, send it to: From the Drawing Board
Text: 0401 543 327

artist 79
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Next issue highlights:
EDITOR Deborah Gibbons
Brett A Jones, Derek Newton
SUBEDITOR Anita Mullen
Simon Mullen (02) 4733 8482 Fax: (02) 4733 8583
Phone: (02) 4733 8482
Janie Medbury
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