A painter living in the wilds of Yorkshire (Sheffield, so not really 'wilds' as such). Has been painting for 15 years, properly established in 2008.
Visit my portfoilio website at www.artbyandyonline.com

Friday, 25 November 2016

The Paintings page has been updated

(Originally posted  at the "Uncertain Spaces & Obscure Views" show blog- http://obscure-views.blogspot.co.uk/2016/11/the-paintings-page-has-been-updated.html )

The Paintings page has now been updated to show the full list of paintings on display in the show. To see the list click on the 'Paintings' page in the menu up above or click here.

Some Views of the Show

(Originally posted  at the "Uncertain Spaces & Obscure Views" show blog- http://obscure-views.blogspot.co.uk/2016/11/view-of-show-before-launc-h.html )











Panoramic view (use bar to scroll horizontally)



Prints are available to buy from the show

(Originally posted  at the "Uncertain Spaces & Obscure Views" show blog- http://obscure-views.blogspot.co.uk/2016/11/prints-are-available-to-buy-from-show.html )

I'm glad to say that with this new show I have 4 prints available to buy printed by Louisa and James of Go To Design.


Clockwise from top left - 'Good to Go II', 'Tram Tracks', 'Bus Stop', and 'Alley'

Each individual print is 50 x 50cm (5cm gap around each side). Printed on 230gsm archival paper. The price is £45 (postage and packing is an extra £6).

To buy or for further information please contact Bank Street Arts (link to 'Contact' page)

For an example of how good Go To Design have been with the quality of the prints do look at this following comparison image (painting on the left, print on the right).


Ax

Some Night Paintings of John Atkinson Grimshaw

(Originally posted  at the "Uncertain Spaces & Obscure Views" show blog- http://obscure-views.blogspot.co.uk/2016/11/some-night-paintings-of-john-atkinson.html )

I'm embarrassed to say I have very little knowledge about the painter John Atkinson Grimshaw. Though I have seen odd pieces of his work before it's only been within the past 2 years that I've begun to actively look at it.


John Atkinson Grimshaw
'
October Gold' (1889)
Oil paint on canvas,
59 × 44.5 cm 
for more details see here - link

Brief history via wikipedia - https://en.wikipedia.org/wiki/John_Atkinson_Grimshaw
John Atkinson Grimshaw was born 6 September 1836 in Leeds. In 1856 he married his cousin Frances Hubbard (1835–1917). In 1861, at the age of 24, to the dismay of his parents, he left his job as a clerk for the Great Northern Railway to become a painter. He first exhibited in 1862, mostly paintings of birds, fruit and blossom, under the patronage of the Leeds Philosophical and Literary Society. He became successful in the 1870s and rented a second home in Scarborough, which became a favourite subject...Grimshaw's primary influence was the Pre-Raphaelites ... In the 1880s, Grimshaw maintained a London studio in Chelsea, not far from the studio of James Abbott McNeill Whistler. After visiting Grimshaw, Whistler remarked that  "I considered myself the inventor of Nocturnes until I saw Grimmy's moonlit pictures".
During the 1870's when Atkinson Grimshaw lived in London he worked under the influence of James Tissot and was associated with the "art for art's sake" Aesthetic Movement  (other notable associates Aubrey Beardsley, Oscar Wilde) whose aims were to support the emphasis of aesthetic values more than social-political themes for literature, fine art, music and other arts. This meant that Art from this particular movement focused more on being beautiful rather than having any deeper meaning. There is very little social comment which takes place within his work. It can appear that he is looking at his world with quite an alienated dispassionate eye.

I don't want to deconstruct Atkinson Grimshaw's work in this blog. merely to provide a very brief introduction and present some examples that I find extremely engaging and hope that you will do too



John Atkinson Grimshaw
'Autumn Morning' (?)
Oil paint on canvas, 76.2 × 50.8 cm
for more details see here - link


John Atkinson Grimshaw
'A Yorkshire Lane in November' (?)
Oil paint on canvas,
54.6 x 43.2 cm
for more details see here - link


John Atkinson Grimshaw
'Greenock Dock' (?)
Oil paint on canvas, ?
for more details see here - link


John Atkinson Grimshaw
'Evening, Whitby Harbour' (1893)
Oil paint on canvas
for more details see here - link


John Atkinson Grimshaw
'Nightfall Down the Thames' (
1880)
Oil paint on canvas, 40.2 x 63.1 cm
for more details see here - link


John Atkinson Grimshaw
' Old Scarborough, Full Moon, High Water' (1879)
Oil paint on canvas ,
53 x 93 cm 
for more details see here - link


John Atkinson Grimshaw
'The Harvest Moon ' (1872)
Oil paint on canvas, 50.8 x 76.2 cm
for more details see here - link




Links for further interest
Wikipedia Links - John Atkinson Grimshaw - https://en.wikipedia.org/wiki/John_Atkinson_Grimshaw
Wikiart - John Atkinson Grimshaw - https://www.wikiart.org/en/john-atkinson-grimshaw
Google image search - John Atkinson Grimshaw - link

Whistler's Nocturnes

(Originally posted  at the "Uncertain Spaces & Obscure Views" show blog- http://obscure-views.blogspot.co.uk/2016/11/whistlers-nocturnes.html )

James Abbott McNeill Whistler (1834–1903) is a painter whose work has had a huge impact and followed me all the way through my painting career. During my studies in the early 1990's I was often able to visit the Tate Gallery (Tate Britain). I always remember being swept by the sensation of seeing large art pieces screaming for attention, all wanting to convince, shock, and/or entertain to a point of being overwhelming. However, there was always one painting on display which rather than existing on the large monumental scale existed in the relatively small. Whistler's 'Nocturne: Blue and Silver - Cremorne Lights' of 1872. It did not shout for attention it was not aiming to entertain. It was a painting whose aims included contemplation but also had an undefinable something else. A painting that was avowedly introverted.



James Abbott McNeill Whistler
'Nocturne: Blue and Silver - Cremorne Lights', 1872
Oil paint on canvas, 50.2 x 74.3 cm
for more details see here - link


The summary that accompanies the painting on the Tate website (link) -
Whistler's aim in this picture, as in all his Nocturnes, is to convey a sense of the beauty and tranquility of the Thames by night. The epithet 'nocturne' was first suggested by Frederick Leyland, since it conveys the sense of a night scene, but also has musical associations. The expression was quickly adopted by Whistler, who later explained,

    By using the word 'nocturne' I wished to indicate an artistic interest alone, divesting the picture of any outside anecdotal interest which might have been otherwise attached to it. A nocturne is an arrangement of line, form and colour first' (quoted in Dorment and MacDonald, p.122).

The composition of this work, with empty foreground and high horizon, relates closely to Nocturne in Blue and Silver - Chelsea (Tate T01571) of the previous year. The view is from Battersea Bridge, looking upriver towards Battersea on the left and the lights of the Cremorne Pleasure Gardens on the right. Whistler preferred the calm of the river at night to the noise and bustle of the Thames by day. With would set off in a rowing boat at twilight and sometimes remain on the river all night, sketching and memorising the scene. He never painted his Nocturnes on the spot, but rather from memory in his studio, employing a special material devised for painting swiftly in oils. He thinned his paint with copal, turpentine and linseed oil, creating what he called a 'sauce', which he applied in thin, transparent layers, wiping it away until he was satisfied.

This particular scene is painted over a composition of four or more robed figures. Whistler presumably rubbed down the figure composition before adding a thin layer of pinkish grey paint, with which he worked out the main features of the river scene. The expanse of blue sky and water, creating a phosphorescent surface right across the canvas, enhances the mood of peace and tranquility. The orange lights of the pleasure gardens twinkle in the distance, adding to the dreamlike atmosphere. The reeds and raft in the foreground are barely indicated, with deft, calligraphic strokes of paint. The influence of Japanese art is evident here, and also in the restricted palette, the economy of line and Whistler's characteristic butterfly signature on the right.

Frederick Leyland's suggestion of the nocturne name to Whistler was rooted in Chopin's series of Nocturne's between 1827 and 1846.

Chopin - The 21 Nocturnes as played by Claudio Arrau

Some other Nocturnes of note (public domain pictures via wikipedia and wikiart)- 


James Abbott McNeill Whistler
'Nocturne in Blue and Gold: Old Battersea Bridge' (c. 1872-1875)
Oil paint on canvas, 66.6 × 50.2 cm
for more details see here - link


James Abbott McNeill Whistler
Nocturne in Black and Gold The Falling Rocket' (c. 1874 - 1875)
Oil paint on canvas, 60.3 × 46.4 cm
for more details see here - link


James Abbott McNeill Whistler
'Nocturne in Gray and Gold, Westminster Bridge' (c. 1871-1874)
Oil paint on canvas,
47 × 62.3 cm
for more details see here - link



James Abbott McNeill Whistler
'Nocturne in Gray and Silver' (c. 1873-1875)
Oil paint on canvas, 51.4 x 31.1 cm

for more details see here - link




James Abbott McNeill Whistler
'Nocturne, Blue and Silver: Battersea Reach' (c. 1870 - 1875)
Oil paint on canvas, 49.9 x 72.3 cm

for more details see here - link



 James Abbott McNeill Whistler
'Nocturne, Blue and Silver: Battersea Reach' (c. 1872-1878)
Oil paint on canvas, 62.9 x 39.4 cm

for more details see here - link 


Links for further interest

Wikipedia Links

Tate Links

A Google image search Whistler's Nocturne paintings on - link
A Google Arts & Culture search for "Whistler + nocturne" - link

Sunday, 13 November 2016

Interviewed by Mick Biggs of Social Sheffield

I've been interviewed!

I recently met up with Mick Biggs of Social Sheffield (a very informative website detailing all kinds of contemporary what's on goodness ) where we had a chat and he interviewed me about some of the goings on behind the creation of my work. To see the resulting interview do have a look via the following link.
Ax

(Originally posted  at the "Uncertain Spaces & Obscure Views" show blog- http://obscure-views.blogspot.co.uk/2016/11/interview-by-mick-biggs-of-social.html )


Thursday, 3 November 2016

I'm in Exposed magazine's "Artist Spotlight" section for November 2016

(Originally posted  at the "Uncertain Spaces & Obscure Views" show blog- http://obscure-views.blogspot.co.uk/2016/11/im-in-exposed-magazines-artist.html )

I'm very very pleased to say that my painting "Alley" London Road, 2016, has been chosen for Sheffield's Exposed magazine's "Artist Spotlight" for November so to help highlight the upcoming show at Bank Street Arts. Great stuff!!


Please visit Exposed magazine online at the following link - http://www.exposedmagazine.co.uk/

Monday, 31 October 2016

Coming Soon! "Uncertain Spaces & Obscure Views" at Bank Street Arts, Sheffield.

http://obscure-views.blogspot.co.uk/p/home.html

"Uncertain Spaces & Obscure Views" at Bank Street Arts Sheffield.

A solo show of paintings continuing my exploration of Sheffield’s in-between places and non-spaces.

Preview Wednesday 23rd November 6.00 - 8.00pm

Open 24th November - 3rd December 2016
Wednesday - Saturday 11.00am - 4.00pm
Closed Sunday - Tuesday

32-40 Bank Street
Sheffield, UK
S1 2DS
Tel 0114 346 3034

This show is a continuation of my work exploring mystery. My work of the past few years has been about observing uncertainty within the spaces of daily life. Looking at places and scenes that make me pause, and question what it is about that given place that produces a feeling that something is different. That something is an uncanny "not quite right".

For more information see the show blog site here -  http://obscure-views.blogspot.co.uk

I'm Getting There!

(Originally posted at the "Uncertain Spaces & Obscure Views" show blog - http://obscure-views.blogspot.co.uk/2016/10/im-getting-there.html )

Have been quiet recently as I'm in the last few days of painting for the upcoming "Uncertain Spaces & Obscure Views" show at Bank Street Arts next month (24th Nov - 3rd Dec). Just a few bits to finish off and tweak. Things are looking pretty good. Axx

Sunday, 30 October 2016

Video - Margaret Drabble's "I Love This Dirty Town" 1969

"I Love This Dirty Town" ( www.bbc.co.uk/iplayer/episode/p00rzvqv/i-love-this-dirty-town )

Though filled with large amounts of nostalgia, this film is strangely relevant to many of the conversations taking place regarding Sheffield's current redevelopment plans.

"First transmitted in 1969, this personal plea from Margaret Drabble is a lament for the death of the city, which questions whether 'civic redevelopment' is tearing the heart out of our cities. Are tower blocks, giant supermarkets and an ever expanding suburbia the way forward? Margaret Drabble thinks not and argues that a successful city combines areas where residents and office workers share a space and a multiplicity of shops serve their needs. She also challenges the myth that streets are traffic arteries and unsavoury places to be in, especially for children, arguing that it's traffic that's the problem, not kids."

Unfortunately with being on BBC iplayer you will need to view on the BBC website (click on the image below to go there )

www.bbc.co.uk/iplayer/episode/p00rzvqv/i-love-this-dirty-town

First posted on my blog for the Nov 2016 Bank Street Arts painting show "Uncertain Spaces & Obscure Views" - http://obscure-views.blogspot.co.uk/2016/10/video-margaret-drabbles-i-love-this.html

Saturday, 1 October 2016

'Good to Go II' chosen for CBP's Painting of the Day for the 1st of October 2016

The organisation Contemporary British Painting chose my painting Good to Go II as their "Painting of the Day" for the 1st of October 2016 . Good to Go II will be on display in the upcoming Bank Street Arts show. Prints will also be available.

Good to Go II, 2016.
Oil on panel, 50cm x 50cm
A61 Penistone Rd, Grenoside, Sheffield.
£800

Contemporary British Painting post on Twitter - link 
Contemporary British Painting post on Facebook - link

The Contemporary British Painting main website is here - http://www.contemporarybritishpainting.com
Follow them on FB here - http://www.facebook.com/ContemporaryBritishPainting
Follow them on Twitter here - http://twitter.com/paintbritain

First posted on my blog for the Nov 2016 Bank Street Arts painting show "Uncertain Spaces & Obscure Views" - http://obscure-views.blogspot.co.uk/2016/10/good-to-go-ii-chosen-for-cbps-painting.html

Monday, 22 August 2016

'Flaneuse: Women Walk the City' by Lauren Elkin


A recent book has come to light - 'Flaneuse: Women Walk the City' by Lauren Elkin - due to being a Radio 4's "book of the week" this Augus. All episodes can be listened to on iplayer via this following link -
http://www.bbc.co.uk/programmes/b07p5vhy/episodes/guide


This following description is for an interview of Laura Elking talking about her book with Brian Dillon in the London Review Bookshop

"The flâneur – an almost invariably male idler dawdling through city streets with no apparent purpose in mind – is familiar to us from the works of Baudelaire, Benjamin and Edmund White. In a glorious blend of memoir, cultural history and psychogeography, Lauren Elkin investigates the little-considered female equivalent, from George Sand to Agnes Varda and Sophie Calle, leading us through the streets of London, Tokyo, Venice, New York and, of course, Paris. Lauren Elkin, a contributing editor at the White Review, was at the shop to discuss the phenomenon of the flâneuse, and her own walking life with Brian Dillon."

The interview can be listened to here - (direct link to mp3 file)



The book "Flaneuse: Women Walk the City" by Lauren Elkin (isbn 978-0701189020) is currently available in hardback. (Waterstones, Abebooks)


First posted on my blog for the 31st March - 11th April 2016 APG Works painting show "Uncertain Spaces" - http://uncertainspaces.blogspot.co.uk/2016/08/flaneuse-women-walk-city-by-lauren-elkin.html