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Showing 1–16 of 101 results

  • Ali

    Oil on canvas 2014
    40 x 30 cm

  • Anthony

    This portrait was begun at Travis Seymore’s Barnes Atelier and has been re-worked twice, each time with pretty radical changes.  Looking at it again I think the choppiness of values could be resolved slightly differently.  But I’m leaving it alone (for now).  It is so true that paintings are never finished, only abandoned!


    Oil on panel 2018  30 x 20cm 12 x 8in

  • Autumn Colours


    A colourful oil painting of pears, apples and quince with alla prima feel to the brush strokes .  Set upon a table top there is a Classical Realist feel to the still life composition. The palette has warm vivid autumn yellows, golds, reds and oranges.  Usually these paint colours are composed of Cadmiums yet here is a mix of vibrant modern pigments such as Quinacridone Rose, Arylide Yellow,  Phthalocyanine Green .  All these are remarkably vivid and allow a rich play of opacity and transparency to enliven the canvas.  The frame is a simple squared moulding which slopes into the painting, draws us in.  The painting was made as part of one of Paul Foxton’s online workshops that began in lockdown.

    Oil on panel  2021   28 x 41cm 11 x 16in   Frame colour – Farrow & Ball yellow (Babouche)

  • Barrie

    This was the first work selected by Royal Society of Portrait Painters at the Mall Gallery 2017


    Oil on linen 2017   30 x  25cm    12 x 10in

  • Basket of Apples

    I wonder how many apples I have painted?  These small Gala’s fitted just perfectly into the beautifully crafted basket which I have to point out, is pretty tricky to paint.  The interweaving willows made me think of the Islamic patterns that I had copied in Morocco.  To add a sense of the basket’s form turning into darker space of the background simply added an extra complexity – and strings of paint colours on my palette.  But all this is eclipsed by the simplicity of the apples and particularly by the almost sculptural grace with which the single apple holds its leaves.  For me there is a feeling of it sitting in perfect space on the warmly coloured wooden board, basking in the glory of being painted.  

    Oil on canvas  2015  30.5 x 36cm 12 x 14in

  • Basket of Apples in a Box

    Shadow boxes are used for controlling light and creating a dark space.   When this small box was sent with an order of paints I put it on my shelf of still life candidates, I liked it.  As you see the basket fits it exactly. Apples are a highly popular subject for still life painters and the linen cloth gives an abstract reminder of something square – the box opening – but collapsed, folded.  There is an initial drawing and this little painting.  Framed in deep red it can work as a colourful brick, slotting into the most surprising places.  Or because of the shape of the frame it can stand on a flat surface as many of the small paintings can.

    Oil on panel  2020  23 x 30cm  9 x 12in

  • Basket of Sprouting Onions with a Blue Cup

    This is the first of many Cup Paintings.  I bought two of these attractive, contemporary cups in Florence – one grass green, and one traffic light red – during my time at the Angel Academy where I was a student on the Four Year Classical Realism Program (January 2010 – December 2013).  Then back in England some years later I bought more colours online from Germany where they are made.  And I shall paint each and every one!  Just search ‘cups’  on this website to find them as the collection grows.  The wonderful sprouting red onions are what we artists call ‘Perishables’ and they need a particular way to be painted.  And of course now these ones are only available to enjoy in the painting.

    Oil on canvas 

    2018  40 x 50cm   16 x 20in

  • Blondie

    Pastel & crayon on paper 2002

    12 ½ x 19 ½ in (32 x 50 cm)

  • Blue Bottle, Lemon and Dish


    An open door allows natural light to illuminate the pale background casting shadows on the table top and putting half the small dish into shade.  The fabric is pulled back as if it were a curtain.  Like Majolica Plate, you can see the interplay of a real lemon with a painted version.   The smooth curve of the bowl with patterns of leaves and small red/orange swirls accentuates its shape, the spiral of the half peeled lemon repeats the swirl pattern

    Oil on linen panel  2015   44 x 39cm  17 x 15in

  • Blue Delft Vase, Chinese Plate and Pears

    Still lives often tell stories and here is part of this painting’s story.  It is based on the favourite theme – Blue and White.  The small delft vase came from the Midhurst Antiques Market with a fascinating article on Delft Wear tucked inside  It tells us that most Delft designs are characteristic scenes of Dutch life and landscape often taken from old factory pattern books made at the Royal Makkum Factory who have been producing tiles since 1650.  The white opaque tin glaze acts as a background for the blue decoration.  It became so popular that factories sprung up in England and are still going strong. The plate however I bought in Florence and was told that it is Chinese and was certainly made for export to Europe.  This is part of a story of this still life which was on my easel when someone saw something they liked very much.   They bought it before it was finished.  And now have it in their house where it is in just the right place and so its provenance grows.

    Oil on linen  2015  45 x 65cm  18 x 26in

  • Brass three-legged dish with Chinese Plate


    Theatrical references with drapes held up by white pillars are used to frame an antique Chinese plate, a brass dish containing fruit and flowers and small glass vase.  Playing with this dramatic scene, the fringed tassels of a white cloth appear to joyfully dance along the lower part of the canvas.  Framed in a rather dazzling way this painting makes a striking impact and creates a glorious palette of colours

    Oil on panel  2018  50 x 70cm   20 x 28in

  • Brian Smyth – Artist


    Begun at Angel.  After completing our Bargues, (you can search for what this means, if you would like to) we were allowed to join an untutored* Portrait evening as long as we each sat for the class for 3 sessions.  That is 3 session of 2 hours each week, with breaks, which come after 6+ hours on our feet in the studio.  Sounds good, but keeping still is pretty hard work.  Brian was perhaps a bit impatient to get back to his work – the pose was so typical of him and expressive and I knew I would want to make a finished painting the type of which is simply not possible within a total of 6 hours.  So I took the best photograph I could and over the years often looked at the painting knowing eventually it would be finished.  When that time just occurred (out of the blue) in 2020 it was wonderful to continue.  I wonder if I had to wait until I felt I had more experience.  Whatever it was, The Royal Society of Portrait Painters liked it as it was selected for their 2022 show.

    *I must add here that Jered Wozicki very kindly would stay and give us each some of his superb advice and guidance.

    Oil on canvas  2022  42 x 38cm  17 x 15 inches

  • Brown Coffee Pot, Poppies and Red Cup

    Oil on panel

    2022 43 x 43cm  17 x 17in

  • Cast – Giuliano de’ Medici


    As part of the academic program four different casts are painted.  What is a cast?  It is a copy, usually, of a masterpiece made by a master artists.  The cast is made in plaster of Paris and is a matt, white sculpture making it ideal for the study of forms in monochrome.  As I write I find each word needs explaining.  Monochrome?  One usually thinks of black and white but for the purpose of oil painting, black and white are not used as the result would be a painting that looked blue.   And why is that?  Because black is a member of the blue family. 

    In making this painted study, we learn how to mix and use a very limited palette of colours to make a painting that looks exactly like a three dimensional sculpture.  And that painted sculpture looks white with shadows and nuances of light.  There will be a Journal on limited palettes soon. 

    This Cast was my final one of four. It is complex and large made from the original by Michelangelo.  Do note the similarity of the beautiful face to his famous statue of ‘David’ which is housed in  Galleria dell’Accademia, with a reproduction in front of Palazzo Vecchio, Florence.  Giuliano was a member of the ruling Medici family, was joint ruler of Florence with his brother Lorenzo and was murdered in Florence Cathedral on Easter Sunday in 1516.  That is certainly a very brief synopsis but to see the 1.68 metre seated, original visit Medici Chapel in San Lorenzo, Florence – a place of great splendour and interest –  go early!

    Oil on linen  2012  94 x 69cm   37 x 27in  in a splendid,  bespoke Florentine frame

  • Cast Carpeaux

    A charming face though there is varying views whether it is a young boy or a girl.  Whoever they are the look of happiness is so charming as sculptures by Jean Baptiste Carpeaux so often are .  He is know as a sculpture of the Second Empire and how I would love to have a fine replica of The Genie of the Dance, another charmed portrait.  In fact The Met in New York have an exhibition  Fictions of Emancipation: Carpeaux Recast .  I leave you to browse.  For me this beautiful face seems full of light, in marble it must be glorious.  And this particular painting was the result of the final Summer Workshop I joined at Angel Academy of Art.  I had been going to Angel for one of their wonderful two weeks Summer Workshops every summer for 6 years and this one, led by Jay Bloom, clinched it.  I went home and spoke with my husband, as I did every year,  “Oh I would love to be a full time student” .  And then I saw – various circumstances meant that we could do it.  And in January 2010 I became a full time student on the Four Year Program at Angel.    There is a lot in a painting!

    2009  56 x 36cm   22 x 14in  unframed

  • Cast Lincoln

    Oil on canvas