Filbert’s Newsletter: February 2006 Issue 3

Welcome to the Filbert Splosh Newsletter. Your comments, suggestions or contributions are welcome.

The things people say:

Why is some art worth so much?
In 1990 Vincent van Gogh’s painting ‘Portrait of Dr Gachet’ was sold for £44,378,696 ($75m), enough to build a small hospital or five or six schools. Some people would say this is obscene amount to pay for the work of a man mad enough to cut off part of his ear. What is it that makes the painting worth so much money? Firstly, the painting has no intrinsic value, other than the value of the canvas and paint, which is worth very little. It is only worth what someone will pay for it and in this case someone thought it worth millions. So why did this person value the painting so highly, simply because he was buying a unique piece of history.
Van Gogh had actually created the work, touched it, felt it and expelled a great deal of emotion during its production. From Van Gogh’s letters we know how he was feeling when he painted the picture; we know his thoughts, his desperate plight and his continuous despair at his poverty and mental illness. Yet here was a man who didn’t give up, who could express his inner emotions through colour and the application of paint, like few others in the history of painting. When we stand in front of a Van Gogh painting we see Van Gogh himself, laid bare like a gossamer spider’s web, teetering on the edge of destruction and vulnerable to the slightest breeze. Like all great painters he can, through the medium of paint show us the soul of humanity.
So what happens when you paint a picture? Are you happy enough if you can get a reasonable likeness of what is in front of you? Is it your aim to copy as accurately as you can what you can see? Most people answer yes to the last two questions. Unfortunately, that is not what art is about. Art is about a personal vision, interpreting what is seen not copying it. Art is also about getting out of your comfort zone and tackling the things you can’t do and not getting bogged down with technique, whilst it can be important, it is not the essential. When you are working on your painting think about why you are doing it, why are you drawing those lines, using this colour or that one, twiddling with the brush? If it’s not essential don’t do it. Go for the essence of the subject, what for you makes the subject important. Ignore what other people think; it has to be your vision.
Try sometimes to sketch something with a large brush and allow yourself no more than a minute to do it. Or perhaps get a very large piece of paper, a large chunk of graphite squint at the subject and go for the essence of the image. Draw quickly and take no more than 2 minutes. If it doesn’t work, throw the paper away, there’s plenty more where that came from and et stuck in again. Challenge yourself, it can be very rewarding.

This month’s featured artist: Claude Monet 1840 – 1926

Monet was the true leader of the Impressionist movement, in fact his painting, ‘Impression Sunrise’ of 1872 gave the movement its name. Impressionism was originally a term of derision. A critic on seeing the first Impressionist Exhibition in 1874 remarked, ‘I have seen wallpaper in a more finished state than these impressions’. The works were not referred to as paintings, but mere ‘impressions’ and the name stuck. It was at least ten years later that Impressionism became the much loved movement we know today.
Monet was its driving force he was always exploring ‘what do I see and how do I record it in paint?’ He had this never-ending fascination with the elusive effects of light and how it affected the landscape and buildings. He often undertook to paint in ‘series’, the Haystacks and Rouen Cathedral are good examples, where he would paint the same subject, but under the different light effects of early morning, mid day, evening, sunshine or heavy cloud.
He spent 40 years creating his garden at Givenchy from scratch – a subject he controlled in every detail except of course the light. Most of his later work was completed in his garden giving us many wonderful images. To really appreciate a Monet painting you have to experience the real thing, its size and sheer beauty. Stand back and appreciate the imagery, it looks very familiar today, but it was as revolutionary as Hirst’s ‘Shark’ in its day. Move in close and enjoy the complexity, textures and the interweaving of colour and paint. Notice how the paint gets thicker as the light gets more interesting. A good tip here, in a painting shadows should be thinly applied and highlights thickly applied because the very bumps will attract the light, thereby emphasising the highlight.
As we have mentioned the cost of art earlier in the newsletter: The most expensive Monet painting ever sold was “Bassin aux nympheas et sentier au bord de l’eau’ painting in 1900, it went for £$29,500,000 in 1998.

If you are interested in Impressionist painting why not come along and produce your masterpiece at the Impressionist Painting Weekend. For details click here

Filbert Splosh’s News
Do you fancy a holiday indulging your passion for painting and drawing? There are two Filbert Splosh art holidays to choose from:

Castle of Park 1st to 7th July

You can enjoy the charms of Castle of Park, the perfect combination of romantic fortress and graceful Georgian country mansion hidden away in a tree-lined park near the beautiful Moray coastline in Scotland. The castle grounds and surrounding scenery: cliffs and sandy beaches, rolling hills, historic castles, fishing villages with 17th century harbours, contain thousands of subjects just waiting to be painted. 6 days, Scottish hospitality and Filbert’s expertise, what more could you want!! Click here for details
Broadfield Court 7th to 10th August
Broadfield Court, near Bodenham, just south of Leominster is a 16th century building with many out buildings. It is a working vineyard and has wonderful flower gardens and great views. This four day holiday is ideal for those wishing to explore drawing and painting in the surroundings of a wonderful vineyard, plus the odd glass of the best English wine. Accommodation can be arranged as required. For more details click here.

Forthcoming Events

This month’s courses
Drawing with Pastel – Leintwardine Village Hall – 4 February: Places available
Watercolour and Coloured Pencils – Cradley Village Hall – 5 February: Places available
Beginners’ Watercolour Weekend - Cradley Village Hall – 25/26 February: Two places available

I am considering offering courses at a couple more village halls; maybe one south of Hereford, the other near the A49 somewhere between Leominster and Craven Arms. A modern building with good views, adequate parking and heating would also be necessary. Recommendations would be appreciated.

Have a great month

Regards

Filbert Splosh