Filbert’s Newsletter: June 2006 Issue 7

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

Inspired by Monet: a challenge

Having recently seen the programme on the Impressionists and having spent some time in schools working with children on the theme of Monet, I thought it was about time to actually go and paint out of doors. It is a daunting prospect to work out of doors, particularly if you acquire an audience of onlookers who invariably are very free with their comments. A thick skin is required in these circumstances. However, the challenge is this: all those painters amongst you, take your easel, palette, paints and brushes and venture out in to the countryside and paint not just what you see, but what you feel.
This can be a very liberating experience, especially if you have not done it before. First a few practical guidelines to consider:
· Choose a fairly remote spot if you do not want an audience
· Ensure you have a means of securing your easel if the wind starts to blow – a brick tied to the centre of the easel so that it hangs in between the three legs is a good idea – Monet used this method so you are in good company.
· Make doubly sure you have everything you need especially mediums for painting and cleaning, it could be a long way back to the car.
· Don’t forget to take a stool and a means of transporting wet paintings etc.
The real challenge though is to use the methods that Monet himself used. So no preliminary drawing go straight for the brush, block in the main elements and get the essence of what you see. Work broadly and look for the colour. It is amazing how blue distant hills can be in certain light, so paint them blue. If you are working in oils or acrylics work wet in wet, but be careful not to mix colours on the canvas too much, you do not want to be painting with mud. Aim to finish in one session and don’t get bogged down with detail, aim for the essence. It may well be an idea to immerse yourself in a few Monet paintings before you begin to see how he managed to capture the feeling and emotion of nature without excessive detail.

So are you willing to take the challenge? Why not send (email) me a picture of your painting(s) and I’ll put them in the next newsletter? Please state when and where the painting was produced, how long it took to paint, the medium used and of course add your name. The most inspiring and personally impressionist work submitted, in my opinion, will receive a voucher to attend any Filbert Splosh art course for half price - all painting materials for the course will also be provided.

Signs and Symbols (continued from last month)

Abstract figures

Sometimes we see figures in paintings that cannot be clearly identified, as we saw last month. These figures often represent abstract ideas or values in the painting. Examples are:
· Truth – A naked female holding a peach with single leaf, a sun or a mirror. She may also have her foot on a globe.
· Ignorance – A fat, unpleasant woman or hermaphrodite usually blindfolded or with no eyes, may also wear a crown.
· Innocence – a young girl holding a lamb, or maybe she is shown washing her hands

There is an excellent list of symbols and their meaning in terms of painting in the book ‘Art’ by Robert Cumming

Allegories

These are stories in which individuals, events or objects are used to convey the meaning of the work. Allegories are probably the most difficult to decipher of the categories we have looked at so far. They should not be taken on face value, because allegories are awash with hidden meanings, cross-references and deliberately obscure puzzles set by the artist, almost as though he is playing an intellectual game with the viewer.
A good example of an allegorical painting is The Ambassadors 1533 by Hans Holbein The Younger. Deciphering the symbols give us insights into the paintings real meaning. I have only show a small image of this painting here so you will have to get hold of a larger image to see the detail.
The Ambassador on the left is Jean de Dinteville who commissioned the painting, together with his friend, George de Selve. They visited England in 1533 as ambassadors of Francis I to the Court of Henry VIII.
The Symbols:

· Inscribed Dagger: Dinteville holds a dagger inscribed in abbreviated Latin, it gives his age as 29.
· Globe: The globe shows the countries important to Dinteville and even depicts his own chateau at Polisy near Troyes.
· Arithmetic Book: is a new publication on applied mathematics and is held open by the set square. It symbolises the breadth and modernity of the Ambassador’s education.
· Skull: casts a shadow of death across the floor and tells us that Dinteville was in poor health. You will notice a skull as an insignia on his cap.
· Mosaic Pattern: this is an exact copy of the pattern on the floor of Westminster Abbey, this obviously made a great impression on the artist.
· Hymn Book: It is open at the page that contains the hymns, ’The Ten Commandments’ and ‘Come, Holy Ghost’. They are the German translation by Martin Luther. This could be a plea by Holbein for reform of the Church along Protestant lines, but without alienating the Catholics.
· Lute: The lute is a symbol of harmony, but it has a broken string symbolising the growing animosity between Protestants and Catholics.
· Book: Georges de Selve’s arm rests on a book on the edge of which is written in Latin, ‘his age is 25’
· Sundial: It reads 11 April 1533. During Easter of 1533 Henry VIII broke away from the Catholic Church and established the Church of England.

The Ambassadors mission was to try to persuade Henry VIII not to break with Rome and also to protect French interests and influence - a difficult mission that ultimately failed. The picture was painted in London.

Creative Juices

Sometimes it is really difficult to get inspired, to approach your painting/drawing in new ways, or simply to get out of your comfort zone. If this is how you feel perhaps it is time to consider Filbert’s 3 day Art School (Leintwardine 24/25/26 July). The whole idea behind this course is to challenge, to look at things in new ways and to enhance our own creativity. Rather than focusing on the final product – the painting or drawing – we shall concentrate on the process of getting there. Ways of generating ideas, different ways of seeing, understanding and thinking about art. There will be lots of experimentation, fun projects and challenges. With plenty of opportunity to take risks this should be the ideal antidote for anyone who feels there work has got stuck in a rut. For booking details click here.

Filbert Splosh’s News

Filbert exhibits at The Gallery, High Street, Leintwardine, SY7 0LQ
Filbert will be showing a number of new paintings inspired by local beauty spots such as Bircher common, Clee hill and Leintwardine itself. The exhibition along with four other artists runs from 13 June until 8 July. The opening preview is on Monday 12 June at 7-00pm you are welcome to attend.
Filbert visits Schools
This is a busy month with a Picasso day at Kingstone and Thruxton Primary School in Hereford and 4 days at Wellington Primary School covering Chagall, Van Gogh, Picasso and Monet.
Broadfield Court 7th to 10th August : Herefordshire Painting Holiday
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
Starting with Acrylics (1) at Leintwardine VH on 4 June
Inspired by Drawing at Aston on Clun VH on 17 June
Starting with Acrylics (2) at Leintwardine VH on 18 June
Inspired by O’Keefe at Broadfield Court on 24 June

Special Offers

· Book a place on the Drawing for Absolute Beginners course 17/18 July (£85) and the Pen and Ink Drawing Course 27/28 July (£85) both at Cradley Village Hall by printing off the booking form on my website. Send the form, together with your remittance to Filbert before the end of June and you will pay only £150 instead of £170, a saving of £20. Please quote ‘Draw June’ in the Order Quote box. No other discounts apply to this offer. This offer does not apply to courses booked through the leaflet.

Regards

Filbert Splosh