The Worlington Movement

On Thursday, I was invited by my friend Heath Rosselli to visit her painting mentor, Rosa Branson, in London.

Both Heath and Rosa are highly successful professional artists working in the field of portraiture and charity commissions. They champion the use of traditional materials and techniques and have set up the Worlington movement to counter what they see as the appalling lack of teaching in these subjects  in present day art schools.

Rosa, now eighty, still paints for 7 hours a day. Her passion, enthusiasm and energy are truly inspiring. It was fascinating to see her vast canvasses in the flesh as we wandered round her home and studio. Disillusioned by the 5 years she spent at art school, she then studied under Dr. H. Ruhemann , chief restorer at the National Gallery in London. In order to preserve this knowledge she has written a book which is now in the process of being published.

Joining us for lunch was Prof. Michael Baum, one of Britain's leading cancer specialists and artist Israel Zohar. Mike is shortly to retire and has already taken up his interest in art, studying under Israel Z.

Over a generous  lunch, art dominated the menu as we explored the merits of traditional techniques versus reliance on technical aids and modern materials. It certainly produced some lively and entertaining discussions.

Exhibition at Brancaster Staithe

Last weekend, along with some students and friends, I took part in an exhibition at Brancaster Staithe on the North Norfolk coast. Having grown up beside the sea, it was good to get back to vast skies and the smell of salt air. The mud flats are very different from the sandy beaches of Scotland where I grew up, but they have a charm of their own and I do love painting them.

My task for the day, however,  was not painting en plein air, but to demonstrate portrait painting. It is much more fun than sitting behind a desk smiling endlessly at customers and potential purchasers! I decided as a challenge to paint two portraits in tandem. That way I don't fiddle around and come back to each painting with a fresh eye.

Both paintings were done in oils on canvas . Size 18" x 14". Stained with raw umber.

Each took around two hours, in between drinking tea and chatting to interested onlookers. All in all, a most enjoyable day

 

 

Pauline

 

 

                                                                            Mary

 

Charcoal sketch to portrait painting in oils

Having decided on the finished preparatory sketch, I now prepared to do the oil painting. I chose to work on a fine linen canvas which I had stretched before applying two coats of size and two coats of oil primer. I then stained the canvas with a transparent wash of raw umber. This gives me a very useful mid tone on which to build my lights and darks.
I drew the figure in with a brush and fluid paint ( lots of turpentine) before moving on to the blocking in stage. All this time, I am checking angles, proportions, rhythms through the figure, and ,of course, position on the canvas. There is nothing worse than painting a fine head only to discover it's in the wrong place!
The accompanying illustrations show the painting in various stages of development. The head is well under way, the hands are just rapidly sketched in , and there are still large areas of the original staining. In my next blog I will show how the portrait was developed further.