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32 MIN LESEZEIT

THE ARTWORLD

John Everett Millais Isabella, 1849, oil on canvas, 40½×56¼in (103×142.8cm)

The world’s longest running annual exhibition of contemporary art, The Royal Academy’s Summer Exhibition has been held in London every year, without exception, since 1769. The story of this historic show is brought to life in a special exhibition to mark its 250th anniversary. The Great Spectacle: 250 Years of the Summer Exhibition will include over 80 paintings, sculptures, drawings and prints spanning the past 250 years by such great names as Gainsborough, Constable, Turner, Singer Sargent, Blake and Hockney. Arranged chronologically, the exhibition focuses on significant moments within the art world as well as on pictures that experienced particular success or failure on the crowded walls of the Royal Academy. John Singer Sargent’s portrait of the author Henry James, for example, was famously slashed with a meat cleaver by the suffragette, Mary Wood in the Summer Exhibition of 1914. Mary’s protest against the lack of political representation for women led her to attack the Royal Academy and its association with an artistic male elite. There is also an opportunity to see Sir Winston Churchill’s Winter Sunshine, Chartwell, submitted in 1947 under the pseudonym David Winter.

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The Artist
Summer 18
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The Artist
WELCOME from the editor
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NEXT MONTH IN the artist
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10-1YOUR VIEWS
This month’s star letter writer will receive a £50
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FEATURES
John Blockley 1921–2002
Ann Blockley provides an insight into the ground-breaking working practices of her late father, the painter John Blockley RI PPPS RWA NEAC, and their relevance for today’s artists
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John Sprakes reveals how he translates what he observes in the natural world into a mixed-media abstract painting, with a project to inspire you to create your own abstract work
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Enliven your paintings with figures
Jake Winkle shows you how to paint moving figures in watercolour to add scale, depth and movement to your watercolours
The contre-jour effect
Jo Quigley explains the term contre-jour, and demonstrates why you should consider using this technique in your painting
Coastal subjects
The coastline can pose a number of challenges for the painter, says Paul Talbot-Greaves, who demonstrates how to paint a coastal scene in just three main parts, using acrylics
Plan your painting
In the first of three articles, Robert Brindley demonstrates the importance of planning a watercolour landscape painting using reference sketches, photographs and a painting of the same subject made in a different medium
The extended oil palette portrait
Ann Witheridge discusses how, having mastered the limited (Zorn) palette, the next step is to move on to add more colours, including secondary colour. Or, as Archie Wardlaw explains, you could simply add temperature choices to your primary colours
Sparkles and silver light
Wildlife artist Chris Rose explains why it’s so important to consider tone, especially when working contre-jourHe demonstrates his theory with a light-filled acrylic painting of gulls on a tidal stream
The trees of spring and summer
Ian Sidaway shares his techniques for painting blossom and mixing green as he describes how he met a self-imposed challenge to draw and paint London’s trees
Stanhope Forbes
Glyn Macey begins a new six-part series in which he encourages you to paint in the style of a great artist, with a demonstration painting in acrylics to inspire you
Painting After Sunrise
Marine artist John Scott Martin demonstrates a painting in watercolour and gouache, explaining how he selected and used a combination of reference images to add interest and drama to the finished work
Tricks and fixes
Amanda Hyatt demonstrates how to transform a painting into a ‘piece of watercolour art’ by using her tricks and fixes
Pigments and the colour wheel
Julie Collins begins a new series in which she goes back to watercolour basics, with a look at colour theory and pigments, and sets an exercise for you to try
Re-assess your style
In the first of his new series Martin Kinnear explains the importance of keeping your work fresh and how to achieve this, as he shares his experiences of preparing for a new exhibition
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