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Nonconformist Painting
United Kingdom
Painting, Acrylic on Canvas
Size: 11.8 W x 15.7 H x 0.2 D in
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About The Artwork
This girl was observed in Trafalgar Square London. Her preoccupation while watching a street entertainer made for an unhurried study. The headscarf was worn by another female close by, but I used one from my wife’s collection as I preferred the colour combination. It occurred to me only later that the work was looking like a certain Dutch painting. So in ‘homage’ to Vermeer I added the earring. The work consists of a Rowney Cryla acrylic base coat of burnt orange over the gesso manufacturers finish. Opaque pigments have been used to lay down some areas, also acting as undercoating for sections of the subject matter. Subsequent layers of acrylic paint have been applied in washes which has been thinned using Liquidex airbrush medium. This thin multiple layering of pigment allows for a degree of luminosity, avoiding the usual flat acrylic finish. Finished with a coat of Winsor & Newton Satin UV varnish. When fully dry the work will offered for sale.
Details & Dimensions
Painting:Acrylic on Canvas
Original:One-of-a-kind Artwork
Size:11.8 W x 15.7 H x 0.2 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships in a Box
Shipping & Returns
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United Kingdom.
Customs:Shipments from United Kingdom may experience delays due to country's regulations for exporting valuable artworks.
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United Kingdom
Born in Gloucester and living and working in Cheltenham UK. I like to work in acrylic because it allows me to experiment, making changes quickly is paramount when wishing to explore your options. I suspect like most figurative artists I find drawing and painting the human form wholly embedded with human behaviour. The desire to secure more than a representation of a persons movement, the spilling of light over contours or the various other physical facets is the reason we continue to make paintings. To recast emotions in texture, colour and pattern and to make it still, perhaps this is a measure of a successful painting. I have sold work around the world, to individuals and organisations and have produced award winning public art (usually with a colleague) for various institutions.
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