The Royal Academician Opens Up About Her Creative Life and Her Studio, Which Is Opposite Her Husband Bernard Dunstan’s, in Their Kew Home.
Both you and your husband are painters – do you share one studio?
No. One day, in 1958, when I returned from taking our youngest son Bob to nursery school, I found a table arranged for me in Bernard’s studio room. Alas, there appeared only luck for one of us at a time. So Bernard erected a hut in the garden, just outside his room, but in touch through the window for signalling coffee breaks. Later, when all three boys had grown up, I took over their playroom, south facing, which suits me, even if the sunlight sometimes strikes the easel.
Your husband was elected to the RA in 1959 and you became a Royal Academician in 1989. Was there any competition?
No, I think it has worked because we made some separations early on, so our work would not overlap. Bernard rather handed over the landscapes and still lifes to me. I perhaps would have loved to do music pictures, but Bernard was much more experienced and freer to go to rehearsals.
Do you sometimes criticise each others’ work?
Diese Geschichte stammt aus der April 2017-Ausgabe von Artists & Illustrators.
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Diese Geschichte stammt aus der April 2017-Ausgabe von Artists & Illustrators.
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Still life IN 3 HOURS
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Through an analysis of three masterworks, landscape painter and noted author MITCHELL ALBALA shows how you can animate landscape composition with movement
Shane Berkery
The Irish-Japanese artist talks to REBECCA BRADBURY about the innovative concepts and original colour combinations he brings to his figurative oil paintings from his Dublin garden studio
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Washes AND GLAZES
Art Academy’s ROB PEPPER introduces an in-depth guide to incorporating various techniques into your next masterpiece. Artwork by STAN MILLER, CHRIS ROBINSON and MICHELE ILLING
Hands
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Vincent van Gogh
To celebrate The Courtauld’s forthcoming landmark display of the troubled Dutch master’s self-portraits, STEVE PILL looks at the stories behind 10 of the most dramatic works on display
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The Scottish painter tells STEVE PILL why time is precious, why emotional responses to colour are useful, and how she finds focus every day with the help of her studio wall
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