My recent work has been inspired by gardens and garden flowers, and reflects the movement towards more naturalistic, seasonal planting. I signed up to receive a monthly bucket of flowers from an organic, sustainable local cutting garden, Wolves Lane Flower Company, and my very first delivery was unexpectedly lovely – a glorious tangle of spring blooms.
There was a nice simplicity to this composition. I just felt really compelled to capture the beautiful flowers in front of me as quickly as possible.
Those first flowers of spring had a certain symbolism: new growth, fresh beginnings, and hope for the future. I wanted my painting to convey a sense of this optimism and energy. They also had a rather old-fashioned look, which tied in quite well with my painting style. I liked the idea of very traditional subject matter painted with a modern sensibility. Anne-Marie’s next exhibition runs 5-22 October at Thackeray Gallery, London. www.anne-mariebutlin.com
1 Compose carefully
I began by taking photos of the arrangement in my house. I used the square-format option on my phone’s camera as I played around with the composition. I then worked in my studio, drawing from both the photo and directly from life, taking the best bits of each.
I painted my primed linen with a fairly thick layer of acrylic gesso to give it some tooth. Once dry, I used the large decorator’s brush to apply a thinned down layer of Burnt Sienna as a ground.
2 Scrub in the basics
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Denne historien er fra Summer 2021-utgaven av Artists & Illustrators.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
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Still life IN 3 HOURS
Former BP Portrait Award runner-up FELICIA FORTE guides you through a simple, structured approach to painting alla prima that tackles dark, average and light colours in turn
Movement in composition
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
The Working Artist
Something old, something new... Our columnist LAURA BOSWELL has expert advice for balancing fresh ideas with completing half-finished work
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
LAURA SMITH continues her new four-part series, which encourages you to draw elements of old master paintings, and this month’s focus is on capturing hands
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
BRING THE drama
Join international watercolour maestro ALVARO CASTAGNET in London’s West End to paint a dramatic street scene
Serena Rowe
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
Bill Jacklin
Chatting over Zoom as he recovers from appendicitis, the Royal Academician tells STEVE PILL about classic scrapes in New York and his recent experiments with illustration