Terence's materials
•Brushes Rosemary & Co. Ivory filberts, sizes 2, 3 and 4; Rosemary & Co. Ivory round, size 1
•Paints Medium Magenta, CadmiumFree Yellow Light and Hansa Yellow Light, both Liquitex Soft Body Acrylics; Quinacridone Magenta, Phthalo Green (Blue Shade), Ultramarine Blue, Manganese Blue Hue and Yellow Ochre, all Golden Open Acrylics; Vermilion Hue, Titanium White and Process Black, all Daler-Rowney System3 Acrylics
•Canvas Honsell stretched cotton canvas, 100x100cm
•Brush Pens Sennelier Ink Brush pen, Intense Green
•Water mister
German Expressionism was an early 20th-century art movement characterised by bold colours and marks. Taking inspiration from Henri Matisse and Vincent van Gogh, Expressionist artists such as Erich Heckel, Ernst Ludwig Kirchner and Alexej von Jawlensky are good examples of portrait painters working in Germany at that time. Often much cruder in style and bolder in application, these painters developed an almost reckless attitude toward portraiture where colour was used for emotional impact, using vivid notation.
For this masterclass, I wanted to try and emulate some of the portrait techniques of these artists. I wanted to use colour with a very non-realist emphasis as they did to see just how far it could be pushed in that respect. I worked from life and then developed the image as I went, using colour as a substitute for the actual tones observed in front of me. It was a risky business and had to be done with a confident, no-turning back attitude. The whole session took about three hours.
This story is from the September 2021 edition of Artists & Illustrators.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber ? Sign In
This story is from the September 2021 edition of Artists & Illustrators.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber? Sign In
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
