Gallery of Art, Curiosities and Treasures


Kate Measham

Music choices give away a lot about a person. It is a shorthand for all sorts of information about a person being interviewed, and often reveal a side you weren’t expecting. Not surprisingly BBC Radio Four’s Dessert Island Discs, and BBC Radio Three’s Private Passions are both hugely popular.

I have started to ask people to create their own personal gallery of favourite art, treasures and objects of curiosity. Again, the answers are not necessarily what you would expect, and there are many reasons for the choices.

This series of interviews starts with me. Hopefully it gives you an idea of what I am aiming at. Each person gets to choose 5 things – pictures, curiosities or treasures, and one bit of information, materials advice, ‘how to’, or whatever to pass on to others.


Lucien Freud, And the Bridegroom

This is a oil painting of Leigh Bowery, a regular model for Freud and Nicola Bowery, his wife.

I first saw this painting at the Whitechapel Gallery in the 90s. It was placed at the bottom of some stairs and you were forced to move towards this intimate scene of a sated couple on their grubby, uninviting sheets. And so drawn to it.

These photos of the two models and the final piece, by Bruce Bernard, look grim and staged, whereas the painting has a luminosity and warmth. I can’t imagine shouting in front of this work – they are so deeply asleep.

Freud has accentuated the bride’s fragility and the macho spread of the husband. The folds of the cloth echo the limbs of the models. The golden light on the wall in the painting contrasts with the dark, architectural feel of the screen and seems to reflect the difference between the man and the woman. They are touching.

I have seen the painting in various different galleries and I am always overwhelmed by it. This series of photographs describe why I enjoy Freuds interpretation of the scene. I love the painting.

Nicolas Poussin, The Triumph of Pan

The Dulwich Picture Gallery had an exhibition of works by Cy Twombly and Nicolas Poussin in 2011. I spent a day at the gallery drawing the pictures and falling in love with the works of both artists. One of my regrets is not having bought the book of the exhibition, Arcadian Painters.

Nicolas Poussin, 1594 – 1665 The Triumph of Pan 1636 Oil on canvas, 135.9 x 146 cm Bought with contributions from the National Heritage Memorial Fund and The Art Fund, 1982 NG6477 https://www.nationalgallery.org.uk/paintings/NG6477

The Triumph of Pan is a masterclass in composition. I have drawn it and painted it a number of times. It is unbelievably complicated. Each new attempt appears doomed to failure, but that doesn’t seem to matter; I learn something new each time. The colour isn’t very exciting but EVERYTHING else is. Because of the trees in this picture I look at the screen in the Freud and see the importance of that structure in the background

The other day I made a trip to the National Gallery to see the picture, and find the second goat. I hadn’t seen it for while, and it wasn’t on display. The Poussin Room had one Poussin. Is he so very out of fashion?


Jackson Pollock, Autumn Rhythm, no 30

This is a great big drip picture. Lots has been written about it. I haven’t read anything about it

One of the things I love to see in a picture is the presence of the artist. Sometimes you can tell whether the artist was left, or right handed, you can feel their attitude to the sitter in a portrait, you can see a battle with composition and errors in a drawing. These things pass to the viewer through time and show the humanity of all involved.

In this work by Pollock you can feel his footsteps as he moves from one area to another, you feel the weight and direction of the paint. It is like a large scale doodle with instinctive marks and composition. And in addition there is the chaos of the paint.

I have seen this piece in different places and I find myself sitting in front of it for great lengths of time, and striding along beside it, trying to match Pollocks steps.


Ivon Hitchens, Pierre Bonnard, Paul Gauguin, Cezanne,

This is a bit of a cheat – there is no one picture from any of the above. I look to some of them for interest in colour or pattern, others for composition, line, and the looser sort of figurative work.

I think Ivon Hitchens would be surprised to represent this basket.

This picture doesn’t have the overwhelming joy of pattern and colour of Bonnard. It seems to lack the narrative and colour of Gauguin, and the apparent lightness of touch of Cezanne. However, I feel the influence of all of them in this work.

I love the combination of spontaneity and very deliberate marks. I love the slightly unusual shape of the canvas, encouraging you to explore. The colours make me think of spring in the English countryside.

Who could not be happy to be greeted by this picture each morning?


Sargy Mann, blind artist

This appears to be another cheat.

The Artist, Sargy Mann, went blind halfway through his life but he continued to paint. He was very keen on Bonnard and curated an exhibition at the Hayward.

There is a short film made by Sargy Mann’s son about him going blind and discovering he could still paint by referring to his internal landscapes, memories and views. The colours he used after he went blind are joyful, vibrant and uncomplicated.

It doesn’t matter if your tree is blue, the edges blurred, the drawing not photographically accurate. It should be true to you, what you see and how you want to represent it. Don’t edit yourself to someone else’s idea of what you should be able to see, but be ruthless, brave and true to yourself.

The British painter Sargy Mann was diagnosed with cataracts at 36, and went on to lose his sight completely. But in his mind’s eye his vision did not fade. Mann found new ways to keep working. Even before he lost his sight, Sargy Mann was obsessed with ways of seeing. As a young painter he was tutored by singular realists – Frank Auerbach, Euan Uglow – who insisted that an individual artist must be exactly true to what he saw…

Tim Adams, The Observer, 2010

The bit of kit I regularly encourage others to use are the wonderful Anilinky, Brilliant Watercolours by Koh-i-noor. They are vibrant, bold, brash, fun and very cheap.


It has been extremely tricky to choose so few pictures – indeed I need someone to tell me to stop faffing about and choose number four and five. I could argue that Hitchens is clearly a product of all those others. And Sargy Mann, whose work I admire hugely, is a reminder to get on with painting and to relish it.

I have avoided the wonderful pictures by friends and relations, and those pictures that trigger memories unconnected to the works themselves.


I would Love to hear about your gallery. Please, please send me the pictures and works that you return to time and again. I am making a series of different galleries of art, treasures and curiosities to reflective different influences on artists and those interested in art.

Life Drawing, Picasso and Composition


  • with Kate Measham
  • Monday, 24th February, 2020
  • 2.00pm – 5.00pm
  • The Studio, Bransbury, nr Winchester
  • £40/session, model included

unusual composition picasso

Picasso quotes are 10 a penny on the internet. How many are genuine and how many are wishful thinking…who knows.

Every act of creation is first of all an act of destruction.

I love life drawing. However, I have noticed that life drawing, as with other drawing can get a little repetitive. This life drawing afternoon is aimed at a fresh look at life drawing.

Everything you can imagine is real.

Please bring with you your favourite drawing tools, to include masking tape, pritt stick, various sizes of charcoal and large cartridge paper (A1). This is available to purchase if you run out.

This will be an exciting and invigorating afternoon of drawing.

Others have seen what is and asked why. I have seen what could be and asked why not.

Have a look at the Royal Academy exhibition details and link, Picasso on Paper

LEARN ABOUT LINO Printing



  • At Bransbury Studio, nr Winchester with HAMPSHIRE ART studio
  • 30th January, 10.00am – 4.00pm
  • £80.00/person
  • tea, coffee and biscuits available all day. Please bring your own lunch

Lino printing is a simple form of fine art printmaking. 

Traditionally lino is used like a printing plate partly because it is cheap, and also it leaves no texture of its own. You will be experimenting with a few materials that can be easier to cut into. The lino/plate is then inked, a piece of paper placed over it, and pressure applied by hand, press or back of spoon to transfer the ink to the paper. The result, a linocut print. This is quite a simple process with often dramatic results.

 BOOK YOUR PLACE NOW

The easiest style of lino print is a single-color print. You cut the design once, and print it using one colour only. You often see black used because of its strong contrast to white paper. In this workshop you will explore different tools and different marks. AND produce a linocut print. 

You will need to buy the basic introduction lino kit, and some cartridge paper. Then you will be ready to Learn About Lino

Once you have used this workshop to learn about lino you can progress to more complicated approaches.

The CASS art kit is on offer reduced from £29.99 to £19.95

https://www.cassart.co.uk/essdee-lino-cutting-and-printing-kit.htm?trackterm=lino

If you have any questions about this course please contact me.

Spring Classes and Resolutions


The New Year, a New Decade, is on the horizon.  This is a good time for you to make art one of your New Year’s Resolutions

I make resolutions every year – some I keep, some I don’t. Whatever happens it is a good moment to pause, and look forward.

antony williams egg tempera masterclass Art you and New Year's resolution

This coming year I plan to spend more time painting, and to set the time aside in my diary. Second on my to-do list is to take courses so I can try new ways of doing things.  I have my eye on Antony Williams and his Egg Tempera course at the end of February. 

Below are a number of courses so YOU can set time aside, on a regular basis. There is something for everyone from Beginners Drawing Taster morning, to Lino Printing, Oil Painting courses and Acrylic courses. Try the Introduction to Abstract Expressionist Painting if you are interested in non-figurative work.  If you have done a bit of oil painting but want to learn more try the Intermediate Oil Painting classThe Drawing into Oil Painting for Beginners course will build up your skills month by month, with time in the studio and work to do at home.

Art you and New Year's resolution

New this year is the Art Club.  The studio is open on Wednesdays for the club, from 10.00 – 5.00. It is a great place to get away from the regular cares of life, and paint or draw without distraction.  There are tables, easels, tea and coffee, a beautiful view plus time  to chat and compare notes with other artists. On the second Wednesday of each month there will be a life model in the evening from 6.00-9.00pm. This is included in the Club fee.  

Casa Rosa, Andalucia painting course
Art you and New Year's resolution

If you are missing the sun have a look at the two different weeks in Andalucia in the Spring. The first week, 18th – 25th April Casa Rosa, a tutored week with me, Kate Measham leading the group. The second week, 25th April – 2nd May, Artists Take Over Casa Rosa is untutored but all the food, studio space, and glorious surroundings of Casa Rosa available.

Keep an eye on HAMPSHIREART studio throughout 2020 – we are planning more masterclasses, art, yoga, and wellbeing classes, and many fun one or two day courses.

Remember: The New Year, a New Decade, is on the horizon.  This is a good time for you to make art one of your New Year’s Resolutions. Contact me if you want any more information.

Art courses, in Hampshire and beyond

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