Hampshire is due another wet week, more grey skies, mud everywhere, and half term on the horizon. At Wherwell we have a busy, interesting, warm week ahead with one off classes you can join for the day.
Get out of the house and join in the fun.
Monday, 1st February
Still Life at Wherwell 9.30am – 5.00pm
This is not a taught class – you turn up and paint, or draw, with a mostly friendly group of creative people. Sadly, the pub isn’t open on a Monday, so we bring a picnic lunch and eat together around a still life.
Come for the morning or afternoon at £20/session, or all day for £35.00.
Tuesday, 2nd February
Charcoal to Oil Painting 9.30am – 1.00pm
This is part of a course that is an introduction to oil painting, but you can join us for a special morning.
Tuesday’s class will be about mark making in oil. We will be looking at the marks made by drawing and other media, and seeing how these can be replicated using oils. It should be a fun, experimental morning, exploring different ways to approach a picture.
If you are joining us for the morning it will cost £40, materials included.
Life Drawing 6.00pm-9.00pm
The first Tuesday evening of every month is Life Drawing at Wherwell. There are warm up exercises, the model is directed, but you can do your own thing, more or less.
One session £20
Wednesday, 3rd February
Experimental Drawing 9.30am – 1.00pm
If you can see something, the chances are, you can draw it. What about all the other stuff?
How can you convey the cheesiness of cheese if you can’t smell it?, The unpleasantness of a cold ‘hot’waterbottle in the middle of the night if you can’t feel its chill? What does your back look like? These might not be things that keep you awake at night but once you start to think about them…how do you get answers?
This class is about the senses and trying to represent the unseen.
Wednesday 3rd February, 9.30am-1.00pm at Wherwell Priory Studio
A friend reminded me about this article and thought I should advertise Life Drawing for its health benefits – you know, ‘new year, diet, exercise, new me’ sort of thing. So 2016 = diet, exercise, life drawing etc, but the best of these is LIFE DRAWING.
This is taken from a BBC Magazine article on 14th July, 2015. I am not sure how to reblog from their site so I hope I haven’t broken laws etc. Too good a piece not to share it with you.
We’d all like to know about how to keep our brains as sharp as possible as we age. But what are the best ways to do this, asks Michael Mosley.
Ask anyone over the age of 40 what worries them most about growing older and the answer that comes back is almost always the fear of losing your memory. I worry about the fact that I find it harder than ever to remember names and that without my phone to remind me, I would forget many of my daily appointments.
There are some fairly obvious things to avoid if you want to maintain good brain health. These include smoking, becoming…
Not long before he was diagnosed with terminal cancer in the autumn of 2014, the painter Sargy Mann was invited to give a TED talk. Mann, then 77, was told by doctors that he had only weeks to live. In the event he survived for more than half a year, and he devoted much of that time to working out what he might say to a TED audience.
The subject of his talk was to be a distillation of a lifetime’s thinking about painting and visual perception. Mann, who I first wrote about in the New Review in 2010, found it hard to know quite where to start; he had, in a unique way, lived these issues for many decades: he was not just a wonderful and much coveted artist, he was also, for a large part of his painting life, completely blind.
Mann never got to give his talk, but not long before he died, last April, his son, Peter, a film-maker, recorded him setting out some of the thoughts he wanted to express. That short film, which captures exactly Mann’s undimmable curiosity, and also his infectious love of life, has been produced, as it were, in lieu of TED. There is also a wonderful short book, Perceptual Systems: Notes Towards a Talk, of the talk that might have been.
I spoke to Peter Mann, and Sargy’s wife, Frances, just before Christmas. They had been going through the paintings left in Sargy’s studio in the family house in Bungay, near the Suffolk coast, an emotional process but also an illuminating one, casting light on the years in which Mann’s sight gravely deteriorated, before it eventually disappeared in 2005.
“I have always had a frustration in that people love his paintings but they don’t understand what is to me the most interesting thing,” Peter said. “There was always the slightly patronising ‘isn’t it amazing he can do this and he is blind’. What is more interesting was the fact that he could only do this because he was blind.”
For many years, Mann taught painting at Camberwell School of Art, where he had himself been schooled in looking by Frank Auerbach and Euan Uglow. His real education, though, came from watching his sight diminish, and learning to compensate for it. It was Mann’s lived understanding that perception occurred not in the eyes, but in the brain. The day he came home blind he went to his studio, picked up a brush and his palette and “saw” a great flood of cobalt blue; he never looked back.
“His talk was going to be essentially about how painters teach us to see,” Peter says. His father’s defining example of this capacity was Monet, with his ability to “turn off” macular vision. Sargy experienced that shift for himself. “His loss of sight became like a mechanic taking an engine apart,” Peter said. “It doesn’t work any better but you can understand its constituent parts.”
Mann’s wife, Frances, also a painter, whom he met when she was his student, became in later years his primary muse and subject. “Basically he was a landscape painter,” she told me, “but I became his subject when he was blind because he could literally get to grips with me. I’d sit for about an hour and he would take a lot of measurements, and then I’d say can I go now and cook dinner and he would say fine, and then he would use these sticks and so on to work out what rays of light would be doing and then something much more intuitive would take over when he was actually putting the paint on the canvas.”
Sargy continued to help his wife in her own work, through his ingrained understanding of perspective and light and colour long after he could not see. He was also her tutor in the rare ability to accept all the worst that life presented: “Even when he was diagnosed with weeks to live,” she says, “he was really ‘Oh, that’s that, I should have liked to have carried on longer’. He was unbelievably good at making the best of things. Even dying.”
That is one of the reasons Peter wanted to finish the book and film on his father’s behalf. “Dad didn’t judge the world with a lot of preconceived ideas,” he says. “It was that attitude that allowed him to carry on and to see the value of what his blindness revealed. And that’s what he wanted to share.”
To buy a copy of Perceptual Systems: Notes Towards a Talk, visit spbooks.org. Peter Mann’s film of his father is available here