Category Archives: hampshire art studio

Classes at Casa Rosa, in Andalucia, are back (fingers crossed)…


These last few months have been very tricky for everyone; a mix of alarming, boring, inward looking, lonely, spring cleaning, fear and dread, frustration, anger – what a list! We can only hope that we are getting closer to a new sort of normal.

Kate and Rosie plan to open the studio at Casa Rosa in late September and look forward to welcoming you to join us there.


We have dates for art retreats in Spain. We don’t want deposits at this stage. We would like any of you who are interested to register with us, and to put the dates in your diary.

Casa Rosa in the Autumn: Wild flower heaven

Wild flowers in the Andalucian countryside

In late September and early October join us for art and culture in the Axarquía, the mountainous area to the north east of Malaga. The hills and orchards of Andalucía will be ripe with citrus fruit and wild flowers. Nestling into the landscape, Casa Rosa will have olives, garden flowers and fruit growing in the orchards and around the houses. 

“Andalucia is one of the most beautiful corners of Europe, where the excesses of modern life do not seem to have taken root and travellers are welcomed as honoured guests. Beloved by Orson Welles and Ernest Hemingway, it is the Spain of Carmen, Figaro and Flamenco. Rich with the legacies of the Moors and Romans its charm and serenity will captivate you.” Sunday Times


Class Dates and Prices

Artists take over Casa Rosa

  • 26th September – 3rd October, 2021
  • £975 use of studio, no tutor, full board, with room and ensuite. If you wish to have a room on your own there is £150 single supplement.

Landscape Painting with Antony Williams RP, NEAC

  • 3rd October – 10th October, 2021
  • £1,550 use of studio, tuition from Antony Williams, full board in double room with ensuite. If you share this room there is a £150 reduction, each

Flights are not included. There will be a taxi service to and from Malaga Airport included in the cost of the holiday if you take the flights we suggest.

To register an interest in either week please email: kate@artdrawpaint.com



Week One: Artists take over Casa Rosa.

painting in the sun

An artistic retreat: you will be free to be as creative and innovative as you feel inclined. No interventions other than meals. There will be options offered, but not distractions, and all the creature comforts will continue to appear as regularly as ever.

This first week is untutored.

If you want space and time to do their own thing, this is the week for you. On offer is the full range of delightful facilities, delicious, freshly cooked meals, regular drinks and snacks, and all the beauties of Casa Rosa and its surrounding environment. There is a large studio space with easels, drawing boards etc.


If you are interested in bringing your own group of students to Casa Rosa this is a perfect way to give it a trial run first.

Week Two: Landscape Painting with Antony Williams RP, NEAC

On this second week in Spain Antony Williams will be working in oils and teaching landscape.

We are delighted to have Antony Williams joining us at Casa Rosa for Week Two. He is a wonderfully talented artist whose work is in demand across the world. He is best known for portraits, and people in landscapes, with the occasional quirky still life. This is a wonderful opportunity to take a course with Antony who is extremely knowledgeable. Having done a course with him at Hampshire Art studio I think I should add ‘patient’ to this list of attributes.

Have a look at the portraits and landscapes on his website

There will be daily tutored sessions, and time to paint on your own. The fruit orchards, olive groves and wonderful gardens of Casa Rosa will be your inspiration. There is a large studio space with easels, drawing boards and stools.

view from main house towards a pool and to the hills beyond

What to expect for both weeks in the Autumn 2021

Enjoy the the friendly, supportive, house party atmosphere of art retreats at Casa Rosa. Whether you come on your own, with friends, family, or partners, you will be part of a group. If you want to spend some quiet time on your own there are walks through the countryside or up to Periana. The rooms are quiet and extremely comfortable. We endeavour to make your stay as relaxing and enjoyable as we can.

Food, fresh from the orchards and markets

 Casa Rosa sits in the middle of its own orchards and the Autumn will see these bursting with fruit. The house and cottages are  full of delightful surprises, pictures, pottery and antiques collected locally and from years of travel.

Have a look at the facilities of Casa Rosa Estate – tennis court, pool, ping pong table – freely available and the nearby village only a walk away.

Meals will be a communal affair with Rosie, her helpers and the other artists and guests eating together. The produce is sourced locally where possible including the olive oil which comes from the estate.

Wednesday will be a day off for everyone. Meals will be available.


The Boring Bits

Artists take over Casa Rosa – Untutored

  • 26th September – 3rd October, 2021
  • £975 use of studio, no tutor, full board, with room and ensuite. If you wish to have a room on your own there is £150 single supplement.

Landscape Painting with Antony Williams RP, NEAC

  • 3rd October – 10th October, 2021
  • £1,550 use of studio, tuition from Antony Williams, full board in double room with ensuite. If you share this room there is a £150 reduction, each

General

If you have registered an interest we will ask for a £300 deposit by 1st July and the final payment on 21st August.

Collection and return to Malaga Airport at the beginning and end of your stay are included in the price  if you choose to book our suggested flights. If we need to book a taxi to collect, or deliver you to an alternative flight this will be at your cost.

If you wish to be more independent there are a number of car hire companies at Malaga airport. There is plenty of space for parking at Casa Rosa

There will be folding stools, drawing boards, and easels available. Everything else you should bring with you. If you wish to order materials and have them delivered to Casa Rosa please contact to Rosie.

Make Casa Rosa in Andalucia your Autumn destination for 2021

We advise you to have travel insurance.

  • Places on the  course are limited so allocation will be made on a first come, first served basis according to deposit paid.
  • The deposit of £300, to reserve your place, is due by 1st July. We will give you a reminder 5 days before this is due. If we do not receive the deposit by this date you may lose your reserved place and others from the waiting list will be offered the course.
  • The final amount is due by August 21st. You will get a reminder 5 days before this is due. If we we do not receive full payment by this date your place on the course and the deposit will be forfeited.
  • Casa Rosa reserves the right to cancel for whatever reason. In the event of cancellation you will be advised of vacancies on alternative courses.
  • If you do not wish to book on an alternative course, a full refund for the course will be given when Casa Rosa cancels.
  • If Artists take over Casa Rosa has to cancel due to Covid-19 restrictions a full refund will be given. Any further expenses such as flights, taxis, car hires or other expenses you have incurred will be your own responsibility and not that of Casa Rosa, Kate Measham or Rosie Tatham.
  • In the event of cancellation by the guest before 31st August 2021, we will endeavour to fill your place and if successful we will refund your deposit, if we are unable to fill your place the deposit will be non-refundable.
  • If you cancel between August 31st 2021 and September 15th 2021 you will forfeit 85% of the total cost (including the deposit) If you cancel after 15th September 2021 you will forfeit the entire cost of the course.
  • We reserve the right to remove anyone from the course and from Casa Rosa, at their own cost and forfeiting their costs for course, flights and sundry expenses, due to anti-social, or unreasonable behaviour.
  • PLEASE TAKE OUT FULL TRAVEL AND HEALTH INSURANCE

If you want to chat about the trip please contact:

To register an interest please email: kate@artdrawpaint.com

Kate Measham on kate@artdrawpaint.com or T:+44 01980 863155

Or Rosie Tatham on rosie@tatham.biz or T:07940 833025

On the Shoulders of Giants



The class will be via Zoom.

See http://www.hampshireart.studio for more information



Although museums and galleries are closed to the public at the moment their catalogue of treasures are available at the click of a button. This is a wonderful opportunity to travel around time and space to look at some of the wonderful art of the world. You will build your work on the shoulders of giants.

This class is about looking at one of the fantastic creative works available and using it to your advantage. It is not about copying. By the end of this class you will be on your way to making something from new that will be entirely your own.


Materials

  • tracing paper
  • photocopy of the pictures
  • drawing materials, pencils, charcoal etc
  • large cartridge paper, a few sheets
  • quick and easy paints or something to apply colour

You will be working towards a final piece, looking at colour, line, composition, narrative, perspective, and anything else that arises.

Don’t let yourself feel you know the direction you wish to take before you start the process.

Be prepared to explore, investigate and let the picture lead you in a new direction.







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