Friday, 4 August 2017

Painting together - July 2017

Another lovely evening spent with like minded friends. Here is selection of their paintings.

Friday, 7 July 2017

Open 28 Art Exhibition.

Congratulations to 2 of our MHAC members; Frank Bingley and Sally Struszkowski. Both have art work in the Leicester 28 Open Art Exhibition. Competition for a place was fierce this year so they have  both done particularly well.

The exhibition takes place in the refurbished old Library Gallery at the Leicester Adult Education College on Belvoir Street.

Opening times:
Monday - Thursday: 9am - 5pm
Friday & Saturday: 9am - 4pm
Closed Sundays.

It is open to the public now until 19 August 2017.

The art work is varied and interesting, so pop along and take a look


Monday, 3 July 2017

Flower painting proves popular

Welcome to old and new members. A lovely evening painting flowers, which proved to be a popular subject. Please bring your finished work to the next meeting.

Monday, 29 May 2017

Praise Indeed!

Peter Sumpter
(picture by kind permission of
Oadby Artists)
Members each brought along two paintings for appraisal by Guild of Aviation Artist Peter Sumpter. Peter joined the Leicester Sketch Club in 1955 and in 1958, was accepted by the Leicester Society of Artists.

Before making any comment on our paintings, Peter told us that he found it so enjoyable to see other people's work. Drawing on his considerable experience and expertise, not only was he quick to point out successful parts of a painting, he also gave lots of advice on how a painting could be improved by a few simple additions or alterations,  even cropping down works to aid composition.

His tips also included:

To check if an ellipse is symmetrical, turn the work at right angles and tilt until an ellipse looks like a circle - a true circle would mean a true ellipse.

Take some parts of the work - like a tree for example, out of the frame, again to aid composition. The same advice was given to a member who brought along her painting of an elephant, only this time to take the trunk (which was near the bottom of the work) out of the bottom of the frame.

If more than one tree etc. in a painting, make one of them appear dominant rather than all even sized.

Peter also brought along some of his sketchbooks. These were fabulous to look through, the drawings also being incredibly neat!

Sunday, 14 May 2017

Promoting the arts

A joint venture! Market Harborough Art Club (MHAC) and Harborough Artist Cluster (HAC) help each other.  Last weekend the HAC & MHAC took to the streets and the local market to advertise the HAC Open Studios and MHAC. 

Friday, 28 April 2017

March came and went!

A little painting done last month. A portrait of Libby and my entry into the Kettering open Exhibition,
'Fill this Space,' held at the Alfred East Art Gallery.


Catkins and Courtship Oil 30 x 40 cm painted on wooden panel

The first prize winner was a water colour called 'Prickly Customer,' by Gill Denbigh.

Prickly Customer

The work was behind glass so the photograph does not not it justice.

The exhibition closes on 20th May 2017.

Saturday, 22 April 2017

Little Selves Exhibition

If you haven’t been to see the ‘Little Selves Exhibition’ in the New Walk Museum Leicester, there is still plenty of time. It closes on the 25th June 2017. It features a portrait by one of our members - Eden Coe. It is well worth a visit, not only to see Eden’s work in reality, but to view other students work, LSA artists and guests like Paul Wright. 

Eden’s work - ‘Idris’ Acrylic

Sunday, 26 February 2017

Surprise photographs

Many thanks to Michael Edwards for leading this fun and useful evening session. The serious side of this activity was to help MHAC members and visitors loosen up their style of painting. Most worked in water colour, but you can also use other mediums.

The Technique

Place a number of photographs on a table so that they face downwards.

Use a mount to draw a rectangle on the painting surface. It should be the same size as the photograph (6 x 4 inches, 15 x 10 cm).

Select a photograph and put it upside down on the easle. Time 15 minutes.

Disassociate the brain by spending 10 minutes on concentrating on putting in ‘the shapes.’

In the last 5 minutes put the photograph the right side up and apply the details to the painting.

Amazing pictures and done in 15 minutes! Now I can understand how you can do a daily painting.

Friday, 27 January 2017

An Evening with Robert Lodge

In the words of Frank Sinatra; Robert, “I did it my way”. The examples of Robert’s paintings and drawings demonstrate his wide ranging skills in all media.The artists he admires  most are Van Gogh, Millet and for traditional painting Caravaggio.  Variety is definitely the key word for this evening.

When painting plein air Robert would use a view finder to scan the landscape until he settled  upon an inspirational view. He would even place the view finder on a cane and refer to it for the first 30 minutes. Once the view was found he would take a photograph, before the light and weather changed. Next comes the sketch, followed by the painting. As a rule he would only work outside for about an hour and a half. The painting would then be completed in the studio.

For this evening a pencil sketch of farm buildings in a landscape was transfered in plum coloured acrylic on an indigo coloured canvas board. As the painting progressed he used his visual memory to develop the painting. He recommended novices to use the cheapest paints although he did admit you can tell the difference in finish between student and artist quality paints. Most of the brushes used were long synthetic flats. He didn’t use a flow improver, and built up layers with thin paint. An old plate was his palette. Using a  hog pro art one and half inch brush, he painted the sky in cobalt blue. The order of work was background, middle ground and foreground: working dark to light. The details left to the last. Darks placed next to lights,  warm colours were contrasted with cool colours, fingers and thumbs were used to create smooth passages of paint, dry brush technique applied to allow the under colours to glow through. Twisting the paint provided some interesting shapes and textures. A tissue smoothed gently over the surface created some soft edges. Impressionists do not use black, but on this occasion Robert used black mixed with blue to get an indigo colour. It was a surprise to see him use ‘flesh colour’ in a landscape.Robert chose to work in an impressionist style because  it is quick, and he certainly worked quick, a complete painting from start to finish in one and a hours!