LINO CUTTING & PRINTING WORKSHOP

Weekend 18th/19th january 2019

Local artist and printmaker Kim Lowe leads a 2 day workshop based at the hotel to learn the craft of Lino Cutting, Printing and Watercolour White-Line printing (Orkney Print ). The course covers cutting techniques, transferring design to lino, print proof and final print for mounting. Watercolour White Line printing makes use of Lino Cutting and Watercolour painting skills. All equipment and materials are provided. These are lovely relaxed workshops that follow the following format

WEEKEND COURSE            Dates 18th and 19th January

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Format

 

Arrive Day 1             Canapes and welcome drink 6.30, meet your course leader Kim

                                     Dinner at 7pm

                                     Coffee and after dinner talk on Lino Cutting and Water colour whiteline printing

 

Day 2                         Breakfast 8 -9am 

                                    9.30 Meeting Room for Lino Cutting and Printing - Session 1

                                    11am coffee break – back to meeting room 12noon

                                    1.00 Soup and sandwich lunch in the Bistro

                                    2pm Meeting Room Water-Colour Whiteline Printing - Session 2

                                    4pm Break for free time

                                    6.30 Burns Room canapés and  drink

                                    7.00 Dinner 

 

Day 3                         Breakfast 8 -9.00am

                                    10.00 Meeting Room for work on further prints and enhanced colours

                                    1PM Soup and Sandwiches

                                    Depart

 

2 nights Dinner, bed and breakfast, welcome drinks and canapés, teas and coffees and soup and sandwich lunches and including all art materials and tuition £220 per person based on 2 sharing a twin or double room / £290 per person for single rooms

Bookings should be made direct with the hotel - a full pre course information pack will be sent to you upon booking outlining all the images and pictures you may wish to bring to help create your lino cuts

 

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ART APPRECIATION WEEKENDS 2018 / 2019

 

November 2nd – 4th 2018- masters of modernism

1st - 3rd MARCH 2019 & 1st -3rd november 2019 - Stanley Spencer, Gwen John, John Bellany, Michelangelo, and Paul Klee

 

designed to increase your enjoyment of art in a relaxed and informal setting.

There is time during the illustrated talks for questions and discussion.

Your tutor Jeremy Carlisle BA (Hons) MA is a practising artist and art historian.

"Masters of Modernism"

For this year’s weekend courses we will be taking a look at five ‘masters of modernism’: Paul Nash, Eric Ravilious, Chaim Soutine, Barbara Hepworth and David Jones. Chaim Soutine is the odd man out here. His expressionist style will make a contrast to the British artists’ native lyricism. Our artists, all much of a generation, lived through a period of momentous change. We will consider their different responses to these changes.

Join us here in the pretty harbour town of Kirkcudbright, known nationally as “The Artists Town”.

 
 Michaelmas Landscape oil on canvas 1943

Michaelmas Landscape oil on canvas 1943

PAUL NASH 1889 – 1946 Paul Nash’s aim in painting was to create a poetic sense of place. He found inspiration in the stone circles, Neolithic burial sites, long-barrows and hill-top forts of southern England. He was an official war artist in both the first and the second world wars. His work in the First World War, particularly images that depict the aftermath of the Battle of Passchendaele is a powerful record of the effects of industrialised war. He successfully incorporated Surrealist imagery into his interwar landscapes, taking from Surrealism what was necessary for his purposes but no more. Towards the end of his life he produced some of the great landscape paintings of the 20C. They are infused with a profound feeling of our relationship to nature. They embody, I think, the idea that the land, the seasons and their rhythms are of central importance to our wellbeing and to our sense of connection to the world around us and of our connection to each other.

 The Wilmington Giant watercolour 1939

The Wilmington Giant watercolour 1939

ERIC RAVILIOUS 1903 – 1942 Ravilious had a genius for design. Like many artists of his generation he worked across a wide range of media: wood-engraving, lithography, book illustration, ceramic design. He is best remembered though for his delightfully lucid watercolours. Landscapes of the South Downs, gardens, interiors, harbour and coast scenes were his preferred subjects. He was an informed and intelligent painter and made of modernism something quintessentially radiant and English. He was commissioned as a war artist in 1940 and died, lost at sea, on a reconnaissance and rescue flight in Iceland in 1942.

 
 
   Le Patissier de Cagnes oil on canvas 1922

Le Patissier de Cagnes oil on canvas 1922

CHAIM SOUTINE 1893 – 1943 Soutine was a Belarusian Russian Jew. Arriving in Paris in 1912 he spent the remainder of his life in France. His need to paint was pathological. No painter has worked with more electrifying intensity. His subject matter was traditional: still-life, landscape, portraiture but his manner of painting was anything but traditional. It was as though the expressionist vitality and physical presence of his canvases reminded him, affirmed for him that there was certainty, something concrete in the world beyond his own experience and that it was there his nervous disposition could find a place of refuge.

 Ball, Plane and Hole wood 1936

Ball, Plane and Hole wood 1936

BARBARA HEPWORTH 1903 – 1975 Hepworth was a pioneer of abstract sculpture. Working in plaster, stone, marble and bronze she said she wanted to create living things in art but in abstract forms. Moving to St Ives from London in 1939 she spent the rest of her life there. The menhirs, standing stones, in the Cornish landscape were instrumental to her imagining and understanding of the figure in the landscape; the relationship between ourselves and gravity. These concepts initiated a series of sculptures of abstract standing figures and family groups. We will also look at a remarkable series of drawings made in the operating theatre of Exeter hospital 1946 -48. They are a beautiful and moving testament to the skill of hospital staff; their dedication, care and cooperation.

 

March and November 2019 

 May Tree, Cookham 1945 Stanley Spencer

May Tree, Cookham 1945 Stanley Spencer

For our 2019 courses we will be looking at Stanley Spencer, Gwen John and David Jones swell as talks on Michelangelo and Paul Klee.

March 1st - 3rd 2019  &  November 1st - 3rd 2019

The Selkirk art appreciation weekends are designed to increase your enjoyment of art in a relaxed and informal setting. There is time during the illustrated talks for questions and discussion. Your tutor Jeremy Carlisle BA (Hons) MA is a practising artist and art historian.

Stanley Spencer 1891 – 1959   Stanley Spencer was unique. He was nicknamed ‘Cookham’ by his fellow students at the Slade in recognition of his passionate attachment to the village of his birth. He was hugely gifted as a naturalistic painter but valued his ‘up-in-heaven’ visionary, imaginative work more highly than his portraits and landscapes. We will consider his masterpieces in both these areas of his work.

Gwen John 1879 – 1939   Her output as an artist was small however her gift to us was a body of work that is profound in its realisation of light and meditative calm.  She had an unhappy childhood and followed her brother Augustus John to the Slade as soon as she was able to leave home. She established herself as an independent artist in Paris at the beginning of the 20C and had contact with the leading artists of the day. There she evolved a style of painting that was original and uncompromising.

David Jones 1895 – 1974   Jones has been compared to William Blake. They were both painter-poets who retained into adulthood an unusually direct link to the imaginations of their childhoods.  His epic prose-poem ‘In Parenthesis’ is one of the great accounts of the First World War. Published in 1936 it won the Hawthornden Prize for literature in 1937. He painted predominantly in watercolours and their style reflects his belief that all life is sacramental. At their best they are celebratory and full of luminosity. 

Arrangements

Friday

Arrive in your own time on Friday afternoon

6.30pm - Meet your hosts and lecturer Jeremy Carlisle for pre-dinner drinks and canapés at in the Burns Room.

7.00pm -7.45pm   Illustrated introductory talk to the weekend

8.00pm – 3 course dinner

Saturday

7.15am – 9.15am    Breakfast in your own time

9.30am                   illustrated talk

11.00am approx    coffee & shortbread in Bistro area

11.30am approx    illustrated talk

1.00pm                   soup and sandwich lunch Free time to explore Kirkcudbright’s galleries, shops etc.

6.30pm meet for pre-dinner drinks and canapés in the Burns Room

7.00pm                  illustrated talk

8.00pm                  3 course dinner

Sunday

 8.15am – 9.15am   Breakfast in your own time

9.30am                 illustrated talk

11.00am                coffee & shortbread in the Bistro

11.30am                illustrated talk

1.00pm                 soup and sandwich lunch Goodbyes and  departures


Price

 £259.00 per person

includes Dinner Bed and Breakfast, welcome drink & canapés, coffee breaks, soup and sandwich lunches.

To find out more about Jeremy Carlisle visit his website  www.jeremycarlisle.co.uk

 

Kirkcudbright's artists colony

The story of its artists’ colony is full of examples of artists arriving on a summer painting visit and staying on for the rest of their lives. The reasons why Kirkcudbright attracted so many painters and became an artists’ colony are not difficult to discern. It was, and remains, perhaps the most attractive small town in Scotland with impressive architecture.

There is the High Street with its ancient Tollbooth and the 18th century town houses enlivened by their variously and sometimes eccentrically painted frontages, the myriad colours giving the street an exotic, almost continental, atmosphere. Between the houses are cobbled, crooked wynds, many of which contain artist’s and craftsmen’s studios. McLellan’s Castle an imposing sixteenth century ruin in the middle of the town, dominates the skyline.

When E.A.Taylor asked Hornel why he thought Kirkcudbright was so popular with artists he said, “Well, it’s a fine old town and not too big, but big enough to keep you from vegetating.