Felicity House and Valeriy Gridnev featured in the August Edition of the Pastel Journal

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'Girl in the Red Coat'
One of the works by Valeriy Gridnev featured in an article in the Pastel Journal entitled 'A Moment in Time'

Being and Becoming an Artist:

Given the fluidity of his line and the sureness of his drawing, it’s not surprising to learn that Gridnev undertook a long artistic training. “I was drawing for as long as I remember; however, I decided to become a professional artist quite late—when I was 20 years old—after finishing my military service,” the Russian artist says. “During this time, I was stationed in Baku, Azerbaijan. There in the municipal library, I discovered books about the Impressionists. There was one particular reproduction that I think finally pushed me to commit to taking up art as a profession: Monet’s Impression, Sunrise.” Gridnev went on to study for four years at the Sverdlovsk Art College and then for seven years at the Imperial Academy of Fine Arts, informally known as the Saint Petersburg Academy of Arts. When he graduated, he was awarded the prestigious Gold Medal of the USSR Academy of Arts. It’s worth noting that the Imperial Academy of Arts has a long history of fine drawing. Indeed, it was there that the young James McNeill Whistler received his early drawing instruction while his father was working in Russia as a military engineer.

Embracing the Work:

When considering advice for other pastelists, Gridnev offers, “Love what you do. It takes a lot of time and hard work. Most of the time you’re working by yourself, so it requires a lot of selfmotivation, too. Without love for your craft, you won’t be able to motivate yourself.” As for his relationship with his audience, Gridnev must be aware that he brings them considerable pleasure. But his favored response is one of close scrutiny. “I’d like them to respond with a critical eye and constructive criticism,” he says. “I think that’s more valuable than any praise.” Gridnev’s work demonstrates fully how glorious pastel can be when it’s underpinned by lively, intelligent drawing.

Keeping things Fresh:

With pastel, I think it’s important not to overdo it and lose the freshness of the drawing. It’s so easy to overwork the pastel to where it loses all its energy.” Keeping things fresh also means not doing too much blending.

Valeriy Gridnev was born in 1956 in Siberia and studied at the Sverdlovsk Art College and the Repin Institute of Painting, Sculpture and Architecture in St. Petersburg. He also took an advanced course of studies at the USSR Academy of Arts, winning the prestigious Gold Medal of the USSR Academy of Arts. He’s a member of the Russian Artists’ Federation and an associate member of the Royal Society of Portrait Painters in the UK. He makes his home in St. Petersburg, Russia.

The above is a precis of the full article written by John A Parks. To read the full article go to www.northlightshop.com and download the August edition of the Pastel Journal.

Website www.valeriygridnev.com 

Felicity House

ANNE HEVENER is the editor-in-chief of Pastel Journal in dicsussion with Felicity House.

House Felicity Back from the Catch Santa Luzia
'Home From the Catch - Santa Luzia'

For Home from the Catch, Santa Luzia (10½x18), English artist Felicity House used Colourfix pastel card by Art Spectrum, in the sand tone, coating it with a pumice and-acrylic ground. She then applied a tonal underpainting using a bluish gray-green wash of watercolor

TELL US ABOUT THE LOCATION THAT INSPIRED THE PIECE.

I was with a group of artists, staying at a friend’s villa in Portugal. We decided to head to the Algarve Coast to paint for the day, and stopped in Santa Luzia, a fishing port famous for its octopi. As we approached the village, I was initially disappointed by the rather uninspiring muddy creeks, but as we moved farther along, the attractive fishing boats caught my eye. While some in the group painted the fishing huts with their nets and upturned boats, I walked along the harbor’s edge to find a subject.

WHAT WERE THE PARTICULAR PAINTING CHALLENGES?

Of course the tide was slowly creeping in, so I had to work fast to capture the reflections I’d admired and to retain the sandy shore, which by the end was covered with high water. I’ve learned that it’s best, in these conditions, to set up above high water, so I don’t have to move. I’ve learned, too, to work first on things that I know will move; in this painting, the leaning boats. I can put in the constants—such as jetties and posts—later.
I want to stick with the picture I wanted rather than changing the view as the tide comes in.

Website: www.felicityhouse.eu 

Call for Entries

Featured Artist

Sheila Goodman
Goodman Winter Meadow

 ' Winter Meadow '
by
Sheila Goodman

Sheila Goodman PS

Biographical Details:

Sheila studied Graphic at High Wycombe College of Art 1967-69 and has worked as a graphic designer/illustrator in London and Hampshire. She has painted all her life, being mainly self-taught, and started to use pastel in 1987.

She was elected a member of the Society of Women artists in 1995 and the Pastel Society in 2011. Sheila works in pastel, acrylic, mixed media and collage.

She has exhibited regularly at the Mall Galleries since 1989 showing work in the RSMA, NEAC and Pastel Society. Also in the Royal West of England Academy, Bristol and Royal Academy Summer show.

Her work is in the collections of Hunting Management Group, Hampshire County Council and the Russell-Cotes Museum, Bournemouth.

Artist’s Statement

After years of working with pastel, Sheila's approach has gradually changed and developed. In the last few years she has studied more abstract work as she tries to convey the essence of the landscape in simplified forms. She uses colour to express the atmosphere of my subject - sometimes using colour themes to enhance the mood.

Though she likes to initially work from the landscape to record shapes, colours and tones, she is interested in making a statement as succinctly as possible. So Sheila also likes to work from the studio to clarify her ideas with collage or further drawings.

Societies:

Member – The Pastel Society.

Other Societies:

Society of Women Artists

Method of Working:

Sheila's paintings start from the observation of the landscape. She draws or paints sketches using pencil, charcoal or water based media. She works broadly and tries to simplify. In the studio Sheila usually draws some thumbnails to decide format and media. This may be followed by more drawings or collage to enable me to focus on shape or colour.

Sheila works on various pastel papers or mountboard and continues until most areas of the painting are resolved. A second look weeks later may lead to further adjustments.

Awards:

Most Popular Painting - SWA 2008
Best in Show - St. Barbe Museum Lymington 2008
Unison Pastel Award - Pastel Society 2009

Other Exhibitions:

Russell-Cotes Museum, Bournemouth 2010
Autumn Exhibition, Gallery SCA, Shropshire 2010
Peter Hedley Gallery, Wareham 2009
Hackwood Arts Festival 2009
Alresford Gallery 2009

Publications:

Limited Edition Print x6 - Dayfold
Non-Limited Edition - Rosentiels Prints x 4
'Leisure Painter' Magazine 2010
'The Artist' Magazine 1996
'Pastel Journal' 2010
'The Wessex Muse' Magazine 2009

Website:

http://www.sgart.co.uk/ 

     


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