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Here are a selection of artists and artistic themes that the Art in Hospital team finds inspiring, or are firm favourites in the art sessions. Click on the links for more information about each one.


"Joan Eardley (1921-1963) is one of Scotland's most popular twentieth century artists. Her powerful and expressive paintings transformed her everyday surroundings, including the rugged Scottish coastline and Glasgow's street children. During her lifetime she was considered a member of the post war British avant-garde, who portrayed the realities of life in the mid-twentieth century."

National Galleries of Scotland

An oil painting in quite dark colours of a coastline. The weather looks very overcast. The sea and sky are shades of grey, the harbour can be seen on the left hand side in muted brown shades.

Image: Joan Eardley, Catterline, Aberdeenshire, 1962-1963, oil on canvas, courtesy of The Glasgow School of Art.

Image: Joan Eardley, Covered Market, Glasgow, 1945-1949,  ink on paper, courtesy of The Glasgow School of Art. A pen drawing in black ink of a market scene, it's loosely drawn and we can see three figures, each slightly hunched over, looking at the goods for sale and walking along.

Image: Joan Eardley, Covered Market, Glasgow, 1945-1949,  ink on paper, courtesy of The Glasgow School of Art.

CLICK HERE to the poem Flood Tide (Joan Eardley) by Edwin Morgan, and HERE to read the poem She Didn't Paint the Sea, after Joan Eardley, by Daisy Lafarge. Both poems are published as part of the MAP project Women Painting: Scottish Art 1940-1980, by Marianne Greated and Susannah Thompson.

CLICK HERE to see more pictures and find out about the events happening throughout 2021 celebrating the centenary of Eardley's birth.


"TATEShots short film about artist Agnes Martin whose restrained yet evocative paintings came from her belief that spiritual inspiration rather than intellect created great work.
Featuring rare archive footage of the artist in her studio in New Mexico, her art dealer and confidant Arne Glimcher remembers Martin’s philosophical ideas about her work and her rigorous process in developing her paintings.

Tate curator Frances Morris also reveals the mathematical precision behind Martin’s abstract masterpieces, and the intense experimentation which led to her signature grids."



Matthew Brady attended the Art in Hospital sessions at Greenfield Park Care Home, often working on large-scale pieces.

In the foreground we see large sheets of paper with abstract swirls and shaped in red, purple and orange. Behind this we can see a man with gloves on and the pastels in his hands.

Matthew Brady working with pastels.


TATEshot animation inspired by sculptor Richard Deacon's responses to the question 'where do ideas come from?'

A cream coloured background with brightly coloured ceramic geometric shapes arranged; they vary in shape and size slightly and look like they are taken from different larger wholes, each one having a slightly different pattern and colour scheme.

Image: Richard Deacon, 'Square Cut #1, 2019, Ceramic and glazed ceramic courtesy of the artist

CLICK HERE to view Richard Deacon's artworks and find out more about the artist and his practice.


Winifred Nicholson was a colourist who developed a

personal impressionistic style, concentrating on domestic still life objects and landscapes. She often combined the two subjects as seen in her painting From Bedroom Window, Bankshead showing a landscape viewed through a window, with flowers in a vase in the foreground.

Image: Winifred Nicholson, Gate to the Isles, 1980, Oil on canvas 41cm x 61cm © Trustees of Winifred Nicholson. A painting depicting a seascape, with a half open gate in the foreground. The sky is pale lilacs and greyish blues with soft looking clouds, the sea is a greyish blue, the gate is a cornflower blue with brown wooden fence, and theres a softly rendered gravelly looking path with plants in the foreground. The painting is bright and loosely executed.

Image: Winifred Nicholson, Gate to the Isles, 1980, Oil on canvas 41cm x 61cm © Trustees of Winifred Nicholson


Art in Hospital's An Imaginary Line from Here to There  (a First in a Lifetime project) included artwork made by Helen Scott at Greenfield Park Care Home.

"Helen Scott’s wonderful ‘take over’ of the walls in the new gallery space at Greenfield Park is an extraordinary expression of the joy Helen found in painting for the first time in her 89th year.  When the Artists suggested tea breaks or short rests, she declined almost apologetically, telling them she had to get back to her painting, she had 88 years to catch up on"

Penny Rae, Excerpt from exhibition publication, An Imaginary Line from Here to There, 2013.

Helen Scott, Untitled, Gallery Space installation, Greenfield Park Care Home, 2013. A photograph of a woman painting directly onto white walls. She is painting quite abstract and very vivid patterns.

Helen Scott, Untitled, Gallery Space installation, Greenfield Park Care Home, 2013


"Artist Rose Wylie takes inspiration for her paintings from film, literature and even the scraps of newspaper articles on her studio floor.

Often arranging her large-scale paintings in book formation, so that they take on the angles found at the corner of a room, Wylie's use of familiar imagery allows her to tell stories and explore themes of representation in narratives already in the public domain."


Image: Rose Wylie, Blackbird and Spring Flowers 2015, Oil On Canvas, 183 x 328 cm. Private Collection, Courtesy the Artist. We can see simply painted pale blue flowers, part of a stylised blackbird and green stems, along with text that reads SPRING FLOWERS.

Image: Rose Wylie, Blackbird and Spring Flowers 2015, Oil On Canvas, 183 x 328 cm.

Private Collection, Courtesy the Artist.


"Late in life, the artist looks back over a career that originated in social realism during the '30s, moved to the center of Abstract Expressionism, and culminated in a return to figuration. Filmed at his retrospective in San Francisco in 1980 and at his Woodstock studio, where Guston is seen painting, the artist speaks candidly about his philosophy of painting and the psychological motivation for his work. Directed by Michael Blackwood."


Image: Philip Guston 'The Studio' 1969 © Estate of Philip Guston. A painting predominantly in red and pink shades. There's a cartoonish figure in a white cloak painting what looks like a self portrait, the figure's hand is oversized and there's another oversized hand in the foreground holding a cigarette. We can also see paintbrushes in a pot, a hanging lightbulb and a clock.

Image: Philip Guston 'The Studio' 1969 © Estate of Philip Guston


"Immerse yourself in the work of Frida Kahlo and Tina Modotti - icons of the Mexican Renaissance.

This tautly structured documentary sheds light on the work of Mexican painter Frida Kahlo and Italian photographer Tina Modotti, women icons of the Mexican Renaissance. The film not only explores the two women's artworks, but also includes rare footage of Modotti in the 1920 Hollywood film The Tiger's Coat. We're also treated to some exquisite home movie shots of Frida Kahlo and Mexican muralist Diego Rivera at their Blue House in Mexico City.

The film was co-directed by film theorists and avant garde filmmakers Laura Mulvey and Peter Wollen to coincide with the landmark exhibition they curated at the Whitechapel Art Gallery in 1982, also titled Frida Kahlo and Tina Modotti."


Image: Frida Kahlo, Las Dos Fridas, wikipedia, CC4.0. A painting depicting two versions of the artist, holding hands, with some of their internal organs visible; mainly their hearts. They wear traditional Mexican dress, altough one appears to be more elaborately dressed than theo other. The sky behind them looks stormy with billowing grey clouds.


Edward Hopper is widely celebrated as one of the most important realist painters of twentieth-century America. A master at depicting light and capturing the solitude of modern city life. Painter of the lone introspective figure and of empty spaces "offers a remindful look at life of Americans during Great Depression. His suggestive imagery shares the mood of individual’s isolation with books of Tennessee Williams, Theodore Dreiser, Robert Frost, Jerome Salinger, as well as with canvasses of Giorgio De Chirico and Paul Delvaux. Hopper depicted the spirit of the time very subtly, showing it in the poses of characters, in the vast empty spaces around them, and also in his unique color palette."


CLICK HERE to read Alain De Botton's writing on 'The pleasures of sadness' : Edward Hopper.

Image: Edward Hopper,  Hotel by a Railroad 1952, Wikimedia Commons. A painting depicting a room in shadow, with bright yellowish light visible on a wall outside through an open window. A woman sits reading in a pink nightdress and a man faces right, towards the open window, smoking. The colours in the room are deep and contrast sharply with the artificial-coloured light outside.


A selection of video animations made by patients in the PDRU (Physically Disabled Rehabilitation Unit at the Queen Elizabeth University Hospital)

Brightly coloured, flat shapes arranged on a pale grey background.

Video still


Louisa Chambers has been developing a series of works that incorporates a simple folded form. The folded shapes are transfigured at speed, manipulated into temporary objects (three dimensional) and recorded from observation into a flat two-dimensional space (painting). Beginning as inanimate objects and through the process of painting; they are transformed into anthropomorphic beings situated in imagined domestic settings or behind patterned backdrops.

These works are part of an on-going research into depiction and visual perception on two and three-dimensional surface.

CLICK HERE to see more of her work in the PATTERN AND PRINT section of the site.


A bright, semi-abstract painting, with yellow and grey check ground, green and cream striped background and a shape that looks like an object made from folded paper, with differently coloured surfaces.

Image: Louisa Chambers, Lean, 2017, Gouache on board, 40cm x 30cm.


"My practice often starts with an exploration of how we determine the edges of a painting. Working from the premise that a work might be cut up and remade, the edges become defined by the cuts and the relationships made. Using materials that include canvas, paper, newsprint, glass, string, line and willow, installations often comprise works that are two sided with infinite possibilities for display. In recent years bodies of work have developed outside, allowing the environmental and climatic conditions to play a role in the form and display of the paintings."



A very bright abstract painting is hanging over a suspended line, outside, with trees visible in the background. The painting is red, pink, orange, blue, black and white.

Image: Sophie Mackfall, ramoslübbert, Art Night Open, Art Night 2019, Photo: Christian Lübbert
Materials: Acrylic on canvas, line, pegs, 2019.


Christine attended the Art in Hospital sessions in the Stroke Rehabilitation unit at the Langlands Building, QEUH in 2019. 

Christine is an artist, and graduate of Glasgow School of Art. Here are a collection of works that Christine made during her time at Langlands and with Art in Hospital, along with paintings and drawings from her archives.

To find more of Christina's work you can visit her website at

A sofly painted scene with dappled sunlight through trees onto the grass an flowers below.

Image: Christina Connolly, Orry Green Trees, courtesy of the artist. 


Aleana Egan uses a variety of materials to create sculptural gestures and installations which can take the form of slender, fluid works and a more densely concentrated constellation of forms. Often, the sculptures are expressive whilst using a language of materials and artistic technique that is sparing. These materials such as various metals, cardboard, concrete, wood, pigment and fabric are incorporated into a practice which comes from an intuitive as well as an intellectual place and which plays with the materials’ qualities; how they curve, hang or sag. More recently works are made up of constituent parts, each forming a social relationship with the other.

A pale peach background holding a black top with white embellishments and two flat sculpted objects, they look quite abstract.

Image: Aleana Egan,  group show Temple Bar Gallery + Studios, 3 May - 28 June. Courtesy of the artist


Although best known for his mill scenes and industrial landscapes, Lowry’s work covers a wide range of themes and subjects, from landscapes and seascapes to portraits and surreal imaginings.

He studied painting and drawing in the evenings at the Municipal College of Art (1905–15), and at Salford School of Art (1915–25), while working as a rent collector during the day.

His initial drawings were made outdoors, on the spot, often rough sketches on the back of an envelope or whatever scrap of paper was to hand.

More finished drawings were made later and, after about 1910, he only ever painted at home in what he referred to as his workroom, rather than his studio. His palette was very restricted and he used only five colours – flake white, ivory black, vermilion (red), Prussian blue and yellow ochre.

After years of painting and exhibiting in and around Manchester and Salford, Lowry received his first one-man exhibition in London in 1939 and went on to national fame.  He died aged 88 in 1976 just months before a retrospective exhibition opened at the Royal Academy. (The Lowry)

CLICK HERE for images of his work included in the Tate exhibition Lowry and the Painting of Modern Life, in 2013.

A painting depicting 19th century factory buildings (in Manchester) in the background, with simply formed figures in the foreground, all walking, slightly bent forwards. The sky is white.

Image: LS Lowry, Going to Work (1943), Factory workers going to work at the Mather & Platt, Manchester, in the snow. Oil on canvass, 457 x 609 mm. Public domain image.


Bet Low (1924 – 2007) was a Scottish figurative and landscape painter, notable as one of the Glasgow Girls, and as a co-founder of the Clyde Group. She was born in Gourock and in 1942 enrolled at Glasgow School of Art. She went on to study at Hospitalfield Summer School in Arbroath before attending Teacher Training College. However, teaching failed to inspire her and by chance, she met the young comedian Stanley Baxter who introduced her to Glasgow’s Unity Theatre (an outreach project), with which she became heavily involved. At this time she was associated with the Clyde group of writers and artists and depicted areas of Glasgow that were dilapidated and still scarred from the war. Low helped establish the critically acclaimed New Charing Cross Gallery in 1963 which promoted Scottish contemporary art at a time when there were few galleries in Glasgow. (Wikipedia/ National Galleries)

Click on the image below for larger versions of a few of her pieces.

CLICK HERE for a fascinating account written by Low of her experience as a "young Scottish artist in post-war Glasgow".


Image: Carel Weight, The Remains of Ponte Navi, Verona, 1945. A sunny day, two figures look out to the water and church-like building in the distance.

Image: Carel Weight, The Remains of Ponte Navi, Verona, 1945. Wikimedia Commons

Weight was born in Paddington in 1908. He studied at the Hammersmith School of Art from 1928 to 1930. At Goldsmiths College, between 1931 and 1933, Weight developed his preference for imaginative compositions. Teaching at the Beckenham School of Art allowed Weight to support himself throughout the 1930s. It was at Goldsmith's that Weight met his future wife, the artist Helen Roeder. They were together for 60 years before they married in 1990.

In 1947, Weight began teaching at the Royal College of Art, and was professor of painting there from 1957. He retired in 1973. He was elected to the Royal Academy in April 1965, and senior R.A. in 1984.

Weight painted a number of acclaimed portraits, most notably one of Orovida Camille Pissarro, but also of less famous individuals. Many of his paintings showed suburban settings in which unexpected human dramas occurred, some of them humorous and some frightening. Each painting's location was chosen specifically for its abstract structure; the locations were usually actual places, but the figures were imagined and "gr[e]w under the brush".[11] Weight wrote that his art was "concerned with such things as anger, love, hate, fear and loneliness", and said, "for me the acid test of a painting is: will the ordinary chap get anything out of this?"[11] He was prolific, and typically painted 50 paintings in a year.[12]

Weight died on 13 August 1997 at the age of 88. 



'A winterr view, Arran from across the F

Keith studied Fine Art at Shrewsbury and Falmouth Schools of Art between 1979 and 1983, before setting up a studio in Newcastle upon Tyne. In 1989 he was diagnosed as having diabetic retinopathy. His eye-sight began to deteriorate very quickly and within a few years he had to stop exhibiting his sculptural work and instead to try find new ways of painting; using the sight he had left. In 2001 and 2003, Keith completed a mountain skills course for the visually impaired at Aviemore. This has fuelled his passion for walking around the Scottish Highlands, which has now become the main subject matter of his artwork. Although now registered as being blind, it has provided Keith with more determination to continue painting. As a result his work has an abstract and atmospheric quality. He has tried to explore his new and changing view of the world by recording not what he sees but rather how he sees his surroundings. The paintings have become thicker, and more distorted and broken. They are created using layers of acrylic paint and oil pastel. The pastels have a fine scribble quality, giving the image a subtle texture whilst the acrylic is used in bold strokes. In April 2009 Keith was the overall Awards Winner of The Jolomo Scottish Landscape Awards, receiving £20,000 prize money."

The Strathearn Gallery


Klee (1897 - 1940) was born in Switzerland and worked most of his life in Germany. He was an abstract painter and had a highly individual style influenced by expressionism, cubism and surrealism. A trip to Tunisia in his formative years greatly impacted his artwork; the colours and quality of light there influenced his drive towards detaching colour from physical description, more fully towards an abstract style. His paintings are often quite playful and the titles poetic or humorous.

More information can be seen HERE, and HERE.

Paul Klee 'Tale à la Hoffmann' (1921), watercolour, ink and pencil on paper. Abstract painting made from a backround of rectangle shapes of yellows, pinks, pale blues, with plant-like drawings and small figures ascending a staircase and moving through a tower-like structure, with small clock faces.

Image: Paul Klee 'Tale à la Hoffmann' (1921), watercolour, ink and pencil on paper. Wikimedia Commons

CLICK HERE for an online exhibition of artworks by Klee and others artists affiliated with the Bauhaus School.


Katsushika Hokusai (葛飾 北斎, c. 31 October 1760 – 10 May 1849), known simply as Hokusai, was a Japanese artist, ukiyo-e painter and printmaker of the Edo period.[1] Hokusai is best known for the woodblock print series Thirty-Six Views of Mount Fuji which includes the internationally iconic print The Great Wave off Kanagawa.

A woodblock print of a rust-red coluored mountain with veins of snow at the top, dominating the picture, with the peak rising on the right hand side. The sky is blue with white stylised soft clouds. The bottom of the mountain is shades of blue with small patterns reminiscant of trees. The whole image has a flattened look, due to the print technique.

Image: Katsushika Hokusai, Fine Wind, Clear Morning (or Red Fuji), from Thirty-six Views of Mount Fuji, woodblock print.

Click on the video above for an introduction to Hokusai's work. The video below shows the process of woodblock printing.


"Vivian Suter (b. 1949, Buenos Aires, Argentina) works in close partnership with the natural environment surrounding her home and studio in Panajachel, Guatemala. Her method often involves moving her canvases between the indoors and outdoors and exposing them to the climate in order to allow nature to commingle with her broadly painted swaths of vivid color. Inspired by the surrounding vegetation and landscape, Suter’s gestural compositions work in concert with rainfall and mud puddles, with the light that passes between branches and the animals in the forest." (


Lucy Jones, I Got Squashed By A Piece of Paper, 2010, mixed media on paper © Lucy Jones, courtesy of Flowers Gallery. A portrait made with water-based paints and crayons; the figure appears to be leaning towards the right side of the picture, they are wearing a blue shirt and glasses. The marks are quite expressive and the colours vibrant.

"British artist Lucy Jones is renowned for her raw, wild landscapes and distinctively provocative self-portraits, characterised by expressive brushwork and bold use of vibrant colour. Balancing an intricate rendering of line and space in her landscapes with the powerful simplicity of her portraits, Jones’s paintings conduct a journey through both interior landscapes and the external world beyond.

Jones studied at Camberwell School of Art, followed by the Royal College of Art, where she won a Rome scholarship in 1982. Born in London, she now lives in Ludlow, and is much inspired by the landscape area bordering Wales, Herefordshire and Shropshire."

FLOWERS  Gallery


CLICK HERE to listen to BBC interview with Lucy Jones

CLICK HERE to read Guardian Interview with Lucy Jones

Lucy Jones, I Got Squashed By A Piece of Paper, 2010, mixed media on paper © Lucy Jones, courtesy of Flowers Gallery


"David Hockney, (born 9 July 1937) is an English painter, draughtsman, printmaker, stage designer and photographer, who is based in Bridlington, Yorkshire, although he also maintains a base in London. An important contributor to the Pop art movement of the 1960s, he is considered one of the most influential British artists of the twentieth century."


A photo of Hockney's artwork in a museum.

CLICK HERE to watch this great short video showing Hockney at work, starting with him making his initial sketches right up to hanging his paintings in the gallery,  in 'Making of Bigger Trees Near Warter' by David Hockney, JP Gonclaves De Lima, Jonathan Wilkinson.

CLICK HERE to watch this six minute film from the Los Angeles County Museum of Art that gives you a short overview of David Hockney's life and art, in 'David Hockney in the Now (In Six Minutes)'.

CLICK HERE to watch "A Bigger Splash," which was shown at the New York Film Festival last night. It is a fiction film about David Hockney, one of the more successful and durable of the English pop artists to come out of the nineteen-sixties, in which Mr. Hockney and his friends play themselves in situations that may or may not have happened in life."

October 4, 1974. At Film Festival: 'A Bigger Splash' By VINCENT CANBY, LAWRENCE VAN GELDER
New York Times " 


Etel Adnan is a painter and poet, she was born in 1925 and raised in Beirut, Lebanon. Her mother was a Greek from Smyrna, her father, a high ranking Ottoman officer born in Damascus. In Lebanon, she was educated in French schools.

"She paints in oil paint with the canvas laid on a table, using a palette knife to apply the paint in firm swipes across the surface. Her elemental colour field compositions exude an intense energy, recalling the block-like slabs of colour in the late French landscapes of Russian artist Nicolas de Staël or the paintings of Paul Klee. During her time in Sausalito, Adnan began to focus on the surrounding landscape, in particular, Mount Tamalpais which was visible from the windows of her home. Like Cézanne's relationship with Mont Sainte-Victorie, the mountain became an immutable reference point which she drew incessantly, capturing its ever changing moods and dynamic at different times of day, in all seasons. This series culminated with her 1986 book, Journey to Mount Tamalpais, a meditation on the relationship between nature and art." 

White Cube



"Matisse was one of the most celebrated painters of the 20th century who, even in his own lifetime, enjoyed a level of popularity envied by other artists. But in 1941, after a near-fatal operation for cancer, he decided to give up painting and sought a new way of drawing in colour. Scissors replaced a paintbrush and with the unique skill of a tailor, he set about creating his now famous cut-outs, which have yet to be rivalled for their originality and daring."

A Cut Above The Rest, The Culture Show


CLICK HERE to watch the first half of The Culture Show's Documentary 'A CUT ABOVE THE REST'  about Henri Matisse and his famous cut outs.

CLICK HERE for the second half of The Culture Show's Documentary 'A CUT ABOVE THE REST'  about Henri Matisse and his famous cut outs.



CLICK HERE to find a series of audio pieces recorded to accompany MoMA's Henri Matisse: The Cut Outs exhibition

A black and white photo of Matisse, leaning against a ladder and holding a messy paint palette. He has a beard and round glasses and is wearing a white painter's jacket.


Explore the Van Gogh Museum's extensive collections and find out about the life and work of Vincent Van Gogh one of the most famous artists in the history of western art.

An oil painting by Van Gogh of white farm buldings with thatched roofs, yellow fields, trees, and blueish mountains. It looks very sunny and still.


Turner Prize winning artist Lubaina Himid’s work investigates historical representations of the people of African diaspora and highlights the importance of their cultural contribution to the contemporary landscape. Himid was one of the pioneers of the Black Art movement in the 1980’s which offered a forum for black artists exploring the social and political issues surrounding black history and identity. Though she is known as a painter, recently her work has engaged with museum collections in which she has creatively interrogated the history and representation of the African diaspora and looked at the role of museums in discussion around cultural histories. She celebrates black creativity and the recognition of cultural contribution.

(Contemporary Art Society)

A painting depicting stylised horses, a lemon coloured border and the text TAKE THE FREEDOM RIDE HOME.

Image: Lubaina Himid, Take the Freedom Ride Home, 2016. Courtesy of the artist.

CLICK HERE for an article on Himid's work, and HERE for Himid's artwork in Kelvingrove Art Gallery and Museum on the research website Making Histories Visible.

A painting depicting the rear of a small boat, choppy looking sea and two black female figures wearing tall headdresses and brightly coloured long dresses of red and pink and grey check.

Image: Lubaina Himid, Between the Two my Heart is Balanced, 1991. Courtesy of the artist.


Dame Elizabeth Violet Blackadder, Mrs Houston, DBE, RA, RSA (born 24 September 1931) is a Scottish painter and printmaker. She is the first woman to be elected to both the Royal Scottish Academy and the Royal Academy. In 1962 she began teaching at Edinburgh College of Art where she continued until her retirement in 1986. Blackadder worked in a variety of media such as oil paints, watercolour, drawing and printmaking. She attended Glasgow Print Studio where she worked with print makers to produce etchings and screen prints of flowers. In her still life paintings and drawings, she considers space between objects carefully. She also paints portraits and landscapes but her later work contains mainly her cats and flowers with extreme detail. 

The Art of Elizabeth Blackadder RA, APVFilms.


O'Keeffe (1897 - 1996) was an American painter, sometimes referred to as the Mother of American Modernism. After learning the techniques of traditional painting in New York, she experimented with abstraction in charcoal while living in Texas. She visited New Mexico frequently, eventually settling there, being drawn to the landscape, architectures and atmosphere; finding continual inspiration in the conditions around her. Her style, attentive to the natural world, often returning to forms such as flowers, bones and mountains is immediately recognisable. 

Click on the image below for larger versions of a few of her pieces.


Joseph Mallord William Turner RA (23 April 1775 – 19 December 1851), was an English Romantic painter, printmaker and watercolourist. He is known for his expressive colourisations, imaginative landscapes and turbulent, often violent marine paintings. He left behind more than 550 oil paintings, 2,000 watercolours, and 30,000 works on paper. He was championed by the leading English art critic John Ruskin from 1840, and is today regarded as having elevated landscape painting to an eminence rivalling history painting.


Click on the image below for a gallery of Turner's paintings. All images are public domain.

CLICK HERE for the COLOUR page on the website, with more information about Turner and examples of how different artists use colour.

CLICK HERE for another film about Turner and the industrial revolution.


In this short film by Abstract Critical, produced by Stephen Gammond, the artist Alan Davie talks about the unconscious processes that are at work when he is painting.

Davie (1920 – 2014) was a Scottish painter and musician. He studied at Edinburgh College of Art in the late 1930s. An early exhibition of his work came through the Society of Scottish Artists.

Davie travelled widely and in Venice became influenced by other painters of the period, such as Paul Klee, Jackson Pollock and Joan Miró, as well as by a wide range of cultural symbols. In particular, his painting style owes much to his affinity with Zen. Having read Eugen Herrigel's book Zen in the Art of Archery (1953), he assimilated the spontaneity which Zen emphasises. Declaring that the spiritual path is incompatible with planning ahead, he attempted to paint as automatically as possible, which was intended to bring forth elements of his unconscious.

Like Pollock, many of Davie's works were executed by standing above the painting, which was laid on the ground. He added layers of paint until sometimes the original painting had been covered over many times. Despite the speed at which he worked (he usually had several paintings on the go at once), however, he was adamant that his images are not pure abstraction, but all have significance as symbols. Championing the primitive, he saw the role of the artist as akin to that of the shaman, and remarked upon how disparate cultures have adopted common symbols in their visual languages.Wikipedia


Alice Neel portrait seated in her studio next to one of her paintings by ©Lynn Gilbert 197

Image: Alice Neel portrait in her studio
photographed by Lynn Gilbert (1976)

Alice Neel (January 28, 1900 – October 13, 1984) was an American visual artist, who was known for her portraits depicting friends, family, lovers, poets, artists, and strangers. Her paintings have an expressionistic use of line and colour, psychological acumen, and emotional intensity. Her work depicts women through a female gaze lens, illustrating them as being consciously aware of the objectification by men and the demoralising effects of the male gaze. Her work contradicts and challenges the traditional and objectified nude depictions of women by her male predecessors. Neel was called "one of the greatest portrait artists of the 20th century" by Barry Walker, curator of modern and contemporary art at the Museum of Fine Arts, Houston, which organized a retrospective of her work in 2010.


The MET MUSEUM are holding an extensive exhibition of Alice Neel's work, showing films about the artist, discussing her life and involvement in activism in a podcast and exhibiting her paintings online. Click HERE to visit the MET Museum's website.


Judith and her Maidservant, 1613–14, Palazzo Pitti, Florence

The National Gallery have an excellent online exhibition on the life and work of the Italian Baroque painter Artemisia Gentileschi (July 8, 1593 – c. 1656). Click on the link above to view.

Gentileschi is considered among the most accomplished seventeenth-century artists, initially working in the style of Caravaggio. She was producing professional work by the age of fifteen. In an era when women had few opportunities to pursue artistic training or work as professional artists, Gentileschi was the first woman to become a member of the Accademia di Arte del Disegno in Florence and she had an international clientele.

Many of Gentileschi's paintings feature women from myths, allegories, and the Bible, including victims, suicides, and warriors. Some of her best known subjects are Susanna and the Elders (particularly the 1610 version in Pommersfelden), Judith Slaying Holofernes (her 1614–1620 version is in the Uffizi gallery), and Judith and Her Maidservant (her version of 1625 is in the Detroit Institute of Arts).

Gentileschi was known for being able to depict the female figure with great naturalism and for her skill in handling colour to express dimension and drama.



Elene Chantladze was born in the Lanchkhuti district in the village of Supsa on the Black Sea coast. She moved to Tskaltubo in 1965, where she currently lives and works. Elene Chantladze’s earliest drawings were on stones that she found on the shoreline of the Georgian coast where she lived. In these surfaces she saw the suggestions of characters from books she was reading, and she rendered upon them her own impressions of these figures. With scarce resources and materials available to her at that time, she learned how to work with charcoal and matches, as well as the dye from berries, vegetables and other materials at hand, a technique inspired by Niko Pirosmani, her favourite artist. Empty candy boxes from local stores, and discarded materials from the hospital at which she worked became her surfaces. Her own mark-making would exist in tandem with whatever texture was already there before; the content of medical ex-rays, the graphics of branded food products, the patterns of waterlogged paper, and the dirt of cardboard boxes. She continues to work in this way, combining what discarded surfaces and colour she finds around her with more conventional choices of gouache, pen and paper. (

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