Gerard Hendriks - A Master of Watercolour

I continue to discover fabulous new artists - to me -  by the score.  One I have been made aware of in recent months is the Dutch watercolour painter Gerard Hendriks. Gerard is very well-known in Europe and has an enormous following. Although I subscribe to magazines like The Artist, and previously Leisure Painter and International Artist, I've never seen him mentioned, or many of the others, let alone featured. Why is this? Is it a language barrier or does it have deeper implications? Fortunately some changes are taking place and Gerard is highlighted in two of Robin Berrys  2011 books, including the `Compedium of Watercolour Tecniques' which I reviewed recently. Originally he painted in a very `photorealistic' manner in other mediums but gradually moved towards watercolour and his present  highly impressionistic and vivid colourist style.

Gerard Hendriks

I came across Gerard on Facebook, an incredible source of fabulous artists and their paintings. He is truly prolific with a wide range of subject matter that includes Sports, Flowers, Still Lifes, Birds, Wildlife and Landscapes. I have seen many examples of his work and his use of colour, together with a loose and adventurous approach appeals to me very much. We are friends on Facebook and when I contacted him with the idea for this post he was most helpful.

Poppies - Gerards most recent painting 57cm x 76cm although I'm sure this has now been superceded

Gerard at work.

 His Studio

He also paints in a more conventional position

What many artists are interested in are the materials that top artists use. In Gerards case he favours Hahnemuhle Leonardo 600gsm (300lb) rough. The only immediate UK source I knew for this paper was Ken Bromley but then found after some digging that Great Art, Jacksons, the SAA, Heaton Cooper and Artdiscount, all sell it although it isn't exactly prominent on their websites, nor does it appear in either the Great Art or Jacksons catalogues, despite them featuring several other Hahnemuhle papers. Viktoria Prischedko also favours Leonardo. The only reason I can think for this is that, being 300lb, it is expensive and not really a sensible buy for most amateurs so sales are in a niche market. Jacksons are apparently discontinuing this paper and are offering it at a cut price while stocks last.

Gerard only uses tube paints, a mixture of Rembrandt and Old Holland both well-known Dutch makes.

Rembrandt appears to be the main one with some specific colours from Old Holland. His palette is : Alazarin Crimson, Karmijn (Carmine), Perm Kraplak (Permanent Alazarin), Cadmium Red Dark, Cadmium Red Light, Cobalt Violet (Old Holland), Quinacridone Rose, Permanent Red Violet, Cadmium Yellow Dark, Cadmium Yellow Light,  Lemon Yellow, Gamboge (Old Holland), Yellow Ochre, Burnt Sienna, Burnt Umber, Blue/Green, Turquoise Blue, Cerulean Blue, Cobalt Blue, Ultramarine Deep, Prussian Blue, Neutral Tint, Ivory Black, Chinese White. That makes 23 colours but he only uses a limited number in each painting, depending upon subject. His basic palette is Permanent Kraplak (Alazarin), Cadmium Red, Cadmium Yellow Dark, Yellow Ochre, Cerulean Blue, Cobalt Blue and Prussian Blue.

As for brushes they are long handled Chinese brushes, which he imports from China, together with cheap flat varnish brushes 2cm and 5cm, several others of which he doesn't know the English name however here we are. 

Gerard does most of his watercolours in the studio but also paints plein air. He says he has no big stack of sketchbooks but draws directly on the board with pencil b4 and "lets all the lines, also the wrong lines, stand on the board". He then begins the painting process, the dry paper sometimes upright, sometimes flat, using lots of water and pigment, splashing paint on and letting it drip off and always retaining the beautiful parts (happy accidents?) that occur. If necessary he uses nails, credit card, the back of a paintbrush or a pencil to draw or scratch in the wet paint, everything to obtain a good result. He admits he does all sorts of things that are supposedly `not allowed'  but doesn't worry about that as he considers only two things matter, painting in a way you enjoy and obtaining a good artistic result. His ethos is that painting is an exciting adventure, a kind of safari behind the easel. 

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Now for some of his paintings.

This  painting of the cheetah is actually acrylic all others watercolour

The above selection gives a good coverage of most of the subjects that Gerard paints. I have read that he `specializes' in wildlife, but flowers, still lifes and landscapes appear almost as frequently. I think them stunning.

If you are as taken by the above as I am then you can follow this up by visiting his website www.gerardhendriks.net/ where many more paintings are displayed, and also Youtube to view three demonstration videos. Just search on there for `Gerard Hendriks' videos. If you Google `Gerard Hendriks' lots more comes up.

March Challenge

The March Challenge, between myself and Mick Carney www.thepaintingstruggle.blogspot.com/  was my choice. I realised recently I had neglected my landscape painting, leading to a deterioration, and with the plein air season looming chose a typical scene at my local Keynsham park. 

 River Chew Keynsham Park

This isn't an easy subject just look at all the clutter. The object always is to simplify, but the urge to copy what is in front of you, especialy from photographs, is hard to resist. I'm getting better but suffer relapses! 

First Attempt Keynsham Park 16" x 12" 140lb (300gm) Centenaire Not

This was overworked, particularly the reflections, although I thinks it looks better on here than the actual painting, which is unusual as it's usually the other way round. I rejected it and tried again.

Final Attempt Keynsham Park 16" x 12" 140lb (300gm) Centenaire Not

This is simplified compared to the first one. I have attempted to alternate warm and cool throughout with mixed success.

Colours used include Cerulean Blue, Quinacridone Rust (Graham PO48), Hookers Green (Graham), Sap Green (Daniel Smith), Quinacridone Gold (Daniel Smith PO49), Gold Ochre (W & N PY43), Raw Sienna, Raw Umber  plus darks from Q Rust/Burnt Sienna and Ultramarine Blue. I'm not absolutely sure what else. I must start making a note of the colours as I paint. 

Brushes the usual with the Isabey 6228 Size 8 Kolinsky to the fore.

Landscapes

I mentioned recently that I needed to do some work on my landscapes. I feel I've neglected landscape and will shortly hope to resume, weather permitting,  plein air painting. Like many others I started out painting landscapes, in my instance studying and copying the work of the two Edwards, Seago and Wesson at a local artists studio.  The apprentices of the great masters learned their trade by copying so I have no qualms about it, although I never attempted to sell them, even if they had been good enough. I should add this followed two years at a weekly art course run by the local authority, where I struggled with the basics. Neither of these were proper teaching courses,with little or no tuition, so it was a case of learn what you could. After this I studied with several well-known artists the key ones being Trevor Waugh, Judi Whitton and Charles Reid. I actually became quite good as a Wesson/ Seago clone but became restless and started on the journey, by way of interest in John Yardley, Robert Wade and several others that led me to Judi Whitton and Charles Reid. I then decided  I must settle down as each change of direction increases the learning curve and the years were rolling by. 

Here are two examples of John Blockleys work .I particularly like the second painting especially the textural effects. They are examples from his earlier period as he later changed style quite dramatically and also medium.

 A different more modern and much more abstract approach  from the Belgium artist Gerda Mertens, not so well known as the others but popular in Europe. Not all of her landscapes are quite as abstract as these two.

The Famous American artist Winslow Homer

 Edward Seago

 Edward Wesson

So here we have a small selection of quite different approaches by some- there are many more - famous  artists who painted in watercolour, but not necessarily exclusively. In such august company I'm reluctant to post my own efforts but..... 

Trees - In the style of Gerda Mertens 16" x 12" Centenaire 140lb  Not.

Keynsham Park in January - 16" x 12" Centenaire 140lb Not

South Lake Slimbridge in Winter- 15" x 11" Not

 Keynsham Park January 2012 Fabriano Artistico Extra White 18" x 12" Not

The two top paintings were done at recent  Monday sessions of my Bathampton Art group, where members `own artwork' is the programme. The third painting of Slimbridge was done some years ago, at least five possibly longer, and represented the best of the work I did in my `old' style. I think there are elements in there worth copying. The fourth and final painting I completed today, after painting it at my Avon Valley Artist's session yesterday, when the subject was ` A Winter Scene'. The two Keynsham Park scenes are essentially the same view, one Portrait the other Landscape format. What am I aiming at? I'm not certain as these paintings are experimental but a rough answer would be a cross between  Gerda Mertens and Wesson/Seago with touches of Judi Whitton and Charles Reid.. I'm also increasingly attracted to Blockley's landscapes. How will it all end?

For the new paintings I used my normal palette with the addition of Daniel Smith's Indigo. The colours would include, Raw and Burnt Umber, Gold Ochre, Raw Sienna, Ultramarine Blue, Burnt Sienna, Hookers Green (Graham), Viridian (Rowney) and Ultramarine Violet (Rowney PV15). Some purples were mixed from Ultramarine Blue and Permanent Carmine (W & N PR N/A). Some greens mixed from Hansa Yellow Medium (Daniel Smith PY97) and Cobalt Blue Deep (Rowney PB72). There is also some Rowney FW Acrylic black heavily diluted at the base of the tree on the left. The top one also includes some Quinacridone Gold (Daniel Smith PO49) and Quinacridone Rust (Graham PO48), possibly others. I aim to sort my palette (actually three would you believe) into a more orderly number as I've been so seduced by both Graham and Daniel Smith paints that I've bought quite a few, increasing the choice considerably. The colours are certainly seductive. My plan is to have a main palette of 16 to 24 paints with a secondary palette of 9 to 12. As I paint a range of subjects this will give me the flexibility I need. I know many will throw their hands up in horror at this number but I usually don't use more than a dozen colours in any one painting and a core of about 6 or 7 for most of the work. I've also been trying granulation and texture mediums from Winsor & Newton. I don't like the latter much and may not use it again.

Apart from yesterday my usual brushes when painting at the art group, a selection of Escoda retractables Series 1214, 8, 10 and 12 together with a Rosemary retractable rigger  and Isabey retractable 6201 Size 6, all Kolinsky sables. For the final painting I used mainly the Isabey 6228 Size 8 Kolinsky, Da Vinci Maestro 10 Size 6  plus a couple of riggers. I keep saying that both Isabeys are lovely brushes and they really are!

Landscapes

As readers might have noted I have suffered something of a relapse in my landscape paintings, not helped by a very limited number of plein air outings this year. This has resulted in a reliance on photographs. Concentration on portraiture and still lifes has brought about improvement in those areas but one step (or more) backwards with landscapes. What actually defines a definitive landscape? Is it just a rural scene depicting trees and fields, perhaps dotted with animals like sheep, cows or horses? How do you define a scene with buildings the main shapes? Does it all depend on the variety  or which are the major players?

A few weeks ago I showed the painting below of a scene in Keynsham park, somewhere I know well and have painted several times in the past. I've lost count of the number of times I've walked around this relatively small area bisected by the River Chew.

 

Keynsham Park looking along the River Chew.

Painting No.1 Gerstaeker Acquarell 16" x 12" Not

This is the original painting which failed to get  single vote at Bathampton and generally went down like a lead baloon with most others. I rather liked it (!)

When at first..... I then thought hard about this subject and consulted both Gerda Mertens (`A way with Trees' ) www.gerdaaquarel.be/  and John Palmer to see if their approach might help.

Keynsham Park Version No.2 Waterford (?) Not 16" x 12"

I rather liked this initially but the more I study it the more I can see it is overworked,and much too busy with too many trees crowded in, and a more simplified approach would have been better. Still progress of a sort or not? I frequently do more than one version until I arrive at a better result.

 Keynsham Park Version Number 3. 16" x 12" Centenaire Not

This is my `definitive' version and I am quietly pleased with it. This has been simplified and the large tree stump at the front eliminated. Although essentially a `cool' painting I have added some warm colours. Brushes for all three paintings  Isabey 6228 No.8, Da Vinci Artissimo 44 No.2 mop, Da Vinci Maestro Size 6 and Isabey 6201 retractable Size 6, together with a Pro-Arte Series 103 Size 4 rigger. The rigger is a synthetic, all the rest Kolinsky sable.

My usual palette featured with much reliance on  the earth colours, Burnt Sienna, Raw Umber, Raw Sienna, Burnt Umber and Gold Ochre (W & N). I mixed the greens mainly with various blues and yellows, the yellow the Daniel Smith Hansa Yellow Medium (PY97). The blues primarily Cerulean (W & N) and Ultramarine with some Cobalt Bue (+ Phalo Blue?). I do like Grahams Prussian Blue and it is in there somewhere. I also incorporated some Graham Hookers Green, a colour I like a lot as it is, in my opinion, more natural looking than other Hooker Greens. For darks I seem to frequently use Ultramarine with Burnt Sienna, or less often Burnt Umber, not overmixed but the Charles Reid way in which you can still see the original colours and let them intermix on the paper. There are many other combinations that make good darks and I will probably do a post on this in the future. Not an expert view just mine as a hobby painter.

I'm not absolutely certain what the paper is on number two (or is it three?), as it was painted on the back of a failure. I've gone off the Gerstaeker Acquarelle paper completely. I don't know if this latest block is somehow different but it doesn't take the paint terribly well. In future I'll just use it for  drawings with perhaps a small amount of paint.  I like Centenaire and both Yvonne and Jan from my AVA group have given it  qualified approval, especially at the current price. This is exclusive to Great Art www.greatart.co.uk

What do you think? Comments welcome.

Piet Lap

Piet Lap. Note his palette arrangements

I first became aware of Piet Lap when I bought `Realistic Abstracts' by Keest van Aalst. The initial attraction among some of the artists featured was Viktoria Prischedko, but I explored the others  and came upon Piet Lap, and some more who I may highlight in future. Piet, a Dutch artist born in 1943, isn't among the younger element but what an artist! His work featured in the abstract book is more inclined in that direction but on finding his website I discovered a range of representational paintings, in a very expressionistic style, that are absolutely stunning.  In order to find out more I contacted him with a number of questions and also asked permission to show some of his paintings. The reply was prompt, although he checked my blog out first, and answered all my queries.

St Kilda

The paintings shown are all quite large as many are full sheet and some even larger. Details and individual sizes are shown on his website. His paintings are grouped in several categories with Landscapes, Dutch, Italian, Scottish and Others together with Still Lifes and Other Works. A full biography is on the website.

 The famous fish market at Venice

Another Venice view

Piet likes painting boats: those stranded on beaches and also derelicts

An example of his Still Lifes.

What an amazing panoramic view!

As for specifics to quote Piet " I have 40 colours on my palette, far too much of course, but half of them I seldom use (just in case..) A must for me are French Ultramarine, Cobalt Blue, Caerulean Blue, Prussian Blue, Indigo, Paynes Grey, Quinacridone Rose, Cadmium Red, Purple Madder, Caput Mortuum, Burnt Sienna, Raw Sienna, Sepia, Raw Umber, Burnt Umber, Cadmium Yellow Citron, Cadmium Yellow, Hookers Green Dark, and...white gouache. All tubes Winsor & Newton, Schminke and Talens (Rembrandt)".

Regarding brushes "Some expensive Kolinsky sables, some cheap flat brushes, but mostly Da Vinci Cosmotop mix brushes in all sizes from 6 to 32".

Paper " I have tried all sorts of paper but nowadays I stick to Arches 300gsm and 640gsm Torchon (Rough)".

His approach to painting "I have no specific approach, it all depends on the subject you paint, on intuition, on your mood for an experimental approach, on the outdoor circumstances".

Other comments " I like travelling, it's half the fun in a painters life. And that's where I differ from most of the other watercolourists. I always paint my landscapes on the spot, except of course my aerial views of Dutch rivers, which I photographed from a helicopter.  ..."Making a watercolour is like chess playing: try to think about the next two or three steps you intend to make, eventually prepare a sufficient amount of some colours, but don't rigidly stick to your plan: things can change on your way, so be receptive. If you act do it with speed and determination".

 Not sure if I'm supposed to post this but his parting comment  was "A tip:in my gear is a hipflask with `water for life' it clears one's mind. Don't tell anybody"... " "Best wishes and have painters fun yours Piet Lap".

As I've already said this is one fabulous artist and obviously a great guy.. His website is www.pietlap.com/  If you like what you've seen, and I'm sure most will, have a look at all the fabulous paintings featured. Thank you Piet for being so open and helpful.

Viktoria Prischedko (and Slawa too) - Wonderful Artists

This last week I received an e-mail advertising a new book from someone called Kees van Aalst, published by Search Press. The title is `Realistic Abstracts' and the cover had a stunning painting which turned out to be by Viktoria Prischedko. I'd never heard of her but intrigued started `googling'. 
I soon discovered her and her husband's gallery:  www.prischedko.de/  I assume he is her husband. Both are fabulous painters, she paints in watercolour and so may he but I'm not certain. Their styles are different but both paint realistic abstracts. This term defines an abstract painting with some areas of realism. At least that's how I interpret it. I also discovered another site which is an academy in France that runs painting courses where she features this year. It had  another stunning array of her paintings. http://www.mdperrot.com/page-peintre-en-38-prischedko.html

Watercolour by Viktoria Prischedko

Viktoria's Demo

I haven't got permission to post either of these but if asked to do so will remove one or both. As I'm giving both her and MD Perrot a plug perhaps they won't mind.

Apparently Viktoria was born in Moldavia and now lives in Germany. One of the results obtained when I googled her was a link to EPC in Catalonia, where I had the pleasure of painting on a Charles Reid course in 2008. She was a tutor on a course EPC held in Girona and the course notes indicated there would be a German translator present, so I take that to suggest she may not speak English. She appears to be a plein air painter.

The Moulin de Perrot (Academy of fine arts)  say , in the notes about her course, `you will be able to buy from Viktoria the paper and brushes she uses. `Hereafter is a list of what she recommends':

1-Paper-Hahnemuhle 600g 50 x 60cm

2-Brushes-Da Vinci No12,14,20 and 30. Also Schlepper Nos 6 or 8.

3-Colours- lemon yellow, green yellow, transparent orange, perylene violet, French ultramarine and indigo blue.

Regarding paper Hahnemuhle is sold by several UK outlets but I can't find a 600gsm paper in either Jacksons or Great Art so that remains a bit of a mystery. The brush list doesn't specify the exact Da Vinci brush but judging by the sizes quoted it  may be the Cosmotop Mix B round. I've never heard of Schlepper. Note added 17/02/011: Ken Bromley's latest catalogue just arrived lists Hahnemuhle "Leonardo" in 640gsm (300lb) with both Not and Rough surfaces on offer. Price is £26.60p for a pack of five 76cm x 56cm (30" x 22") sheets.  http://www.artsupplies.co.uk/

Colours? Only 6 incredible as that seems given the brilliant colour range in her paintings. If true certainly a great advert for a limited palette. What make(s) does she use? It appears almost certainly to be Windsor & Newton. I'm assuming these are watercolours as the course is called "Watercolor - the lyric magic of landscapes'. Incidentally if you go on the Moulin de Perrot site it looks a fabulous location. The prices seem reasonable but I imagine you'd need to speak French.

As far as I know this artist has written no books (so far) but to my mind illustrates just how many wonderful artists are out there waiting to be discovered. Obviously she is well known on the Continent but not yet in the UK. Her husband Slawa is also a terrific artist with a different more subdued style and a fantastic way with portraits, again combining abstraction with realism. With young British artists like Jean Haines www.jeanhaines.co.uk/ and Kaye Parmenter  www.kayeparmenter.co.uk/ also painting in this abstract/realism style I wonder if we are seeing a new trend?