newsletter 29T

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KJuly 2014 website: www.thepastelsociety.org.uk sponsored by Caran d’Ache

Easy rider Jenny Halstead

Featured ArtistJenny Halstead PS, FMAA

Pastel Society artist Jenny Halstead has morereason than most to hope that this summer won’tbe a washout. Otherwise, she could be in for avery muddy time. At the invitation of ProfessorMike Fulford, head of Archaeology at theUniversity of Reading, she will be recording whathappens at the eighteenth – and possibly final -annual Silchester (Calleva Atrebatum) excavations.

The event takes place every summer as part ofthe undergraduate courses, but is also open toenthusiastic volunteers. The project will coverevery aspect of life on a dig: the two weeks ofsetting up and moving everything onto the site,opening up the excavation, establishing theequipment and catering facilities (for around 180people), the six weeks of the dig, all the excitingfinds, and finally the closure of the site. Jennyand the team aim to produce a book which willsum up the whole event.

The invitation follows a very successfulexperience last year, when Jenny was artist inresidence at the University’s Harris Garden. Shewent on to curate an exhibition at the University’sMuseum of English Rural Life, and produce abook, published by Two Rivers Press.

Jenny is well equipped for a project that is likelyto require a lot of rapid sketching. Much of herearly career was spent as a specialist medicalillustrator, working in teaching hospitals, whichoften required her to work both quickly andaccurately in operating theatres. For a decadeshe served as education director, and thenchairman, of the Medical Artists’ Association.

It may appear to be a big leap from the precisionof scientific illustration to the very loose and

Linen Line (top left), Vine Tender (top right),

Russian Fur (below)

lively paintings for which Jenny is known in thePastel Society. What happened was that, about14 years ago, she decided to return to her firstlove, fine art.

“I went on a portrait course, and found myselfworking on a very large scale, with big, chunkyoil pastels,” she says. “I needed to paint bymoving my whole body, not just working from thewrists. That was a very enjoyable change,reinforced by the pleasure of being able, foronce, to use any colour I wanted. And when Imoved to soft pastels, with an enormous colourrange to choose from, everything opened up forme.”

People, just going about their business in everyday settings, are her favourite subject. All thoseyears spent in medical illustration means thatshe has a deep knowledge of anatomy and canquickly and accurately capture a posture. Aqualified art teacher, she is not beyond taking adrawing of a life-class model and inventing anew setting. As an example, having drawn a

clothed model wearing a hat, she imagined thesetting as a milliner’s shop for a painting, HatsWill Be Worn.

Almost invariably, Jenny works from life, startingwith a fairly detailed drawing in firm black Conté.Her preferred surface is a slightly gritty ArtSpectrum paper, which will stand up to theapplication of water – a useful characteristicbecause the next step is to loosen everything upwith an underpainting in watercolour or diluteacrylic. Although the colours will be carefullychosen, the brushwork will be quite random:dribbles and splotches are all part of theprocess. Some will be left deliberately to show inthe finished painting – and are very evident inthe cover picture, Easy Rider.

From there, it is a case of developing the finalimage by working loosely into the originaldrawing, with a mixture of (mainly) soft Unisonand hard Conté sticks.

Her approach to landscape paintings is similar,except that she prefers to work in the studiorather than on location, and therefore has to turnto her sketchbooks for information. The paintingsshe has shown recently with the Society suggestthat her travels, including visits to the US andCuba, are providing her with lots of inspiration.Picking up abstract patterns in the landscape, asin Linen Line, has a particular fascination for her.

“Keeping a sketchbook,” she says, “is awonderful discipline. The concentration requiredto record a scene, however briefly, means thatthe whole experience of being there on that daycomes flooding back when the time comes toproduce a painting.”

Jenny was elected to membership of the PastelSociety in 2010, and has served as honorarysecretary since 2012.

President’s Letter

The 115th Annual Exhibition of the Pastel Societyhas just finished and I am very pleased to say thatit was a success. This was an exhibition whichhung itself. It had just the right balance of boldabstract works, set against highly skilled figurativeworks and many exciting works of great originalitywhich sat somewhere in between. Yet again I wasproud to be President of the Pastel Society. Wemay not be one of the big earners at the MallGalleries, but we have everything to shout about.Caran d’Ache have sponsored us again for 2014and agreed to continue this sponsorship for 2015,their Centenary Year. The Society will continue togive Caran d’Ache its best support in return.

We are extremely fortunate to have a large numberof Award Givers and we thank them all for theirgenerosity. The Sponsors and Award Givers’ BuffetLunch was provided by Renzo and his staff andwas well supported and enjoyed by all.

2015 is also going to see the launching of a newand very prestigious award. Full details of this willbe published on the Pastel Society website and onFacebook very shortly.

Workshops this year were held in the MallGalleries’ new Learning Centre and we experi-enced a huge increase in bookings. I apologise tosome students who attended workshops whichwere slightly over-booked. We are now aware ofthe limits of the space available, especially when amodel is involved. We will make sure that bookingnumbers are controlled to ensure that the LearningCentre Workshop experience is enjoyable and ben-eficial to all.

This leads me quite gently into the next importantpiece of news: the date of next year’s exhibition.The 2015 exhibition will open with the Private Viewon the 23 February and close on 7 March. Thisdoes mean a digital pre-selection for work by non-Members before Christmas, with the actual manu-al Hand-in and Selection early in the New Year.

There will be no hybrid system for 2015 selection.All works by non-Members will have to be submit-ted digitally for pre-selection, and only those select-ed in this way will be required to be handed in man-ually for viewing and final selection for the exhibi-tion. Please keep an eye on the Pastel Societywebsite www.thepastelsociety.org.uk and Face-book for all information regarding the 2015exhibition.

The Art Event was an enjoyable evening withMembers of the Society working alongside Friendsand members of the public. For those of you whostayed at home to watch England play Uruguay, Ican honestly say that you missed a far better eventat the Mall Galleries! My thanks go to everyonewho attended and took part. Modelling during theevening were Natasha Jervis, Vanessa Faye andPaul Sacki from Jakar International Ltd (Importersof Caran d’Ache). Paul came straight to the MallGalleries after flying in from Geneva and broughtwith him a prize for the best work created duringthe event. This is a new innovation for the Art EventEvening and one which we will be promoting for2015. For those who preferred to work away fromthe models, on offer was ‘Still Life’, ‘Landscapefrom Sketches’ and a lovely bunch of garden-picked flowers to tempt you.

To finish this letter I would like to say a huge thankyou to the Council and Members of the PastelSociety, the staff of the FBA, the technicians whohang our exhibition, the café staff who keep ustopped up with coffee and other nice things, and ofcourse to Ken Gofton who writes and edits thisNewsletter. Thank you all for your help and kindwords. Enjoy the Summer and get ready for 2015.

Cheryl Culver

Some changes in the rules as they apply to artistswishing to join the Pastel Society have beenannounced. The changes are designed purely tosimplify and clarify the process. The strategy ofhonouring only the highest calibre pastel artistswith membership of the society is unchanged.

Under the new procedure, artists wishing to join theSociety need to submit and show a minimum of twoworks for two consecutive years at the PastelSociety annual exhibition, so that Members areaware of the quality of their work. They will then bein a position to be considered for Membership thefollowing year, and may contact the MembershipSecretary and ask to be put forward as anApplicant.

They will then be asked to submit works for thenext annual exhibition and, subject to works being

accepted, they will be asked to provide a portfolioof work and sketchbooks for display at the annualgeneral meeting, which takes place at the end ofthe exhibition. Election is by a sealed majority voteof all Members present at the AGM, and applicantswill be notified of the outcome by post.

Any queries about this procedure should beaddressed to the Membership Secretary, BrianPlummer (tel. 020 8888 6122). Details can beviewed on the Pastel Society website, under ‘ToApply’.

Members pay an annual subscription, and are enti-tled to show five works at the annual exhibition,subject to the veto of the selection or hanging com-mittee. They are expected to exhibit regularly withthe Society, and to play a positive part in the main-tenance and development of the Society.

Officers and CouncilAt the annual general meeting, Roger Dellar stooddown as Membership Secretary, and Brian Plummerwas elected in his place. The Officers are:President Cheryl Culver RBAVice President Jeannette HayesHonorary Treasurer Colin MurfetHonorary Secretary Jenny Halstead FMAAExhibition Secretary Peter VincentMembership Secretary Brian PlummerPublicity Secretary Jeannette HayesFriends' Secretary Ann WilkinsonTrustee Moira Huntly

RWA RI RSMA PPPSThe Council Members are: Glenys Ambrus ARCA, Victor Ambrus RE ARCA, Roger Dellar RI ROI, Matthew Draper, Bob Last, Brian Gallagher, Susan Relph ASGFA, John Ivor Stewart ADAE FSBA, Antony Williams RP NEAC, Roy Wright

Key contactsThe Friends Secretary is Ann Wilkinson (tel. 01737 764271)Contributions to the Newsletter should be sent to theeditor, Ken Gofton, 30 St Bernards Road, TonbridgeTN10 3NL, tel 01732 364272. Email: ken.gofton@dsl.pipex.com. Bookings for all Pastel Society workshops are han-dled by Norma Stephenson, Jack Beck House,Keasden, Clapham via Lancaster LA2 8EY (tel 01524251670, email norma.stephenson@btinternet.com)

Updating the application process for would-be Members

Plea for imagesJeannette Hayes, whose many roles include PublicitySecretary, asks Members to let her have images oftheir paintings to publicise the 2015 exhibition as soonas possible. The fact that next year’s show will be inFebruary rather than June inevitably means that alldeadlines will be much earlier than usual.

Welcome to New FriendsA warm welcome is extended to the following newFriends of the Pastel Society: Colin Pendry, LindaNicholls, Rev. Corinne Tournay, Kim Hendry, IngridWilkins, Lady Elizabeth Lefenu, Dr Anil Wijetunge,Tess Armstrong.

The Friends’ raffle prize – a painting donated by AnnWilkinson – was won by Mrs Eileen Dimmock.

The next Friends’ outing will be on 24 September tothe newly-refurbished Kew Bridge Steam Museum,where Jason Bowyer has his studio.

Artists’ General Benevolent InstitutionJeannette Hayes is the Pastel Society steward for theArtists’ General Benevolent Institution for 2014-15,succeeding John Tookey. She can be contacted atSouthcot, Little Coxwell, Faringdon, Oxon SN7 7LW.

The huge potential of dry media – pastels, graphite,coloured pencils and charcoal – was amply demon-strated in the Pastel Society’s annual exhibition,2014, sponsored by Caran d’Ache, at the MallGalleries in central London in June. Almost 260works were on view, whittled down by the selectionpanel from a total entry of 700. All of the populargenres were represented in a show demonstratinga tremendous variety of technical and creativeapproaches, including landscape, portrait, still lifeand abstract.

“We are just so excited about this show, which hasworked incredibly well,” said the Society’sPresident, Cheryl Culver, at the official opening.“We think we are very modern, outgoing and flam-boyant, and we have a very positive exhibition inthat regard.

“There is a desire within the Society to attractyoung artists, and we are certainly making contactwith younger people. From next year we expect tobe offering a new, major prize which will celebratecraftsmanship and will be aimed at younger artistsunder 35. We hope to see lots and lots of youngartists putting work forward.”

Cheryl thanked the many people involved inmounting the exhibition, including the MallGalleries staff for their huge support, and theSociety’s sponsor, Caran d’Ache, “who are incredi-bly supportive, approachable and flexible”.

The exhibition was opened by Professor KenHoward, OBE RA, who also presented the prizes. “I suppose I look for two things in paintings,” hesaid. “First, in the words of the late Kenneth Clark,above all else art must be life enhancing. Second,art should show us how to see the world.

Great variety in Pastel Society exhibition, 2014

Professor Ken Howard and Pastel Society President, Cheryl Culver

“Brian Plummer took me for a walk across theYorkshire moors, and I realised he wasn’t anabstract painter at all – he showed me the moorsas he saw them.”

Professor Howard also emphasised the joys of col-lecting paintings, comparing the way the value of acar would depreciate to nothing over a decade,“whereas with art, you can receive a lifetime ofpleasure for a few hundred pounds”.

Running out of room was no excuse for not buying,he added – real collectors were willing to stackpaintings against the wall!

Prominent among the prize winners was SarahBee, who won the Caran d’Ache sponsor’s awardwith her painting Warm Rocks and Cool Water atHaytor Quarry, Dartmoor. Bess Avery, whose workwas featured on the cover of this year’s catalogue,won both the Henri Roché award and the FrankHerring & Sons award.

Although the majority of works on display wereinevitably by established Members of the Society,there was again a very good cross-section of inter-esting work by non-Members. The Society’s cata-logue award for the best painting by a non-Memberwent to Tony Allain, with Carol Moore runner-up.Denise Cutts was the recipient of the Young Artistaward. A full list of prize-winners appears to theright.

In many ways, however, the annual exhibition is notjust a celebration of the best works in dry media,but a highly enjoyable social occasion. The PrivateView and official opening was very well attended.On several days, leading Members demonstratedtheir techniques in the galleries, and were happy totalk to visitors about their use of pastels.

There were workshops on almost every day of theexhibition in the Mall Galleries’ new education cen-tre. And the Art Event evening on the final Thursdayprovided an opportunity for those attending to paintalongside professional artists.

The Society thanks all Members who gave theirtime to make these events a success.

Award Winners, 2014The following awards were made during the 2014

exhibition:

Caran d’Ache Award: Sarah Bee

Pastel Society Catalogue Award for Non-Members

(1st Prize): Tony Allain

Pastel Society Catalogue Award for Non-Members

(2nd Prize): Carol Moore

Pastel Society Young Artist Award: Denise Cutts

Daler-Rowney Award: Angela A’Court

Derwent Award: Jeannette Hayes

Conté à Paris Award: Patricia Cain

Purcell Papers Award: Felicity House

Unison Colour Award: Janette Summerfield

The Artist Magazine Award: Tony Allain

Artist and Illustrator Magazine Award: Sheila

Goodman

Henri Roché Award: Bess Avery

Schmincke Award: Claire Spencer

The Arts Club Charitable Trust Award: Janine

Baldwin

The Buzzacott Award: Michael Norman

Faber Castell Award: Michelle Illing

Frank Herring & Sons Award: Bess Avery

John Longley Award: Richard Turner

PanPastel Award: Annie Phelps

It is a pleasure to note that Honorary MemberAnthony Eyton, having had an exhibition in Londonlast year to mark his 90th birthday, continues to bevery active on the art front. He will be working thissummer on paintings for an exhibition calledDrawing on Hawksmoor, to be staged at the ElevenSpitalfields Gallery from 6 November to 24December.

The show will celebrate the work of architectNicholas Hawksmoor (1661-1736), a contemporaryof, and one-time assistant to, Sir Christopher Wren.Following an Act of Parliament which established aCommission to build 50 new churches in London,Hawksmoor was one of a number of architects andsurveyors appointed to the scheme.

However, with costs mounting and the Commissionslowly losing interest, only 12 churches were built,of which six were designed by Hawksmoor. These,among his best known work, are St Alfege'sChurch, Greenwich; St George's Church,Bloomsbury; Christ Church, Spitalfields; St George

in the East, Wapping; St Mary Woolnoth; and StAnne's Limehouse.

Tony Eyton’s exhibition follows an earlier paintinghe made of Christ Church, Spitalfields, whichattracted a lot of interest. The new collection, hesays, will include pictures of bell ringers at work, aswell as paintings of the six churches. Tony has acharacteristically vigorous style, working in bothoils and pastels.

More information from: Eleven Spitalfields Gallery,11 Princelet Street, London E1 6QH (020 72471816;www.elevenspitalfields.com).

Summer WorkshopsThe Pastel Society will be staging four summerworkshops this year, running from Tuesday 26August to Friday 29 August. They will be held at theWhite Lodge Centre, Holloway Hill, Chertsey,Surrey KT16 0AE (www.whitelodgecentre.co.uk).All tutors are Pastel Society Members.

Sue Relph will open the programme with ‘Life andPortrait Investigation’, a workshop aimed at all abil-ities. On Wednesday, the tutor is Tom Walker, on‘Exploring Pastel – Secrets of the Dust’. He is fol-lowed by John Tookey, looking at ‘Figures in aScene’. Finally, Eiko Yoshimoto will lead a work-shop on ‘Impressionist Movement and Colour’.

Workshops run from 10.30 a.m. to 4 p.m. each day.Fees for Friends are £45 per day or £40 a day ifbooking all four; there is an additional charge of £5per day for non-Friends.

More information is available on the Pastel Societywebsite, from which application forms can bedownloaded. Bookings, as usual, are handled byNorma Stephenson (tel. 01524 251670, emailjack.beck@btinternet.com).

Guest of HonourCheryl Culver, President of the Pastel Society, was guestof honour at the inaugural International Pastel Exhibitionorganised by Pastel d’Opale, a group based in StLeonard on the outskirts of Boulogne, in March. Publicityfor the well-attended show, and the quality of thecatalogue, were exceptional, she says.

Major project for Anthony Eyton RA, Hon. PS

The new book Ken Paine - Nowhere to Hideseeks to determine what drives this artist to paintand also to understand something of the man, fromhis complicated and chaotic beginnings to his com-plicated and chaotic present. Ken Paine has aneed to put down and record the faces that havepassed through his life: ‘Lambeth 1926 - 1937’,‘The War Years’, ‘The Army Years’, ‘The MerchantNavy’, and ‘America - 1957’ are just some of thechapters included in the book.

“It is my firm opinion that without his ‘haphazard’upbringing, where he wasn’t taught the rulesappertaining to society, Ken would not have hadsuch a freedom of thought and, without that free-dom of thought, his approach to life and to his artwould have been constrained,” says the book’sauthor, Penelope Lee.

Probably most people will know Ken as a pastelpainter, and certainly he has enjoyed a long asso-ciation with The Pastel Society, having been invitedto be a member by the late John Blockley, an artisthe greatly admired. He was also awarded the titleof ‘Master Pastelliste’ by the Societé desPastellistes de France, and was Vice President ofthat Society for some years.

“I am privileged to give great praise as I have foundsomeone of great artistic ability,” said MonsieurJean Pierre Merat, 1987 President of the Societédes Pastellistes de France “He is a natural master.I state with all my heart his talent will always be rec-ognized, not only for today but for the future.”

But Ken is equally at home with any medium andhis acrylic paintings demonstrate his strong shapesand bold marks without losing any of the emotionhe strives so hard to record. Like any artist worthhis salt, Ken’s paintings have evolved. No longercontent with the obvious, he has stretched his workto exaggerate. Sometimes the faces are made upof what look like almost simple shapes and yet they

talk to the viewer in just the same way as hisdetailed and beautiful pastels from his earlieryears.

Says the author: “To my mind it is his latest work,where he paints for himself, and has the freedom toexpress his feelings and stretch his 87 years of lifeexperience, that is the most exciting. Others maydisagree, but one thing I think everyone will agreeon is that whenever you come across a ‘KenPaine’, you will stop and look, because the paintingwill demand it of you.”

Ken Paine – Nowhere to Hide, price £25 (ISBN 978-0-9928072-0-7)

Ken Paine PS: a new biography

The Tenor, a recent painting by Ken Paine

News from Members

Between 8 and 25 July, Sarah Bee, winner of thisyear’s Caran d’Ache sponsor’s prize, is exhibitingat Yvonne Arnaud Art, presented by GuildfordArts. The show is being held in the Mill Studioat the Yvonne Arnaud Theatre, Guildford(www.guildfordarts.com). She is also teaching ashort course at West Dean College, West Sussex,10-13 July, and again, 16-20 November(www.westdean.org.uk).

Tom Walker has organised the third Secrets of theDust exhibition at The Foundry, 32 North Street,Lewes, between 12 and 27 July. “This is a pastelshowcase, including my own work and that of manyof my pastel students,” he says. “It is also a contin-uous pastel workshop where anyone of any agecan try pastels for themselves on our walls ofpaper. Groups from several local schools will alsobe booking in. We are sharing this huge space thisyear with 'knowtrash', part of whose amazing col-lection of ‘up-cycled’ objects and artefacts from allover the world will be on display alongside theirown 3D workshops for schools and others. Theyare also showing simultaneously at The LinklaterPavilion environmental study centre in Leweswhere I will be creating a very large pastel artwork,Re-leaf, with the help of visiting children and adults,which will eventually be on permanent displaythere.” Tom has also had four pastel works accept-ed for the East Sussex Open Exhibition at theTowner Gallery in Eastbourne, running from 3 Julyto 14 September.

There was some excellent publicity for the Societyin June when Jackson’s Art Supplies, the majorretailer and mail order supplier, ran an extendedinterview on their blog with Glenys and VictorAmbrus on their different approaches to paintingportraits in pastels.

Jenny Halstead will be teaching at L’Age Baston, achateau in central France for two weeks (13-27September). The first week is fully booked but acouple of spaces are still available on the second.See: www.lagebaston.com and www.jennyhalstead.co.uk.

Pastel Society President Cheryl Culver will bedemonstrating in the Painting Tent at Art in Action,17-20July. The major art festival is held atWaterperry House, Waterperry near Wheatley,Oxfordshire.

With its new education centre now open, the MallGalleries has arranged a programme of summerworkshops this year. Among the tutors are PastelSociety Members Felicity House and PeterVincent. Felicity’s workshop on 5 August is entitledPastels: Colour and Composition. Peter will beintroducing students to his unique technique inBehind the Mask, on 14 August. More informationat www.mallgalleries.org.uk.

Coinciding with the Commonwealth Games,Patricia Cain will be showing at Art By Distinction inByres Road, Glasgow, 18 July - 23 August, and hasa joint show, Scotland Landscapes, with her hus-band, Sam Cartman, at John Green Fine Art, from14 July to 14 August. Patricia will also be showingwork from her 2013 RSA residency at the RoyalScottish Academy between 11 October and 9November.

Robin Warnes is one of a group of artistsrepresented in A Taste of What’s to Come, theopening exhibition at the new Chapel Place Galleryin Tunbridge Wells, which continues through thesummer.

From mid-April to early May, Thompson’s Gallery inAldeburgh, Suffolk, staged its second collection ofwork by members of the Pastel Society. A widecross-section of Members was represented in theexhibition, which was very well received by visitors.A further exhibition, ‘The Pastel Society in Dorset’,featuring work by Members living south of London,has been staged this summer at the Russell-Coates Art Gallery and Museum in Bournemouth,and was due to run until 13 July.

Three panels (top right) created by Angela A’Courtfor the charity Artinsite were on display at thePastel Society exhibition in June. The charity,which provides integrated art and design forhealthcare facilities, had seen one of her paintingsat the 2013 Royal Academy Summer Exhibition,and commissioned a series of murals for theBeaconsfield East Ward for Alzheimer patients atHillingdon Hospital, London.

Research has shown that recognition of colour andtexture is better retained than some otherinformation by Alzheimer sufferers. Thus the aimwas to provide a calming atmosphere but also,through the use of different colours, a visualreminder, or map, of the ward layout, to helppatients find their way around. Each panel wasscanned and enlarged before mounting on thewalls.

Victor Ambrus, best known to Pastel Societysupporters for his large-scale figure paintings, isalso, of course. an internationally renownedillustrator. He has designed a set of stamps for theIsle of Man (centre right) to commemorate the1000th anniversary of the battle of Clontarf in April,1014. This was a highly significant battle in Irishhistory, in which Brodir of Man, a Viking chief,fought and died on the losing side but, according toone account, killed Brian, the High King of Ireland.

Jason Bowyer’s first instructional DVD, PastelAlchemy (bottom right) is now available through theMall Galleries’ shop or direct from the producers,www.paintworkfilms.com, price £25. It explores theunusual and highly effective technique Jasondeveloped for using pastel with Indian ink,especially for industrial subjects, including anexplanation of the method and an in-depthdemonstration.

Some sketches he made using this technique whilevisiting Camp Bastion, Afghanistan, as a war artistlast year were on display at the June exhibition. Heis to have a small exhibition in the educationsection of the Ashmolean Museum, Oxford, from16 September, and will give a lecture on theafternoon of 30 September.

Printed by Petaprint, 16 College Street, Petersfield GU31 4AD Tel. 01730 262450

Don’t forget to visit our website at www.thepastelsociety.org.uk

Andrew Hemingway elected Honorary Member

Andrew Hemingway has accepted an invitation tobecome an Honorary Member of the PastelSociety. He joins a select group – there are just 10other Honorary Members, including Dame PaulaRego and five Royal Academicians.

Based in Yorkshire, where he has a studio in a con-verted village school, he enjoys an internationalreputation for his painstaking pastel paintings.

The paradox at the heart of his pictures is that,while they look very classical, he never ceases toexperiment in terms of both technique and subjectmatter. Mostly associated with still life, he hasrecently produced a series of large landscapes ofcontemporary Switzerland (a country he has visitedregularly over the years), explored the possibilitiesof pastel monochrome paintings, and created someclever, reflected portraits of friends and family.

The classical appearance of his work derives fromthe fact that, in his own words, he has been in aweof the great masters of art since childhood. Hisunusual technique, in which he glazes over anunderpainting created from thousands of tiny pas-tel strokes, owes much to his early career, when heworked in the historic medium of egg temperawhich, similarly, relies on the application of manysmall strokes.

A still life study in textures (left) with stone, fabric, tinand egg shells, and a near-monochrome Swiss land-

scape, both by Andrew Hemingway.

Friends’ OutingOn 20 May a group of Friends, with FriendsSecretary Ann Wilkinson, visited the home andstudio of Roger and Lyn Dellar in Hindhead, Surrey.Roger, a member of the Society’s Council, worksacross several genres, and the visitors were invitedto inspect and discuss his current work, includingportraits, sea and landscapes, city scenes andinteriors. He then demonstrated his workingmethods, producing a scene of Venice. A deliciouslunch provided by Lyn rounded off an inspiring day.