Rachael Herman

Tag: Fine art

Lilac Wisteria (2013-4), R. Herman

DSC_0520

Hello friends.

For those of you that are interested, here is my latest piece of art: a commission entitled, ‘Lilac Wisteria.’ My client intends to hang this artwork in their kitchen; a light and airy space, perfect for this large, statement piece.

My next project is a portrait. I am tremendously excited to start this, as portraits are indeed my fave, so watch this space…!

Rachael.

P.S. Apologies for the low-budget photograph; I have not yet had the chance to take one in the bright spring sunlight due to painting it over the dark winter months

Advertisements

Unique (2013), R.Herman

'Unique' (2013) R. Herman, oil on  canvas, 30 x 50 cm,

Unique, Rachael Herman (2013), oil on canvas, 30 x 50cm

Considering I painted this piece way back in October, this post is a little late off the mark, but here it is anyway…

This painting depicts a 16.1 Dark Bay Dutch Warmblood (or ‘quite big dark brown horse’ to those of us who are equinely challenged) and was a (slightly belated) present for the horse’s previous owner, Cat. Unfortunately the lovely horse, Unique, had to be sold, so the painting was intended to be a sort of commemorative piece. A pretty horse, I’m sure you’ll agree!

Rachael.

At Rest (06/2012), R.Herman

At Rest, Rachael Herman (2012), oil on canvas, 500 mm x 500 mm

At first glance, one could perhaps be duped into thinking that these here limbs are just a run-of-the-mill pair of horse legs, and yes, to a great extent, they are. However, what struck me as unique (the horse is in fact called ‘Unique’. See what I did there…) about these particular equine appendages is the stance in which they are positioned – a rather dainty ‘quatrieme devant’ in fact – so much so I simply had to recapture the moment in oils.

Hanging Basket #1 (11/07/2012), R.Herman

Hanging Basket  #1, 11/07/2012

Having returned home from work today nothing short of a bruised and battered war hero – yes, it is that glorious time of year when schools decide to send their pupils out to fun places, masquerading it as ‘curriculum enhancement’. Apparently I put my name down for paintballing?! Owie… – I thought what better way to ‘debrief’ than to soak up the tepid rays of the evening sun in the serene green of the garden. Paintball gun left firmly behind, I instead armed myself with preferred weapon of choice, the ol’ Nikon d90. (Results shown above^).

Weston (05/2012), R.Herman

Weston Rachael Herman (2012), oil on canvas, 800 mm x 700 mm

Please welcome my latest piece that I have been beavering away at for these past few weeks. Confined to my little bedroom, amidst the fumes of turpentine and frustration, I am happy to say that I have finally finished this study of Cat’s fabulous horse, Unique. It does appear to be devoid of a rider (soz Cat), as I wanted to portray the beautiful creature trotting about her meadow freely, as nature intended, or something like that. (Basically, I acted out of cowardice, as I was too scared to paint not only a horse, but a person atop the horse, as painting a horsey alone is a mighty challenge in itself!)

As far as the technical aspects of the piece are concerned, I was going for a more impressionistic approach – you know, all Monet and such. A prime example of this is demonstrated by the trees in the left of the scene, which accounts for there being less focus on form and more on colour and the interplay of light. This is a style I am thus far unfamiliar with in my own practise, hence why it probably looks terrible, but hey, I’ll put that one down to experience I guess… As far as the horse is concerned, I tackled that in my usual ‘blend the colours like there’s no tomorow’ approach – a failsafe when faced with one of those difficult equine shapes.

Anyway, I hope you enjoy it.

Rach.

Invasion! (05/2012), R.Herman

Invasion! Rachael Herman (2012), Oil on canvas, 406 mm x 305 mm

Adversary of the humble hay-fever suffer, this fiendish yellow flower has become the source of inspiration for my most recent painting. Entitled, Invasion!, this piece serves to commemorate that time of year, around late Springtime, when East Anglia is subject to a sudden onslaught from this seemingly unsuspicious beast. Noses astream and eyes ablaze from scratching, this foe sure a sinus’ worst nightmare.

Such a shame, as it is rather a delightful colour combination: the cadmium yellow against that azure sky.

Once Upon a Damp Spring Day…

A bit of a photo-tour around my soggy garden one afternoon, earlier this Springtime.

Snaps taken, as usual, with the old-faithful Nikon D90 and altered on iPhoto to give them that wonderous ‘Instagram’ edge.

Rhododendron in White (12/05/2012), Sheringham Park

Here’s a pretty picture of a flower to brighten an otherwise dull day :).

Hugh Todd Naylor Gaitskell (1957), Judy Cassab

Hello there bloggers, I’ve missed you. So, here’s a bit of news for you artistic types who may or may not appreciate this little success story of mine: I have finally been accepted onto the Art History MA that I have spent the last twelve months working towards. Happy days! It appears that all those posts waffling on about paintings may actually come in useful. Perhaps… Anyway, now that the mood is light and the time is right, I shall proceed by introducing to you the painterly stylings of none other than Mrs Judy Cassab, whose study Hugh Todd Naylor Gaitskell (1957) – who henceforth will be referred to as ‘Hugh’ or ‘Hughie’ for the sake of my sanity – will be the subject of this evening’s scrutiny. As usual, I will commence with a brief bio of said artist before diving head-first (or more likely bellyflopping) into discussion of the painting itself.

Hugh Todd Naylor Gaitskell (1957), Judy Cassab, oil on canvas, 914 mm x 756 mm, courtesy of npg.org.uk

Judy Cassab, born Judit Kaszab, was received into 1920’s Vienna to Hungarian parents. Now upon reading this, I was consequently certain that there had been a vital error in Wikipedia‘s information, as Cassab had been labelled as an Australian artist. How hilarious, I thought, that they have confused Austria with Australia. Bless their little encyclopedic socks. However, after further research (the National Portrait Gallery website) into this apparent geographical misdemeanour, I have in fact discovered that I had been a tad hasty in my mockery of our favourite online information station, and for that I must apologise. It seems that Judy emigrated to Australia in 1951, after studying painting in Hungary, to make a name for herself as a portraitist. During her stint Down-Under she held over fifty solo exhibitions, debuting at the Macquarie Galleries, Sydney in 1953, and was recipient of several awards, including the prestigious Archibald prize (she won that twice, as you do).

In 1957 Judy was to paint the portrait that eventually made its way to London’s National Portrait Gallery in 1972 and, probably her greatest achievement to date, onto my little blog here another 30 years later ;-). The sitter, Hughie, was a British Labour politician, whose role within his party ranged from Chancellor of the Exchequer to Leader of the Opposition (1955 until his death in 1963). It is apparent that he was a popular political protagonist, even regarded by some as “the best Prime Minister we never had”. His untimely death put paid to his ever becoming Prime Minister though, as I mentioned earlier he never saw past the year 1963 due to the tragically abrupt onset of autoimmune disease, Lupus erythematosus, Awful stuff.

Close up of Hugh Todd Naylor Gaitskell (1957), Judy Cassab, oil on canvas, 914 mm x 756 mm, courtesy of npg.org.uk

What strikes me most about the painting, as with most examples of portraiture come to mention it, is that heartening semblance of sincerity conveyed through the eyes of the sitter. This, in my opinion and I am sure that this is the general consensus, is a mark of a truly great portrait. To display such an obvious degree of warmth and approachability in the countenance of a political figure is naturally considered to be against the norm. In addition, the casual stance and playful tilting of the head, like that of an inquisitive puppy, team up to enforce this idea of honest charm.

 Moving on from the head to the shoulders, knees and toes (minus the toes), and in particular to Hugh’s relaxed downward pointing left hand contrasted with the firmness of his right, we can see a body abundant in symbolism. Taking a closer look at the aforementioned hands, we can read a man with two sides to his personality: a relaxed and casual left accompanied by a steadfast and controlled right. Furthermore, the composition of the hands, with the left being higher than the right (left hand denoting left-wing), could indicate Hugh’s political standpoint as he was viewed to be on the liberal end of Labour. His cross-legged seating arrangement is indicative of a preference for privacy; a closed-off awkwardness in being under the careful scrutiny of the portrait artist. More discomfort is present in the aslant positioning of the body, no doubt due to the unorthodox way the subject is seated on the chair, and again in the tie laying catawampus across the abdomen.

If we next turn our attention to the background of the piece, we can see that Cassab’s choice of yellow could again be interpreted as a nod to Liberalism. Likewise yellow, the shade of positivity and springtime, has a darker side to it: bearing both the burdens of illness (think jaundice, and decay) and yellow-bellied cowardice. In the case of Hugh Gaitskell, however, I believe the former to be true as opposed to the latter, mainly due to his popularity within the political realm. The other prominent colour featured is green, which in my mind equals prosperity when talking affairs of the state, and thus nods to Hugh’s time as Chancellor of the Exchequer. It is interesting to note, on the subject of colour symbolism and its reference to political preference, that there is no direct nod to the Labour party, ie. there is no real visible use of red in the painting. Strange.

Clara Serena Rubens (1618), Peter Paul Rubens, oil on canvas, 370mm x 270mm, courtesy of wikipaintings.org

In summary I think it is fair to say that Cassab’s understanding of colour is enviable. All she needs is the mere hint of a brushstroke in a particular shade and she has constructed a perfectly formed hand. It’s sickening. Each piece is alive with colour and movement, with every stroke placed only under the utmost care and consideration. For some reason Cassab’s style reminds me of a piece by 16th century Flemish artist, Peter Paul Rubens. The one I am talking about is what I would class as his most well known portrait, and it is the study of his then five-year-old daughter, Clara Serena, pictured above. Perhaps it is the similar expression on their faces; the twitch of a smile playing about their lips and the genuine innocence in their eyes, together adding to the whole child-like demeanour present in both subjects. Or, more than likely, it is the same attentive manner in which the sitters have been painted. As far as my own work is concerned, I hope to embrace this dynamic way of painting and to place more importance in the composition of the face and body, as this is very revealing when it comes to audience interpretation.

Thanks for listening.

Sheringham Park, Norfolk (12/05/2012)

Nostalgic views of the North Sea, sun-soaked Rhododendrons, mysterious monuments, and Bluebell-dappled woodland: all hallmarks of a splendid afternoon spent at what some would debate to be Norfolk’s finest picnic destination, Sheringham Park.