Pinholes at its corners suggest that Bevan painted this on canvas which was pinned to a board. He divides the almost featureless plain into bands, with blue trees in the distance, and the far splash of a barn. It’s small, with fluid brushstrokes of vivid colour. Morning over the Ploughed Fields is an example of these paintings from about 1904, and was almost certainly made during one of his visits to Poland. © The Tate Gallery and Photographic Rights © Tate (2016), CC-BY-NC-ND 3.0 (Unported), ĭuring this early part of his career, he often sketched in oils en plein air. Robert Bevan (1865–1925), Morning over the Ploughed Fields (c 1904), oil on canvas mounted on hardboard, 21.9 x 26.4 cm, The Tate Gallery (Purchased 1969), London. He married the Polish artist Stanisława de Karłowska in late 1897, and in subsequent years often visited her family estates in central Poland. He arrived back in Britain the following year, and moved to Exmoor, where he apparently painted and hunted, a pursuit which had occupied much of his time when he was in North Africa. He returned to Brittany in 1893, where he was encouraged by Paul Gauguin and Auguste Renoir. In the autumn of 1891, Bevan travelled first to Madrid, where he studied the work of Diego Velázquez and Francisco Goya, before moving on to Tangier. He did, though, visit the art colony at Pont-Aven in Brittany in 1890 and, more briefly, 1891. Although it’s claimed that his fellow students there included Pierre Bonnard and several of those who were later to become Nabis, some of them were already at the École des Beaux-Arts, and it’s not clear whether Bevan ever came into contact with those artists in Paris. Among them was the son of a banker who had trained at the Académie Julian in Paris, Robert Polhill Bevan (1865–1925).īevan was born in Hove, on the south coast of England near Brighton, and in 1888 he started a brief period as a student at the Westminster School of Art before moving to Paris to study at the Académie Julian. Be sure to follow her progress through her website and instagram page and find her in unit 203 (red studio) at Wimbledon Art Studio.Walter Sickert and his circle invited other artists to join the Fitzroy Street and Camden Town Groups. To achieve understanding it is necessary not to see many things, but to look hard at what you do see'. Morandi once said, " One can travel the world and see nothing. Playing with lights and shadows brings a powerful ambiance to her artworks, set still in time and yet provoking viewers to wonder about the bigger picture each piece might be part of in the artists' mind. Pascale particularly enjoys working with restrictive palettes of colours as monochromes reflect her need for peace and simplicity. In 2019 she has chosen to focus her skills on painting domestic items which we usually do not pay attention to, challenging herself to catch viewers' attention by making them appear as beautifully intriguing sculptured items. Influenced by Georgio Morandi, Mark Rothko, Hammershoi and Lawrence Carroll, Pascale is fascinated by shapes, volumes and light. Pascale settled into the Wimbledon Art Studio in August 2018 with a desire to pursue her passion further. Having moved to London in 1998, she started her career as an Interior Designer in 2004 alongside painting from home as a hobby. Pascale’s passion for painting started in Paris where she discovered her passion for 17th-century art, leading her to join evenings' classes where she specialised in different oil painting techniques such as glaze.
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