Don't you just love a good bit of alliteration? I certainly do and this title is a good example but have I stretched it a bit? Let's see - what are the connections? Well the first part is fairly obvious - "Winter on the Moors" means 'snow'. So what about Scarborough - where does that fit in? Scarborough Art Gallery is the venue for the 'East Coast Open'. This is a prestigious exhibition held every two years. It is an 'Open' exhibition which means anyone can submit work to be considered for selection. Generally what happens is that a selection committee comprising the gallery curator, a 'prominent' artist and one other - possibly a benefactor or friend of the gallery consider all the entries and choose what to show. It is quite daunting as a big event like this attracts a lot of entries and wall space is limited. It must have been 2002 when I was first 'persuaded' to enter and there are no prizes for who the 'persuader' was! Anyway we turned up at the Gallery with my three submissions and entry fee. "Winter on the Moors" was one of them. Directed to a large room I couldn't help but notice that it was crammed with paintings all neatly stacked waiting to be unwrapped and scrutinised by the judges.So with obvious trepidation I returned home to await my fate. Ah - the 'sweet smell of success'! I remember as if it was yesterday the mixed emotions felt when opening the letter bearing the crest of Scarborough Art Gallery and finding to my great joy that all three had been accepted. Also included was an embossed special invitation bearing the legend 'Exhibiting Artist' which entitled me and 'one other' to be admitted to the Preview on the Friday night before the official opening to the public the following day. Hey and drinks and light refreshments included! What about that then - I had finally made it as a 'proper' artist. Merice and I 'glammed' ourselves up and thoroughly enjoyed mixing with the great and the good that Friday night. Thankfully it turned out to be the first of many in lots of galleries. Though I stopped entering open exhibitions many years ago I will never forget the thrill of acceptance and seeing my paintings hanging there on the same Gallery walls that had featured works by John Atkinson Grimshaw and so many other great artists who had inspired me. Happy days. Glenn
Bridlington Bay from Dane's Dyke
I painted this a while back when I was quite new to the area. We had first visited Dane's Dyke for a stroll before the long drive back to York where we still lived at the time. It was and is a stunning place to meander through. This is the view over the bay towards Bridlington from the 'defenders' side of the Dyke. This was early Spring about 2006 (can't believe it's so long ago!) when the gorse was in full bloom and the trees were still bare. Happy days but glad we live just a mile away from this view now! Glenn
Steps to Falling Foss
Falling Foss is a well known waterfall near to Whitby in North Yorkshire. I have featured it several times in my paintings but this is rather an unusual view to be associated with such a spectacular attraction. In fact it is the welcome sight on the way home after the hard climb on the steep trail from the falls. Once through the old stone gateposts and you are back on level ground. So one last effort and you can rest. That'll be me round the corner out of breath! Glenn
The Forgotten Painting
"Burton Agnes Nocturne" - original watercolour by Glenn Marshall
28" x 20"
Painted on Saunders Waterford 140lb CP paper with Winsor & newton artists paints
I have called this blog 'The Forgotten Painting', as it really was quite forgotten and packed away with many others (too many others - though I expect I'm not alone in this!). I had been looking through some old paintings when I found it. It was done during one of my stints as artist in residence at Burton Agnes Hall here in the East Riding of Yorkshire. By this time I had become very interested in the life and work of a great Victorian oil painter - John Atkinson Grimshaw. This watercolour was painted in the style of that great Victorian Gothic genre of which Grimshaw was the undoubted master. I used a combination of just two colours for the body of the painting apart from a splash of red and yellow for the lit up window. I think it works and conveys that timeless mix of mystery and romance so beloved by Victorian society....and today's society too I hope! What do you think? Glenn
What's the connection between two old vases and two smoke damaged frames? While you are thinking about that let me apologise for the blurred image above. It comes from pre-digital days and sadly, is the only record I've got of one of my strangest commissions. Let me explain - the client had the two vases. They were very expensive vases and she wanted me to use the images from the vases to produce two paintings and put them into her two smoke damaged though still very expensive frames. Both vases contained images of young women in old costumes - one in Roman times and the other Georgian or Victorian getting ready to bathe. The paintings turned out OK - I simply transposed the two figures into a more romantic background. Unfortunately this is the only one I have a record of. The frames were restored by a friend with much experience in that field and Adele was very pleased when I presented the paintings to her along with two vases - undamaged I'm pleased to say. Halfway through an exciting new set of work for 'Double Vision' in November it was nice to look back at this painting and I hope you enjoy it too. Glenn
"Lifting Mist at Trough House, Glaisdale" - original watercolour by Glenn Marshall
30" x 22"
Painted on Saunders Waterford 140lb CP paper with Winsor & Newton artists paints
Glaisdale is situated in the North Yorks Moors National Park. It's a charming place with scattered farms and a delightful village which gives it name to the area. It also features the famous 'Glaisdale Mist' which can descend suddenly and without warning. We were caught out once and it was quite scary with very tricky driving conditions. However it can lift just as quickly and this was what I was trying to capture. I chose Trough House as my location - so named because it is used as a sheltered eating area during the shooting season. At other times it is the domain of the familiar black faced sheep who become used to humans and equate us with food. So much so that on my first visit I was surprised when the sheep came up and nuzzled at my hands for something to eat. Trough House can be found on the right hand side of the steep single track road that descends from the Millennium Stone down to Fryup Dale so give it a visit - you will not be disappointed especially if you leave the road and walk the track past the house to the dale head - but watch out for that mist! Glenn.
Twilight on the High Fells
The first artist who inspired me to pick up a brush was the great Yorkshire artist - Ashley Jackson. Merice bought me his book -'A Love Affair' - about his enduring love of the wild places of Yorkshire. I devoured it and spent many happy hours trying to work out exactly how he worked. I have never forgot his wonderful talent for capturing the spirit of the moors and still love his work today. When Ashley painted this scene it was already derelict but I brought it back to life for mine. The description 'twilight' not only applies to the painting but also relates to the way of life of these hard working hill farmers - a way of life that is disappearing in this modern world. They were and still are a very hardy breed and this is a tribute both to them and Ashley to whom I will always be grateful. This painting was originally intended to be included in our "Double Vision" exhibition at Bridlington Spa from 27th October to 27th November but I have moved in another direction for that so I am pleased to present it to you now. I hope you enjoy this glimpse of an arduous life in this wild and beautiful landscape. Glenn.
Professional artist now semi retired and enjoying being eccentric!