Drawn from Turner
Alice Andrews works at Tate in the Membership and Ticketing department. She trained as an artist at Falmouth College of Art and Winchester School of Art where she gained a BA in Painting in 2003. She has just completed an MA in Art Theory at Goldsmiths College and she now combines her practice, which is currently concerned with aspects of drawing technique, with critical writing. She has exhibited her work at Wolverhampton Art Gallery, Hanbrinker Hotel, Amsterdam, as well as in London and Southampton.
John Bird, artist
John Bird is a Doncaster born artist, who as well as painting many scenes of his home town and county of Yorkshire has travelled all over Britain painting scenes of town and places. John paints for English Heritage, The English Tourist Board, The National Trust and the Wild Life Trust. A piece of his work was presented to the Governor of Hong Kong.
Susannah Flack, BA student, Chelsea College of Art and Design
Susannah Flack graduated from the BA Fine Art (Painting course at Chelsea College of Art & Design in June 2006.
Rose Jenner, BA student, Chelsea College of Art and Design
Rose Jenner is currently a final year student on the BA Fine Art (Painting) course at Chelsea College of Art & Design.
Christopher Le Brun RA, artist
Christopher Le Brun RA. is an artist whose work encompasses painting, sculpture, printmaking and drawing. He studied at the Slade School of Fine Art (1970-74) and at Chelsea School of Art (1974-5). In 1987 he received the DAAD award from the German government, living and working in Berlin for a year. He was a trustee of the Tate from 1990-1995 and the National Gallery from 1996-2003. He was the Royal Academy’s first Professor of Drawing from 2000-2002. He is currently a trustee of the Prince’s Drawing School.
I simply tried to copy this drawing. I suspect Turner was searching for the composition, as the likely subject, the house, is faint and remote.
I found the drawing remarkable for its evenness of attention. Hardly any part is favoured or exaggerated, everything is understated. The result seems like a faithful topography, calm and unfussed, with a steady rhythm. You sense that his great power as a picture maker is present but not called on.
A convincing urgency or rhythm, of course, is the last thing achievable in a copy, since where Turner’s eye was flooded with daylight and colour, I have only his time-worn lines on paper for a model.
The lesson of the copy? Perhaps that the pressure to make work decisively aesthetic should occasionally be resisted - for truth’s sake.