Going back to the title of the book, it seems to me that Vinciarelli’s work is united by light, both literally and as a metaphor – from the courtyard typology and pergolas, to the luminous watercolours, it always comes back to bringing in light. Vinciarelli once made a connection between some of her watercolour paintings and the 'Annunciation' scene from the Bible, and how light penetrates the protected space of the Virgin, who is in an enclosed garden (the 'hortus conclusus'); the hortus conclusus, in turn, had influenced Vinciarelli’s designs of gardens. So as diverse and varied as her work might appear, it is all connected, and it always comes back to the light.
The thick impasto style of Kyffin Williams’ paintings could not be more different from the subtle transparencies of Jones’ watercolours: layers of paint applied with a palette knife to sculpt the mass of the great mountains of the Ogden Valley - Snowdon, Glyder Fach, Glyder Fawr and Tryfan. But perhaps the inspiration comes from the same Celtic origins. ‘It is in Wales that I can paint with the greatest freedom’ Williams said.
Alan Powers, author of Eric Ravilious: Artist and Designer, discusses the current display of the artist’s works at Dulwich Picture Gallery and the challenges of accurately reproducing his unique watercolours in print. It would have been convenient if Dulwich Picture Gallery had put on their current exhibition of Eric Ravilious watercolours two years ago. In […]