activities

Collage Workshop at Hertford Museum - 15th November 2017

This was the last in a series of Workshops, led by artists from Hertford Art Society, which have run throughout the year in the well-appointed studio at Hertford Museum, 18 Bull Plain, Hertford SG14 1DT. Sara Taylor, Museum Curator, presented some well-known images from 20th Century artists who have used collage in their work. Collage truly emerged as a medium in its own right in the early years of the 20th century with the Cubist experiments of Pablo Picasso and Georges Braque who coined the term Collage (from the French: coller, "to glue). Many artists enjoy working in this medium and examples by David Hockney and Robert Rauchenburg were included in the presentation.

 

A still life had been set up using items from the Museum’s varied collection of artefacts as a source of inspiration. These included a globe and a Tutankhamen bust.

Participants began the session by sketching the still life set up with emphasis on bold forms and interesting contrasts and transferred their design to thick paper. Artist Kathy Burman gave advice on design, materials and techniques. Magazines and newspapers provide a huge range colourful and stimulating images and additional papers can be created using acrylic paint. Papers can be torn or cut to shape, layered and glued using PVA or wallpaper paste.

Gradually, interesting images began to take shape - some abstract, some with personal references. Unexpected results can result - using found materials in this way gives free rein to the imagination. The final pieces were colourful and exciting - referring to the items on display but in very personal ways. Some of the participants had experimented with collage previously - for others it was a new medium.

 

The earlier sessions in Watercolour, Printing and Clay Modelling gave participants an opportunity to gain new skills with guidance from artists and “try out” working in these various media. The Collage session was also very successful. A wide variety of styles and images resulted. These can be completed later and, perhaps, used as the basis of further artwork.

It is hoped that further art workshops will be organised in the future and there is always something interesting going on at the Museum for visitors of all ages. Check the museum website for details www.hertfordmuseum.org.

Deconstruction / Reconstruction

Workshop with Denise Allen - 7th November 2017

The principle of this workshop involved tearing up old paintings, rearranging and making a new image out of the pieces. The session was led by Denise Allen, an experienced artist who runs workshops and classes in painting with acrylics and watercolours.

 

Members were asked to bring along two or three paintings which they were prepared to tear up. These could be either watercolour or acrylic, preferably on paper. This was an ideal opportunity to reuse paintings which, for one reason or another, did not quite work out. The best paintings to choose for this are ones that have some structure in them. This could be buildings, people or objects. Also needed was a new piece of paper to work on, pencil or pen, Pritt stick or PVA glue, and painting materials, whatever medium the artist prefers.

Denise began by giving a short demonstration of the process, tearing elements of her chosen paintings and placing them with a view to composing an interesting juxtaposition of forms and shapes. These were then linked, imaginatively, with a fresh drawing. Paint was then applied to enhance the chosen colour scheme and bring the new image together.

Members then began to work on their own interpretation of this deconstruction/reconstruction process, enjoying the freedom to play around with selected parts of their own paintings and endeavouring to find a new, interesting composition.

Denise gave advice and guidance as the evening progressed. The resulting images were quirky and personal - with abstract qualities. Denise was warmly thanked for leading such an interesting session. This is certainly a good technique to utilise old work, either to make a finished piece or as a route towards a further painting.

East Herts Decorative and Fine Arts Society

Each year for the last 6 years EHDFAS has sponsored the 3D award at Hertford Art Society's Open Exhibition.

In 2017 the prize was awarded to Nigel Earle, a local ceramicist. The winning piece is titled ‘After GR’. This alludes to a living artist, Gerhard Richter, whose paintings and textures inspired Nigel to translate Richter’s 2D work into a 3D format. The images are Nigel's work, and one of the pictures that inspired his piece.

Nigel has a studio in Hertford where he creates highly original table-top ceramic pieces ‘that explore layers, recesses and hidden spaces’.

 

EHDFAS Members enjoy monthly talks at the Spotlight Centre in Broxbourne on a wide range of arts subjects well beyond the decorative and fine. Among other things we also go on visits to outstanding buildings and galleries, hold Special Interest days and sponsor Young Art in local schools.

Several members of the Hertford Art Society are members of EHDFAS. For more information on EHDFAS please visit their website.

Wildlife Painting in Acrylics

Demonstration by Marie Antoniou, Wildlife Artist - 17th October 2017

Marie Antoniou won the BBC Wildlife Artist of the Year 2013 and has been a finalist or highly commended in recent David Shepherd Wildlife Artist of the Year Exhibitions. She contributes to Artist magazine and runs workshops in Essex and elsewhere. Her unique depictions of wildlife have earned her numerous awards and accolades. She enjoys using acrylics as they allow her to explore traditional subject matter in a more contemporary way.

Marie introduced us to her kit. She uses a large lidded nibbles tray for her paints. This large tray is loaded with her chosen acrylics - 2 blues (Process Cyan and Cerulean), 2 reds (Alizarin Crimson and Cadmium Red), 2 yellows (Cadmium Yellow and Yellow Ocre) plus Burnt Sienna and Phthalo Green. The paint remains usable in this sealed tray for ages, she simply tops it up. Marie mixes colours on a large tear off palette and works with a variety of large flat brushes (both artist quality [Liquitex] and decorating brushes) from 4” to ½” wide. These give the expressive brush strokes which are her signature style.

Marie invites the audience to choose which image she paints and although the baby hippo was adorable, a photo of a barbary macaque was chosen. Her canvas had been primed with a strong aqua green acrylic. She has a variety of canvases ready to work on, all with bright or subdued primers - to avoid white and unify the finished painting where it is visible between brush strokes. She advises dampening the brush before use (to avoid the brush becoming clogged) and using very little water as this dilutes the paint. Using the edge of a 3” brush loaded with a strong dark purple, Marie marked the position of the monkey on the canvas with swift stokes and lines, indicating features and shadows loosely. With a larger brush the background was established with dark blues, purples and reds to vary the colours within the eventual shadows. Shadow areas were added to the figure. She added yellow strokes to indicate the position of the straw on which the monkey was sitting. Her approach is very much trial and error, risk taking and working with the surprises which result. Marie tends to use larger brushes to establish the groundwork and tones, with smaller brushes used as work progresses. She twists and turns the brush to vary the marks, working around and within the form of the figure, gradually building areas of light and dark. She leaves areas to dry, thus avoiding making the colours “muddy”. A crisp, fresh “portrait” of the macaque gradually begins to materialise. Highlights are added, defining the figure further while leaving the underpainting here and there to add depth.

 

Her working practices is to build up layers of marks, painting loosely and enjoying the process. She avoids using white as far as possible adding a chalky colour such as Yellow Ocre to the mixture. She begins with muted shades and “turns up the volume” later with bright tones and fresh clean brushes. Marie always works from her own photographs and regularly visits zoos and wildlife areas around the country, seeking out newborn rhinos or gorillas when the opportunity arises. She is passionate about the plight of endangered animals. In her work she tries to capture the essence of the animal and create something different, trying to express the wildness of the animal or bird, adding life to the painting with the large, lively brush strokes. Her bold use of colour gives a slightly abstract fe el to the work.

 

Marie finishes the demonstration by adding bright oranges, reds and purples to the straw and background, dark strokes to the shadows and adding white to the mixture to define the facial features of the monkey and final highlights to shoulder and leg, thus bring the image of the monkey forward. It really had great character and everyone enjoyed watching the painting take form.

Marie was warmly thanked for giving us such an exciting demonstration and for sharing her experience, knowledge and enthusiasm. Her painting style is brave and confident and should certainly inspire some of us to experiment with large brushes and bright colours in the future.

Abstract Art - What is it about?

Talk and Demonstration by Chris Tkacz - 10th October 2017

Chris Tkacz was welcomed and began the session with an illustrated review of Abstract Expressionism, the term applied to forms of abstract art developed by American painters such as Jackson Pollock, Mark Rothko and Willem de Kooning in the 1940s and 1950s. Many of these strange images were ridiculed at the time but have since opened doors in visual art.

The artists of the time drew on the work of previous masters. The world became smaller in the 19th century. Early 20th century artists were influenced strongly by the Impressionists, their lives and struggles. Van Gogh and Cezanne expressed themselves with bold colours and mark-making. Gaugin experienced primitive cultures. Primitive objects such as masks had a great impact on Picasso and his peers. Symbolic, spiritual influences from previously hidden places found a place in their artworks. Cubism emerged. Artists had a new language to explore. Mondrian took his initial tree sketches on a journey, abstracting them by degrees. They were simplistic but significant. Kandinsky, Malevich, Gorky explored in their art the rapidly changing new world, creating images about energy, force, colours, shapes, forms. In Britain, the work of Ben Nicholson, Barbara Hepworth, Peter Lanyon and their contemporaries leaned heavily towards abstraction.

 

Abstract Expressionism was the first specifically American movement to achieve international influence and put New York City at the centre of the western art world. Post-war, there had been an influx of European artists into the United States. The scale and size of the US made a huge impact and these visual and emotional experiences were synthesised in abstract images.

Chris is Art School trained, an experienced art tutor, runs workshops from his Derbyshire studio and works in various media, including egg tempera. The Derbyshire countryside with its beauty and dynamism have been a great source of inspiration in his art. He continued his talk with his own feelings about the abstract paintings which he creates. These are often childlike. He doesn’t know where the image is going and has no “plan” at the outset. Themes reoccur. Landscape has a huge influence with occasional figurative influences. Childhood memories, feelings, smells - these all figure in his work. Chris brought a variety of sketchbooks and paintings to illustrate his current work.

He often begins with a series of sketches, done quickly in watercolour to distil the elements of a scene. He paints en plein air and in the studio and allows time for paintings to develop and be reworked (often months or years!). He works primarily in oils (recommends Mike Harding colours) and adds layers of paint (often thinned with medium to aid quick drying). He has no idea of the eventual outcome, just makes a mark, a line, a shape, a form - judging each one against the last. He adds and substracts forms and colour intuitively in a subconscious, reactive manner. Using the palette to create just the right colour and shade is an important part of the process. He loves the names of certain colours, they create feelings and his work is all about feelings and responses. The canvas is a theatrical space, the edges important. Shapes emerge, forms created by illusion.

 

While talking about his approach, Chris “doodles” on a large square canvas then puts it to one side. He takes an old painting (mostly green trees) and begins overpainting, following some of the shapes within the original. He blocks in what might be an intense sky, then rotates the canvas which gives a totally different feel. Returning to the original canvas he refers back to a watercolour sketch as a starting point then adds some line and colour. Forms begin to emerge. Warm and cool colours create perspective and distance. A horizon appears. Glazing medium allows delicate layering of paint as the underlayer dries quickly, almost like watercolour technique in places. Bold scratching integrates one shape with another and adds texture. He picks up one of the earlier marks and adds a dynamic wavy shape. Each additional line or colour changes the relationships within the image and forces the artist to make judgements and move forward. At the end of the evening he invited participants to make some marks on his canvas. Neither of the demonstration pieces was finished, they were just used to illustrate his approach and techniques.

Members thanked Chris for a very enjoyable evening. The short history of the development of Abstract Expressionism was key as it, together with a more romantic English landscape tradition, shaped his work during his formative years as an artist. His very personal approach to creating abstract works was fascinating and inspirational. .

Clay Sculpting Workshop at Hertford Museum - 27th September 2017

The third Workshop in the series by Members of the Art Society at Hertford Museum was to make a relief on a tile inspired by an exhibit in the museum. This Workshop was led by June Pickard, Artist and Sculptor.

After the introductory talk on what to look for in the museums artefacts and having been shown examples of what could be done at different levels, the seven members of the public who attended looked around the museum to photograph or sketch items suitable for a relief. On their return the various tools and how they were used were explained.

When they had decided which design they wanted to use the outline was lightly etched onto a flat tile they had made by rolling out and trimming the air drying clay. Once this was done the serious work began by adding small pieces of clay to produce a raised image.

There was a large range of abilities from one person with experience who had prepared her design the night before, to others who had no experience at all. As they got more used to the medium and what effect different tools produced some got carried away and made more than one tile. The designs were bold and exciting.

Everyone was very enthusiastic and even the organiser joined in. They all left happily with their pieces saying they would like to do more.

This is a marvellous way to further the popularity of the Art Society and, needless to say, mention was made of the Members Show which will be held at Cowbridge Halls, Cowbridge, Hertford on 27th to 29th October and the Collage Workshop which will be held at the Hertford Museum on 15th November.

Summer Painting Weekend - Rye and Camber Sands - September 8th, 9th and 10th 2017

The HAS annual art weekend away for 2017 saw us visiting Rye and Camber Sands. Having moved the weekend to the latter part of the outdoor painting season we had a slightly better response from Members.

Rye proved to be an ideal venue enabling a choice of marine or town subject matter, however, as the streets were narrow and busy with tourists the majority of us stayed in the Old Harbour area.

  • Summer Painting Weekend
 
 
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    George Garbutt - Sketch 1
  • 2017sep-summer-painting-weekend-rye02
    George Garbutt - Sketch 2
  • George Garbutt - Sketch 3
  • John Jarratt - Derelict but once crucial
  • John Jarratt - Sketch - the end of the waterway
  • John Jarratt - Watch Tower House
  • Margo Ward - House - Oil
  • Margo Ward - Oil
  • Ray Ward - Acrylic
  • 2017sep-summer-painting-weekend-rye10
    Ray Ward - Watercolour
  • Stephen Lowe - Martello Tower, Rye - Oil - 50 x 30cm
  • 2017sep-summer-painting-weekend-rye12
    Stephen Lowe - Sailboats, Rye Harbour - Oil - 25 x 20cm
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As I arrived at lunchtime on Friday I set up to paint in oils using the boot of my car as a cover to the impending rain (a good tip if you have a hatchback car) it was just the right thing to have done as light showers came and went most of the afternoon but still an enjoyable session of painting.

Friday night saw us in good mood enjoying a meal of fish & chips and talking of our choices in accommodation, the journey down and plans for tomorrow.

Saturday started with fine weather if a little breezy and I set to on an oil of the Martello tower from the flood barrier. The drama of a very high tide flooding the landscape and a flotilla of sailing boats taking full advantage of the breeze setting off to sea offered more choices than an artist could cope with and quite a few sketches ensued.

A fine meal on Saturday evening set us up for Sunday’s painting at Camber Sands. The wind was so strong it was like painting inside a sandblast machine! There's lot of gritty sand on my oil sketch which may prove useful for a future reference in a studio work later on.

Next year we are looking at Blakeney on the Norfolk coast, possibly in June, and members will be advised as soon as the possibilities have been researched.

Stephen Lowe

Winter Programme 2017 - 2018

From September each year Society Members and visitors enjoy a Programme of talks, critiques, demonstrations and workshops. These sessions are on Tuesday evenings from 7.30pm to 9.30pm at Cowbridge Hall, Cowbridge, Hertford SG14 1PG. Approximately half the evenings in the Winter Programme are for Members to paint or draw either from still life arrangements or a life model. The remaining evenings are taken up with talks, critiques of paintings brought along by Members, demonstrations from a professional artist or workshops. Visitors are welcome to enjoy the non-practical evenings (marked with an asterisk).

Winter Programme 2017-2018 (pdf) - click here for more details

Summer Programme Review 2017

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Artist gets a better viewEach summer Hertford Art Society Members enjoy painting and sketching out of doors on Tuesday evenings at various venues in the Hertford Area.

This year’s programme included familiar locations around Hertford and Ware and featured (by kind invitation) visits to The Garden of the Mill - Westmill, Bengeo Hall, Essendon Place Farm Stables, Walkern|Hall Estate and Carnwell Farm - Much Hadham.

The weather was mostly kind (one rainy evening involved three hardy artists and a longer than usual session at the pub) and the variety of venues provided some exciting sketching and painting opportunities.

A new Member of the Society, Oksana Melenevska, comments:

“Not so long ago I joined HAS and cannot stress enough how fortunate I am. The Summer Programme was organised in the best possible way with the variety of the picturesque spots round Hertfordshire.

As the time is limited (about 2 hrs) it has giving me a chance to practice a looser approach that's as much about the paint as the subject. Exploring the paint and reacting to your surroundings was such a fun! At the same time it's a great way of warm up for more serious work that can be continued back in the studio.

Painting outdoor with the fellow artists also is a great opportunity to be encouraged just to sketch and keep on being a sketch hunter as it's the most effective way to train your eye and hand which is essential.

These are my Notan quick drawings which I always do before starting to paint.

Happy painting everyone!

Whats is Notan:

The Japanese use the term 'Notan' to describe an important element of design. Notan means dark versus light harmony. The Japanese concept of two value Notan uses the simple concept of contrasting light and dark shapes.”

Public Art in the City of London - Illustrated talk by Alexandra Epps - 18th April 2017

Alexandra Epps, a graphic designer, NADFAS lecturer and City of London Guide was welcomed back for a talk on Public Art in the City of London, concentrating on modern and contemporary art. The City has been her home for over twenty years and since qualifying as a guide she is keen to share the stories of its public art, iconic architecture, and fascinating history.

“The role of Public Art is to enrich the environment in which we work, play, learn and live” - Listing Team, Historic England.

Alexandra led us through some of the most exciting public art: sculpture, relief, wall decoration in this most remarkable square mile, the City of London with its two thousand years of history. Photographs (by kind permission of Art in the City) illustrate some of the works - others are easily found online.

 

Paternoster - Elizabeth Frink - 1975

Situated in Paternoster Square in the shadow (among the columns) of St. Pauls Cathedral, this bronze sculpture of a shepherd with his flock alludes to the idea of pastoral care, the religious community and the freedom of the city which allows sheep to be led across London Bridge. Frink wanted to capture the essence of man - strength, vulnerability and sensuality. Her original sculpture was plaster on a wire armature, the textures translated into bronze.

 

Angels I to V - Emily Young - 2003

These stone heads sit on columns gazing towards St. Pauls and the artist blended old and new, with the distressed natural stone contrasting with the smooth carving. These are “children of the Earth” and each has its own presence, which the artist allowed to emerge from the stone without prior design. There are others behind Tate Modern. They are large and imposing, carved with tools from Purbeck stone.

 

Paternoster Vents - Thomas Heatherwick - 2002

These are often referred to as simply “Vents” (also referred to by some as “Angel’s Wings”). The sculptures, made of welded stainless steel, are 11m tall and produce ventilation for an underground electrical substation in Paternoster Square. Beauty and practicality combined. This artist designed the Cauldron for the Olympic flame.

 

City Wing - Christopher Le Brun – 2013

(current president of Royal Academy – painter and sculptor)

This wing, which is part of a series, is 10m. tall in painted bronze. This could represent an angel’s wing, a bird’s, Mercury’s or be the wing of a dragon, the symbol of the City. You choose.

 

Nail - Gavin Turk - 2011

A total contrast, Nail is a 12 metre bronze sculpture painted to appear like a giant rusty nail. Standing outside the One New Change, shopping centre which reflects St Paul’s cathedral in its mirror-like glass windows, it is rusty and tactile. Nail is a nostalgic reference to traditional tools now rarely used and references the intersection of two worlds of history and money.

 

Relief panels - Mitzi Cunliffe - 1969

Cunliffe developed a technique for mass-producing abstract designs in relief in concrete, as architectural decoration, which she described as "sculpture by the yard”. This set of reliefs originally decorated the façade of the Scottish Life House in Cheapside. They are 4ft. square and serve as emblems or signs. Cunliffe was based in Manchester and everyone recognised the golden BATFA mask, which she designed.

 

Ceramic panels - Rupert Spira - 1992

Spira perfected the art of interlocking geometric tiles with various complex glazes. In 1992, he received a commission to build a mural at the rear of an office block on the East side of New Bridge Street in the City of London. The result is 23 beautiful handmade stoneware panels made up of 18,000 tiles. The artwork is arranged as a visual game for the pedestrians, its beautiful glazes mixing reds, blues, turquoise, green and grey form an optical illusion and the murals run the entire length of the rear elevation to the building. The forms are reminiscent of Escher.

 

St Stephen’s, Walbrook

Just a couple of minutes’ walk from both Bank and Cannon Street tube stations, this church is considered one of Christopher Wren’s masterpieces. It sustained some but not irrecoverable war damage and was restored, and many of the monuments and furnishings survived. The stone altar (which caused some controversy when it was commissioned) is by Henry Moore (1972) and the circlet of colourful kneelers surrounding it were designed by Patrick Heron (1992). These are set directly below Wren’s beautiful dome and the seating in the church is, unusually, in the round.

 

Adam and Eve stained glass by John Hayward - 1968 at St Michael Paternoster Royal

War damage gave an opportunity to provide new, modern images for these Church windows. This is one example of a range of fascinating post war stained glass on offer within Wren’s restored churches in the City.

 

Revolution in 2 parts - Rob & Nick Carter - 2005

This is a window installation at 200 Aldersgate comprising concentric circles of neon, a striking modern, ever changing, target-like image.

 

Time and Tide - Simon Patterson - 2005

Situated in Plantation Lane this artwork is a wall with a moonscape in changing colours, and an evocative pavement etched with key words relating to the city and its history. Old meets new with a church tower at the end of the lane and reflective windows opposite.

 

Chromorama - David Batchelor - 2015

Set within Sun Street Square next to 5 Broadgate, this totemic sculpture (22.5m tall) of coloured boxes acts as a signpost. It is illuminated at night and creates a striking meeting point for visitors to the Broadgate Centre.

 

Memorial to Heroic Self Sacrifice - George Frederick Watts - 1899


Postman's Park
G F Watts' Memorial

Postman's Park
Tribute to Alice Ayres

Postman's Park
Tribute to Leigh Pitt

Situated in Postman’s Park, just west of Aldersgate Street this poignant, sheltered wall records the names of people, in a series of tiles, who gave their lives in saving others and details their heroic acts. The first 24 of these were made by William De Morgan, the balance by Doulton’s of Lambeth. They record these events in touching detail.

 

Zodiac Clock - Frank Dobson & Philip Bentham - 1959

This unusual astronomical sundial related clock is situated on Bracken House, Cannon Street. It features the face of Winston Churchill, (a personal friend of Brendan (Bernard) Bracken). This is surrounded by gilded signs of the zodiac, on an azure background. Bracken ran the Ministry of Information, supposedly the model Orwell used for his Ministry of Truth, and some say the initials of Big Brother are no coincidence.

 

Gilt of Cain - Michael Visocchi & Lemn Sissay - 2008

This powerful sculpture commemorates the abolition of the transatlantic slave trade in 1807, which began the process of the emancipation of slaves throughout the British Empire. It is situated at Fen Court, Lombard Street. A group of columns surround a podium. The podium calls to mind an ecclesiastical pulpit or slave auctioneer’s stance, whilst the columns evoke stems of sugar cane and are positioned to suggest an anonymous crowd or congregation gathered to listen to a speaker. Extracts from Lemn Sissay’s poem, ‘Gilt of Cain’, are engraved into the granite. The poem skillfully weaves the coded language of the City’s stock exchange trading floor with biblical Old Testament references.

 

Memorial to the people of London who died in the Blitz during World War II - Richard Kindersley - 1999

This memorial, carved from a three ton block of Irish limestone is positioned outside St. Paul’s Cathedral.

 

Three Printers - Wilfred Dudeney RBS - mid 1950s

A monumental, life size sculpture, the only public monument to British newspaper-making, was originally situated off Fleet Street. Redevelopment followed and the sculpture ended up in a Watford demolition yard. It now has a new permanent home in a corner of the Goldsmiths’ Company garden off Gresham Street in the City of London.

 

Monument to Baron Paul Julius Reuter - Michael Black - 1976

Situated behind the Royal Exchange, this was commissioned to mark the 125th anniversary of the foundation of the world news organisation that bears his name. It is a bust set upon a block. The block is engraved with wording in tribute to a pioneer of communication in print.

 

Murals - Dorothy Annan - 1960

Previously installed on the outside the Central Telegraph Office in Farringdon, these 9 panels as celebrations of 20th Century technology have been saved, listed and relocated to one of the Barbican highwalks.

 

Resolution - Anthony Gormley - 2012

‘Pixelated’ figure at Shoe Lane/St. Bride St. formed of cast iron (terracotta) blocks.

Alexandra advised us that the Corporation of London is one of the largest sponsors of Art in the country and that a great deal of money was originally invested in public art in the Broadgate area. Each summer works are installed throughout the City in the Sculpture in the City programme and there is always something new, be it projected images onto the dome of St. Pauls (Martin Firrell) or Ben Wilson painting discarded chewing gum on Millenium bridge.

Alexandra was warmly thanked for providing such an exciting talk on the wide variety of art forms to be found in the City and acquainting us with the work of artists, some familiar and some new to us, whose artworks grace this square mile.

Haydn’s Mass and Te Deum - All Saint’s Church, Hertford - 1st April 2017

The Art Society was once again invited to illustrate Hertford Choral Society’s Spring Concert – Haydn’s Mass and Te Deum. This is a tricky score to illustrate – the works contain devotional phrases familiar to us all but few descriptive terms that readily transform to figurative pictures.

Persis Limbuwala did the sensible thing and painted an abstract of ‘Heaven and Earth full of the Majesty: of thy Glory’ - a Mondrian-style image of colourful panels edged in black which gives the picture a stained glass effect, entirely appropriate to its church setting.

Jenny Stratfold worked in a human theme with a panoply of worshipers from different lands to convey ‘The holy Church throughout all the world doth acknowledge Thee’ and Geoff Reynolds also decided to go for a group of people to illustrate ‘We praise You, we bless You, we worship You, we glorify You’.

Paul Swinge created cubist images depicting ‘You alone are the Most High, Jesus Christ with the Holy Spirit in the glory of God the Father’; John Jarratt selected just one of the Holy Trinity but was able to add in Planet Earth to illustrate ‘You who take away the sin of the world’.

Sarah Merry painted ‘Light through a stained glass window falling on the music of the Te Deum’ and Oksana Melenevska, a newcomer to the Art Society, cleverly took her cue from the title of the piece – The Lord Nelson Mass – and showed Nelson resplendent in his naval uniform with a French frigate burning in the background.

For all of us creating images to illustrate the Choral Society’s Spring Concert is an annual challenge, privilege and pleasure. And it brings with it an invitation to all members of HAS to come along to the final rehearsal on the afternoon of the performance to draw or paint the orchestra, soloists, choir and conductor: there never was a better chance to get up close and personal to a large scale musical event, free to capture the folk at work, great music swirling around you.

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The large scale pictures were much appreciated by a packed audience on the night of the concert and for a month afterwards as the vicar of All Saint’s Church enjoys keeping the pictures hanging in the church for her subsequent congregations to take in.