Rowley Gallery Blog
It’s April 2023, and I will be 70 years old. What better way to mark the occasion than to plant 70 trees, not in the ground, but in the window of the Rowley Gallery. I sent out a call to 70 artists and got lots of replies. I could plant a small forest. So here’s a small celebration of trees, of their variety and complexity, their shelter and enchantment, and all their green, filtered, numinous enlightenment. Continue reading “70 Trees”
A mixed up mishmash of pictures, but connected by a shared interest in grids of one kind or another. I cast about, wondering what to include, but there’s a surprising amount in the net. I’m stealing the limelight with one of mine from years ago, so you’ll need to step in close to see over the top of it. But it’s a moveable feast. We’ll change it around, take things out, put things in, so please keep checking for updates. Continue reading “A February Window”
It’s like a compilation album with hits from all your favourite artists. They just take a bit of finding. And whilst you’re looking you might discover something new, something previously overlooked. You might even need to come inside and look around. But quick, it’s getting late. Continue reading “A Winter Windowland”
This is a rare opportunity to see several pictures by Jonathan Christie gathered together in one place; it’s his first solo exhibition anywhere and we’re honoured to host it in our window throughout June. Paintings and drawings inspired by favourite places and favourite artists, from Venice to St Ives via Ben Nicholson and Eric Ravilious and all stations to Alfred Wallis. Continue reading “Jonathan Christie: Paintings & Drawings”
This spectacular new book just arrived on my desk, courtesy of Octopus Books. It’s a delightfully illustrated guide to the world of craft beer by Richard Croasdale, with help from two of our favourite artists. Jonathan Christie was the creative director and Jonny Hannah was the illustrator. It’s an A-Z with a J for Jonathan & Jonny. Here’s a peek inside to whet your appetite. Cheers! Continue reading “The Craft Beer Dictionary”
The Red-Sailed Ships: Stiffkey
We recently got a nice job at The Rowley Gallery. Jonathan Christie asked us to make picture frames for a group of eight paintings he’d been invited to show with St Jude’s next month, in an exhibition called Airs, Reels & Ballads at The Scottish Gallery in Edinburgh. Continue reading “Eight Frames For Jonathan Christie”
Pienza was the creation of Pope Pius II. He was born here in 1405 when it was known as Corsignano, and in 1458 he commissioned the architect Bernardo Rossellino to replace it with a Utopian new town, intended to be the rival of Siena. The buildings around the main piazza were built within three years, but the rest was never completed. The ideal city remained little more than a village. Continue reading “In Pienza”
The Goosewoman & Old Bright, The Postman; c.1840. Private Collection
After 18 months of researching, writing, photographing and designing, my book George Smart, the Tailor of Frant: Artist in Cloth & Velvet Figures has finally been published. I first encountered George Smart’s pictures when I was a student at Maidstone College of Art over 25 years ago. I came across a few thumbnails of his work in a book by James Ayres and, despite being poorly printed, they jumped off the page at me and lodged themselves in my mind. Continue reading “George Smart”
Andrew Walton kicked it off: Dear Chris, I thought you might like this palette. I came across it in my shed. I had half cleaned it some time ago and left it as it looked so nice. I have always liked the working stuff which artists use. Turner’s paint box etc. I might think of a blog posting on this, what do you think? Each of your Rowley artists could send in a photo of their paint boxes and palettes! Continue reading “Palettes”
Every so often Jonathan Christie brings us a few new pictures. Never too many and never too often so consequently each new arrival is always eagerly anticipated. This time he brought Ghost House, a painting of a stone cottage so thickly covered with whitewash it appeared to glow in the dark. It also happens to be on Strumble Head, like Paul Finn’s earlier lithograph. Continue reading “Artists’ Voices”