Landscape Artist of the Year 2015 – Episode 9

Landscape Artist of the Year 2015 - Episode 9

welcome to beautiful flat furred in Suffolk made famous by John constables the hay Wain it's one of the most celebrated views in the history of art to date hosts a very special event when Doreen McIntyre one Sky Arts landscape artist of the year she was commissioned to produce a painting of flat furred today is the grand unveiling for the past eight weeks we travel the country in search of an undiscovered landscape artist all right I'm ready excited from painters to lino cutters edges to sketches over a thousand applied but only one could win in Aaron McIntire Naren never failed to impress the judges throughout the competition this has gone beyond my expectations I think she lives and breathes landscape is fantastic I'm so happy this would definitely change my life now Noreen tackles our amazing price at 10,000 pounds commissioned to paint one of the jewels in the National Trust's crown flat furred in Suffolk it's so iconic it is quintessentially the soul of England following in constables footsteps and never thought I would be able to come somewhere like this and finding her own way through the landscape it's very magical being here because you're taken back to when he painted marine will be painting one of the world's most admired views that will then become part of the National Trust permanent collection okay okay back home in Dysart on the southeast coast of Scotland being crowned landscape artists of the year is still sinking in for Noreen I couldn't believe it when they said my name I really can believe it I remember shaking and just because I just didn't I just didn't think I would when I was so emotional and obviously always like a dream Noreen's journey in the competition started at one of the heats at WOD Stern Manor in Buckinghamshire and she faced the challenge from the outset I was really really nervous about I'm going to Woodsen because I I don't normally paint in buildings at all so the first hour I was panicking great about then I thought I just just keep painting and you know get through I think it's a really courageous brilliant contemporary painting this is absolutely magical I've fallen fight I'm afraid I've been seduced by it completely the rain evolved throughout the competition she entered with this very magical realist undergrowth II forests which came out of Grimm's fairy tales and the competition puts incredible strains on the artists you know she really was moved out of a comfort zone and she adapted very well Nerine overcame the challenges of including buildings in her compositions so much so that she was even playing with the reality of the view in her painting of Tower Bridge in the semi-final quite impressed by her brazenness you know it's got this fantastic huge building and she felt free to put it in a dark forest just flip it round and make a very sort of evocative image it invites you to spend more time and the more time you spend with it the more things are revealed she's delivered something really special there with her place in the final secured Nerine was given two weeks to paint a commissioned piece that the National Trust at plus now is in Anglesey this was judged along with her final competition painting at the landscape garden of star head in Wiltjer here in a commercial you get not only the Mystery's light but you go through the painting I think it's come together fantastically it's just phenomenal I really like the stare ahead landscape in terms of the huge amount of woodland and the different shapes and lanes created by the cheese and sort of the layout of that landscape I really I really like that fact I also like the fact that there was not one central focus of a building so you could take quite a few elements from each so I I really enjoyed that she's also doing something with layering as well so in the way that we're taking the elements from this landscape it's almost like there's an arien of history the sky arts landscape artist of the year is Noreen McIntyre I couldn't be more proud of winning the competition more than anything she just wanted to get really good comments and feedback from the judges and for judges to actually like her stuff so I think that probably the most important thing in for her she one as soon as I clapped eyes on that painting I really felt so strongly that we had a groundbreaking arthas if you think of painting as a sort of three-way thing between the subject matter the artist and what happens on the canvas there was a lot of stuff coming from her into the picture and I liked what she had to say about the world I think she deserved to win because she's got this incredibly fresh approach to landscape it's not really like anything you've seen before it's a new language in a way I think that's what you're always hoping to find in an artists work you want to see them looking at the landscape interpreting it in a brand-new way my work is mainly seascapes or dark woodlands or quite may be haunting with and some people would say I almost feel like you can go through them and you can be engulfed in them and the darkness helps with that contrasting me with stark elements of gold or light so it does create for me anyway a magical mood or a magical motion within the work what is clear is that she has a voice and it's a voice that's the developed over quite a few years she's a mature art is not in years but an experience and what she wants to say about the world and it was refreshing it was new it was something I hadn't seen before yeah with much confidence Noreen graduated in fine art from edinburgh art college in 2002 now 35 she has two young sons and juggles home life with her own painting she works part-time as principal teacher of Art and Design at Dunn thermal in high school it's really structured really organized just named when you think about even more geometric shapes or even almost like a broken or smashed letter or something like that miss McIntyre comes around and she'll just fire out ideas and we just sort of take take it as a class and everyone's always helping each other I really pleased that she's one it's an amazing achievement and were proud of her I'm excited to see what her works like now because so many people applied like to be part of this competition and that she's one was taking her advice when she entered the competition she didn't actually tell us it was only when she came rather sheepishly to say that she'd been invited to attend some heats that she asked for time off and when she told us a full story we were absolutely delighted to support her she plays everything very very quietly indeed she never boosts or brags about anything my only worry and it's a very selfish one is that I don't want it to be too successful in that sphere because I do not wish to lose an outstanding teacher Noreen's prizes landscape artist of the year is to produce a painting for the National Trust permanent collection at ten thousand pounds this is the biggest Commission of Marines artistic career and will bring its own challenges she'll be painting a location which came first in an online poll held by the National Trust flat furred in the stellar Valley in Suffolk made famous by one of the greatest British landscape painters John Constable I'm really pleased but nerine's painting is going to hang permanently at flat foot I think it's a real mistake if you think about what the National Trust does is preserving everything in aspect from the past we're really trying to incorporate new views of the world into the work that we do and I think she will make a great contribution to that debate about what landscape means to us as a people the importance that we as the English nation hold our landscape for and what we do with it and I think that is really something that she could contribute to giving the winner the chance to do a commission of flatter'd mill is bonkers I mean it's so iconic you can't even see the view without thinking of consequence seeing through the lens of Constable it is quintessentially the soul of England also constable paints about light but actually there are very rich green dark shadows I'm thinking the read will have a fantastic time painting this so on the one hand it's a crazy endeavor to give it to because it's so iconic on the other hand it's be refreshing to see what she comes up because I think as an artist you will find something new for us to see I was really excited to find out that it was the flat front view constable such an iconic artist it would be really interesting to delve in a little bit more and see his working methods his approaches the sort of thing isn't racism and landscapes I've never seen a constable and real-life so I mean that would be you know that's gonna be amazing and she actually be in the place where he's worked it's a very big big feel and a big responsibility almost so I'm really looking forward to what I wanted to do is go through a door that constable opened in the sense that spend time with the landscape walk through the landscape to see it different times of day think about the clouds think about the way that the light interacts with the water and really think about him as an artist and not be terrified by that but actually be really encouraged by that and be really inspired and I think if she can follow his lesson of really looking observing spending that time outdoors and really feeling the landscape then she's bound to produce something wonderful before traveling to flat third Marine has come to the Victoria and Albert Museum in London home to the largest collection of constables work she's meeting dr. Mark Evans a leading authority uncomfortable to learn more about the artists working methods and to see the full-size oil sketch for the hey Wayne could you tell me a little bit about the here in sketch or sketch and in the view yes well the the big sketch of the hey Wayne arose in the winter of 1822 21 because constable was really in a hurry to get a painting finished for the Royal Academy so he had six months and what he did was that he found an old our sketch we had at least two of them showing Billy Locke's cottage and then he extends the composition across to the right and then of course he needs a central motif so the idea of a farm or wagon crossing a Ford which was basically what we're looking at is something that that he would have known from earlier Dutch and Flemish paintings and then punctuating it I suppose with these foreground motifs the typical constable black and white dog yeah that you see running around in so many constable landscape pictures how does the painting differ from their oil sketch and there are little features like for example the boy with the horse and if you look at the finished painting you can see a shadow because he originally painted the boy in and then decided he didn't like it so he painted it out but generally it's a matter of finish the the sketch is more monochrome and of course to our eye looks rather more dashing and expressionist than the finished painting could you tell me a little bit about his process I mean his process developed over time because he always made little pencil sketches he carried it at a notebook like this to make pencil drawings but a central period of his career is the period when he was oil sketching out of doors very systematically these weren't on the whole studies for pictures but they were ways of patching ideas and capturing the way light and cloud and water looked in oil did that make him quite radical them because I mean what other artists doing the same sort of thing very few artists in constables time worked like that and it was something that constable maiden neatly his own seeing constables paintings up close helps marine to get a feel for flat furred she spends time looking at a collection of constable sketches that are not normally on public display and a replica of one of his notebooks it's really amazing being able to see one of his sketchbooks summer Phil page and some he's just got like little details for sections of the pages must have carried them with them all the time just in case he saw anything that sort of captured his early I always say to the kids at school about using Nvidia should have laying different quality of Lane and pressures and your tonal ranges and if you look at an artist like constable you're able to see how many different marks he used to capture an image which is what what you need to do you know you've still got the essence of everything there you can see the structure of the cheese and the landscape and the water it's a complete shock to see how fresh the pieces are the colors still really alive the landscape still look really alive and Mark was just Rowan I mean nose apron it was really interesting to hear and speak about constable and his techniques it was really good I'm so happy to to have come here and never thought I would be able to come somewhere like this and and I'm like to speak to people that we know so much about em artists like a before and aunt is he liked the work and I'm really looking forward to going on and and and seem flat furred and him in constable country and just being able to see the images and and real you know in real life landscape artist of the year winner Noreen McIntyre has been commissioned to produce a painting for the National Trust and so far her research is going well I really enjoyed my time at the Victoria and Albert Museum it was really worthwhile I feel there's really helped me prepare going forward to flatfoot I just can't wait to really immerse myself and all the visual imagery and gather as much information as I can Noreen is on her way to find out the National Trust hopes for the Commission and to start a preparatory work in the place that has become affectionately known as Constable country if usually Satan's be traveling into Constable country especially the same time of year as he would he'd been working on his landscape they hear me with the weed and the natural light sitting off the landscape and the atmosphere as commuters I just get a stronger sense of connection so I'm really excited about going to plat Foods since the end of the 19th century visitors have traveled from London by trying to set foot in the landscape which waited in so many of constables paintings the scenery is beautiful the landscape is very green there's so much space it's very reminiscent of the pieces that I've seen of Constable so far so I would see it is quite classically his landscape John Constable was born in 1776 and grew up in the village of East bear cult a stone's throw from flat foot his father Golding constable was a wealthy corn merchant and owned flat furred mill it was this working landscape it's light atmosphere and realism which imbued John constables art in many respects constable sort of defined what British landscape painting was in his day constable was groundbreaking he was pioneering in the way that he thought about composition in the way that he sketched in the way that he brought together the painting he was a great example for the Impressionists because he was the first person to look at how light falls on surfaces I mean to the point where on his six-footers the big final pieces he would add flecks of white to try to recreate the way light flickers off the surface my night was very radical in actually looking at the landscape and seeing it as it actually was and how it affected your retina rather than harking back to some romantic classicism he's so radical that he's become the establishment and actually that's what's so exciting about being on this journey with marinas that she is really radical but actually people respond so well to her paintings yes the vocabulary is new but they still really speak to you getting here and being confronted with all the different scenes of the landscapes of constable is really exciting very unbelievable almost in a way that you can see the scenes of his life and painting and just to be able to be here with any scenes actually quite magical marine is eager to start recording her first impressions of flat furred in her sketchbook there's a huge amount of color in this landscape and vast array of greens silver green then you've got that contrasting with the dark blue green is just beautiful to see such a contrast and variation of colors today I'm working on a ground which is just a varnish with a enamel finish and it just gives you a prepared tone to work on so I find it better looking at the lines within the trees and shapes and the different textures looking at as much of the natural elements as possible so that I can maybe try and incorporate a few different elements within the commissioned piece to find out more about their hopes for the painting of flat foot Nerine is meeting Ben Cowell from the National Trust at Bridge cottage constable didn't live in this building this was a building lived in by estate workers mill workers who weren't for his father his father was a very successful businessman and he had a reasonably prosperous upbringing but he very much made flat for the center of his art people have been coming on pilgrimages to flat furred actually ever since constables day itself to soak in the landscape that that inspired him and this is the place we'd love you to create a work of art form because we've got this these blank walls here that just need something in them to bring them to life and really as it's for you to think about what landscape would fit best in one of these two spaces because they do such a lot of work editing the sketches and the photographs that I take when I go back to the studio I would probably wait until I've really immersed myself in that but I'll definitely have in my mind going along and coming back to the studio a really clear vision of where the image can possibly hang em and do you know whether you would be framing the piece or whether you would leave that frameless because that would maybe allow for a beggar dimension of canvas and a bigger image that's a really good question and I think it depends on what you produce actually we've got to bear in mind this is quite a small enclosed space and there's some quite heavy Timbers here so I'm thinking maybe without a frame would give you more freedom and produce an image that really jumps off the water you let's see what what you produce we're really thrilled to be part of the landscape artist of the Year competition landscape as an idea is really important to the National Trust the landscapes of this country which are famed all over the world are really under pressure and the National Trust is looking to the future to think about how best can we protect them how can we protect the Nature in these landscapes how can we ameliorate the pressures of development and I think art is a wonderful way of expressing the tension between development and conservation and I think that this competition and nerine's contribution to it will be fabulous in that context Ben takes Noreen to see the view that is most associated with Constable so here we are this is the famous scene that constable depicted in the hay way it's really amazing to see to see it in real life after having seen the painting the landscape still looks really familiar it does doesn't it it's very evocative iconic is an overused word in relation to works of art but this truly is an iconic scene and we try and maintain this view very much as if it was the hay Wain so that people can recognize it well it makes it endearing to the visitors I'm just a zip muscle antek constable absolutely so but for him it was an everyday working scene of of working life as part of his father's business with the mill why do you think constable was such a a revolutionary artist this was a time when landscape painters painters generally would go off and find the most dramatic scenes to depict scenes of mountains or rocky scenery in the uplands constable decided to stay put he stayed in this quiet corner on the edge of Suffolk and Essex and he painted pictures that were about the everyday landscapes of his father's business they were industrial scenes in many ways and that was really what was so radical about it yeah I think that and the fact that he took such meticulous detail to record every single little nuance and subtlety in that landscape you can lose yourself hours in the pictures that he painted yeah every single aspect of landscape he just reveled in and he made it his life's mission to paint landscape in a way no one else and painted landscape before I think noene has a tough job following in constables footsteps oh I'm not expecting a copy of the hay Wain or any of constables famous pictures I think it would be great if we could include some of that detail that constable was so meticulous about recording and in a sense there's a tension at the heart of this so I think norine has to create a scene that is both peaceful and Placid but also full of movement and activity and somehow we create that essence of what made constables are so special as a huge amount of pressure because I want to create something that suits the area that hangs and I also want to create something that is reminiscent of the landscape roundabout as it soaks up that atmosphere that evokes that to fulfill her 10,000 pounds commissioned to paint flatfoot in Suffolk landscape artist of the year Noreen McIntyre has set out her palette and is getting a feel for her surroundings I've just started the painting today with a ground of enamels and acrylics and I would usually work on a ground in the studio as well because it gives me a tool and sometimes a texture to build upon what I'm doing because I'm limited in my time I'm outside so it's like a painted sketch if you like as using the oils to sketch with and then taking away the shapes and elements to create the image that I'm looking for it's really nice to be able to work outside just like Constable dead and I'm getting the same sort of experiences because I'm sure he would have sat in the exact same position I am walking up the atmosphere then looking at exactly the same landmarks and landscape that I am and were just interpreting it in different ways when he was painting outside that was a very different thing to do for painters at that time so it's really nice that we've got that connection by using the various photographs she's taken a flat phone Nerine can get a feel for what the final commission will look like I've edited the composition and changed the the trees sections and brought some of those forward moved the cottage in the bridge over to the side rather than having that as a central focus really the colors are coming from everything that I've soaked up and other things I've seen so that's something that we'll be able to look at and see if it works and decides later on whether to use that or not also the scale of the piece I'll be able to see whether to keep it maybe a rectangular framed format or I might decide to use another dimension it gives me plenty to think about norine has come to christchurch mansion in Ipswich to take one last look at some of constables most important work but now she's experienced the landscape for herself what effect will it have on her own composition to see his work of course as fantastic the paintings are beautiful the way he works on different skills is very different as well I'm finding that each of the pieces are very textural they're really rich in the way that he's worked the colors up and the layers up so you can really immerse yourself in the detail the larger pieces like Salisbury Cathedral are framed by huge arching trees beautiful structures and then they're balanced out by the large spans of the sky I mean there's so much color and depth of color and he's created the lighter tones on top so that you can really see the contrast within the dark and the light and that creates much more form to the piece for me these gorgeous little bits of contrasting warms against the cool blues which is just it's just really lovely to see as an artist having seen the works here this morning I will be able to view the landscape with fresh eyes because I'm seeing it from his perspective almost I mean these images in particular you can really see the depth of the landscape and more of a closeness I was thinking about and couldn't quite a dominant collection of Gees or you know something quite powerful either arching to frame the piece or possibly even center of the painting so as comforting to know that he also went down that route and explored that structure within his composition so has definitely given me some food for thought back in flat furred and Nerine as a final opportunity to soak up the atmosphere of constable country and to step into the highway the humans constables most famous viewpoint and as very magical being here because you're taken back to when he painted his landscape of birds it's also quite eerie as well because the landscape is it remains largely untouched to be honest there's still very recognizable I'm just using some paint sauce on top of enamel and some charcoal which is quite quite color tone sketches not a similar I would say to constable just because of the works that I've seen over these made oil sketches and graphic pencil sketches so different in that respect I'm just trying to capture the lilia of the composition and some colors that might be arranged with back in the studio I think if we ended up with a copy of the hay Wain I would be a little bit disappointed because it's been done comfortables done that but marina's completely different artist she has a different story she has a different way of seeing the world and that to me is part of what being an artist is about is sharing something of yourself and people will be able to see what makes an arene take and be excited about and so I'm really excited about seeing what Narine comes up with before Noreen leaves flat furred she's keen to experience the landscape from one last viewpoint the River Stour itself my visit to Constable country has been fantastic the landscape is beautiful being able to walk and amongst a landscape being able to visit the cottage there here in being able to see all of these views that constable has painted it's almost like stepping into the the paintings themselves because the landscape is still so familiar yeah really magical and the boot shops just the icing on the cake the water is gorgeous the reflections in the water it's almost like there's an atmosphere especially on this stretch of water and the colors are really soft and light at the same time it's just it's been really beautiful Noreen's visit at flat furred is now at an end armed with her sketches and memories it's time to start work on the Commission back at home in Scotland in back home and thank him back to Constable country and flat phones there's so many things that I've taken away from that that were fantastic being immersed in his world em if you like and and seeing the sort of landscapes that inspired him was it was a real highlight I saw so much and so coming back I've had you know a good amount of compositional development and in terms of the possibilities for the piece so I'm still I have to say even at this stage when I'm ready to paint I'm still thinking that's going to be very changeable so I do have quite a few ideas to create the composition I go through all the photos that I've taken and I'm really sort of looking for maybe a structural piece or something quite familiar and the landscapes within the journey there was some really nice trees as today just singularly so I'm gonna try and incorporate one or two of those having gathered all their ideas together for the Commission painting landscape artists of the Year Noreen McIntyre is ready to put paint on canvas it's always quite exciting when you start a new painting I am quite apprehensive about about this piece obviously it's a commission so I want to do a really good job and create a really beautiful painting but at the same time I'm just at the beginning so anything that I do that I want to change I can do and that's the wonderful thing about painting yes if there's something that isn't going as well as she'd like I keep I can put it somewhere else or take it back and you know develop it in a different way I usually have a very good idea of what I want the composition to look like when I start but it always evolves so things change I may change the color tone of something the placement of something's not looking quite right I'll leave things out if it doesn't look balanced enough so yes it's an evolving piece very it's very natural I suppose in organic in terms of the development of it during the competition what we got to see were the paintings that Noreen could produce in the short time frame that she had and I love that sort of sketchiness and the looseness that she managed to get in those paintings what I'm thinking we're going to see is something that's much more resolved but I'm slightly nervous at the same time that it will lose that ghostly magical mysterious quality I hope that she will have picked up some tips on how constable looked at light because an arene is about the shadows and she has a very strong voice her work is of a kind she did evolve through competition but it would be nice if she looked at constable and sort of imbued some of his relationship to light and brought it into her commission I'm really looking forward to see where that's happened Nerine has been working on her Commission piece for the National Trust for two weeks now thanks I'm getting on quite slow at the minute and just because I started with him the tree and the meadow but then I wanted to maybe explore a little bit more balance in the conversation so I've sort of obliterated in the middle section and taking it back and I'm going to try with a tree sort of arching over maybe just to try and balance out each side I'm so as yet stay at me back oh it's all about em so I'm just sort of frantically trying to catch up or to be where I think I should be at this point I really hope that they like it when this year I hope that they see something recognizable but different as well and the fact that I've tried to bring in quite a few elements of the landscape because it was you know it was a big journey I was able to take away a lot from it and I wanted the painting to feel like that there there was different elements and I was not just one one view there's you know there's different aspects to it and and I just yeah I just really want them to like it the day of the unveiling Naren has made the long journey from Scotland to suffer can arrives with her painting it feels really lovely to be back it's that vote I'm just but more relaxed because I've got the painting with me and I can just really enjoy the enjoy the landscape and I am nervous and just thinking about the unveiling of the painting just because I want people to like obviously I mean they ever think that it's going to be in the National Trust as amazing and so there's a lot yeah there is a lot of pressure with that which is why I'm nervous but I'm just excited Noreen so you are the battle-scarred veteran of Sky Arts landscape artist of the year I how was it being as an experience and what I'm really interested in as it affected your art the way you paint do you think it's been amazing I would never have had this opportunity and it's just it's been fantastic in terms of my artwork I feel that have been able to move forward with my I supposed technique and looking at the composition and maybe developing elements within my paint work and a more material we'd see so it's not just a big difference in my own practice so it's been educational like being a setting which is actually one of the most famous landscapes in the world and you've been painting here well is like painting and a painting and everywhere you go in flat fold it just feels like you're walking and tear constable painting and it's not intimidating or encouraging all thick it was very intimidating and then when I got back into the studio I sort of just tried to like let go and then just you know painted how I would and just grasped my way of working in your mind do you have kind of what you'd like to see I think I don't want to see another come I would see something bit different can I quote you on that you never want to see another country I once see something that's been inspired by a flat-footed as he was inspired all those years ago so I want to see this wonderful landscape continuing to inspire artists today and in the future we're going to unveil it the both of us okay are you thrilled I love just the way you've used the colors in that tree there and you've picked up the detail of the tree and I love this structure on the Left that's really interesting it try to incorporate elements along my journey I'm like a originally doing a landscape create a landscape not just from the one view from taking any elements from around and I've called it flat further than somewhere because it's elements of flat furred to me rather than just looking at they're here in view it's cool it's the flat foot experience yay well done Naren you are I think it's fair to say a worthy champion thank you [Applause] the judges have swooped the bridge is it to seem too busy of painting the usual quaint doll constables very much like hike items from his paintings very much about the lights in the landscape and you found this light green but you don't usually use in your lettuce so you have been open to his influence of it's really you should be just you should be over the moon but I am its podium it's just endlessly we don't even know ins created her own interpretation using different images so it's a sort of compilation of her experiences here at flat furred and I think that works really well it's a it's a modern interpretation of what landscape is and what this landscape is so I think visitors will love it because it's so different from constables arts and I think that's what makes it a fantastic addition to our collection the different qualities different layering with under painting and the the light playing on each aspect just creates a lightness and and me if you see what I mean and that's how you feel when you come to flat produce or lifted by being able to see all of these special landmarks and see what constable has done the legacy that he's created and left is really special so I just hope that when people look at the work they think they're special and they enjoy him

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34 thoughts on “Landscape Artist of the Year 2015 – Episode 9

  1. Would have loved someone to shout out, "WHAT A LOAD OF RUBBISH"!.
    Poor old John Constable.
    Not too many people vying for his place in British landscape painting then; he can rest easy!

  2. Love the show, I think her paintings are pretty, but I do not care for her interpretation of Flatford

  3. The commission was to paint the cottage. She cannot and did not paint the cottage. In fact she can only paint one thing. Look at her paintings side by side. Almost photocopies of each other. Glad I didn't fork out ten grand for that.

  4. I love how art touches her so deeply that she tears up. It is beautiful to see how passionately she feels for art and painting. She is so appreciative of having won the commission and she deserves it!!!

  5. constable was a tough act to follow that's for sure, there probably are not many living artists who would not feel daunted by that

  6. Yeah, the painting is kinda awful… but at least it isn't a 5cm squared piece of shitty nonsense from Sam.

    Sam, you're a brick layer, quit Slade and go lay bricks.

  7. I liked Nareen but felt her painting was like a collage of things put on the canvas. The tree coming out of the water, it didn't look natural to me. And the building looked like a half finished modern structure, not at all like the old buildings.

  8. thank you so much for uploading these. i love watching them and they help me so much as i suffer from depression. i watch these to motivate me to keep painting. thank you again

  9. dont want to sound like too much of a twat, but if thats the winner i am definitely going to give it a go when i get back to uk next year. but of course it all looks so easy when its on the telly

  10. Underwhelmed. Looks like the cover to a paperback book. Sorry but….How this woman won a Plein Air competition I will never know

  11. A nice painting but i was disappointed with the size of her work. Being that constanble painted quite large i was hoping she would produce a larger painting. It would have made her work look more impressive. It just ended up looking underwhealming. i laughed at the man's reaction. He seemed unimpressed. He could not quit feign enthusiam. She was a worthy winner, though. It would have been embarrassing yet hilarious if Sam had been chosen as the winner. Thankfully not. But can you imagine his unveiling, I would have died laughing.

  12. Aw lovely, sweet, humble Nerine, well done! I do think she lost a little bit of that magical, mysterious shadowy quality that got her the commission in the first place and she should not have changed her style or lightened it up in that final piece. It wasn’t really as enigmatic and enthralling as it could have been but pretty damn good nevertheless. Well done!

  13. Enjoy the idea of the show, however the final art is average. You would like see or even purchasing one of her pieces, but no more. They all look alike. Hopeful for the next season, but not holding my breath.

  14. Thank you for uploading this episode. Nerine is a great talent and seems to be a very humble person. That's a terrific combination.

  15. commissioned £10,000 to paint flatford mill…left out the mill.
    Thanks for uploading!! May I request sky arts photographer of the year?

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