Alice Bo
ggis-Rolfe
This oil artist’s work ranges from vast, open landscapes to portraits and intimate interiors. Sarah Edghill hears what inspires her creativity
Alice Boggis-Rolfe has always travelled extensively with her art, but when back home in Gloucestershire, she revels in being able to spend time in what her husband describes as her “absolutely revolting” studio. Alice is undeterred by such criticism and enjoys the unruliness of her surroundings, while admitting that her parents used to despair when, as a child, she left trails of paint, paper and pencil shavings all over the house.
“When I’m stuck into a project I don’t notice the chaos,” she says. “Old paint tubes, scraps of canvas, books, old brushes, coffee cups, all building up around me. Last year, we moved and now I have a new studio at the top of the house near my children’s bedrooms. It’s a haven of calm and a retreat for me from busy family life. I have a comfy old leather armchair, a dog bed for my beloved terrier, several big easels with paintings on the go, an overflowing desk under a window, hundreds of reference books of artists and art history, chests and shelves full of materials, new brushes, tubes of paint and pin boards with all sorts of things that make me happy or inspired. Since it’s up in the attic, there are skylights on both sides and I also have some lighting equipment for still lifes.”
Alhambra, oil on canvas, 40x50cm
James McNeill Whistler
“I’m not arguing, I’m telling you”. If ever an utterance perfectly summed up its utterer, it’s surely this, attributed to James McNeill Whistler, the artist who disrupted Victorian society with his experimental theories and methods. Widely considered to be the rst ever contemporary artist, he was a nomad, an aesthete, a celebrity before celebrities were conceived and a trailblazer who was absolutely passionate about painting.
This quote is to be printed across a wall inside Tate Britain, accompanying some 150 of Whistler’s works in what is the most signi cant European retrospective of his painting in 30 years. As well as his most famous paintings and etchings, including his Nocturnes series and the iconic portrait of his mother, a number of his sketchbooks will be opened to the public for the rst time.
The show will open in a recreation of Whistler’s studio in London’s Chelsea, surrounded by his tools ▸
Considered to be the first contemporary artist, JAMES MCNEILL WHISTLER , shocked Victorian society with his avant-garde ideas and how flagrantly he courted attention, says Martha Alexander. But under the showmanship was a serious painter who was ahead of his time, as a major retrospective at Tate Britain is set to lay bare
Arrangement in Grey and Black No.1, 1871
Everything in t
JANET MAYLED uses acrylic to paint an allotment where found objects shape the visual narrative
he garden
My artistic practice is rooted in my observation of everyday life, encompassing subjects such as landscapes, still life and urban scenes. Regardless of the subject matter, I seek out compositions designed to guide the viewer’s gaze through the painting. This involves breaking down elements into patterns and directing the eye from one object to another using line, colour and form, whether it’s the sweep of a fence, pattern of greenhouse frames or rhythm of flowerbeds.
Layering acrylic paint with Satin Medium to enrich texture and depth lies at the heart of my technique. Satin Medium can be used to create glazing effects, build soft passages of colour and enhance the tactile quality of the work. This evokes atmosphere – the dappled light of a greenhouse, a misty morning – while deepening spatial complexity. In this scene, the composition unfolds with found objects repurposed by gardeners, which become structural anchors: greenhouses, beds and plant supports shape the visual narrative and serve as conduits for the viewer’s gaze. In the foreground, the magnificent dahlias pull attention forward, while the distant houses beckons the eye deeper into the painting. On the right, two figures lean over a fence, guiding the gaze towards the heart of the story. janetmayled.com ▸
JANET’S MATERIALS
Acrylic Paints
Jacksons Golden: Cobalt Blue, Quinacridone Magenta, Pyrrole Red
System 3: Cadmium Yellow, Fluorescent Red, Titanium White, Raw Umber
Amsterdam: King’s Blue, Permanent Blue Violet
Winsor & Newton Galeria: Winsor Blue
Golden Satin Glazing Medium
Brushes
Artmaster Pearl Set: 2, 4, 6, 8,10,12
Artmaster Pearl Angled series 33: 6, 12
Daler-Rowney Short Flat ½" Support System 3 A3 acrylic paper
Ripple effe
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NAOMI JENKIN shows how to study light and movement to create an illusion of depth in a seascape in oils
TNAOMI’S MATERIALS
Paints
Winsor & Newton Artists’ Oil Paints: Titanium White, Ultramarine Green Shade, Phthalo Blue, Cadmium Yellow, Yellow Ochre
Brushes
Short flat, sizes 8, 12 Angle shader, size ¼ Round, size 3
Surface
ACF A2 stretched canvas
Tools
Palette knife
Palette
Odourless mineral spirits
he ocean is an incredibly rewarding subject to paint, yet many artists shy away from it. Water can feel intimidating: it has depth, constant movement, shifting reflections and endless, subtle changes of colour. Even calm water is alive with ripples and light. Yet once you begin to understand it, the sea becomes an endless source of inspiration: from dramatic, crashing waves to tranquil, glassy horizons. Paint is a particularly beautiful medium for capturing water. Its fluidity allows you to move it across the canvas, mimicking the way water moves in reality, which help the artist suggest motion, light and depth.
If you can, spend time observing water before you attempt to paint it. Visit the beach, a lake or even a pond, and simply watch. Notice how the surface shifts and flows. Observe the way sunlight filters through and reflects back at you. Study the patterns of ripples, the mingling colours, and the way submerged objects appear softened or distorted beneath the surface. This kind of observation will pay dividends when you begin your own painting.
In this tutorial, we’ll start with a simple close-up study of calm ocean water, and you’ll learn how to create the illusion of depth, suggest light dancing across the surface, and how to convey the feel of movement. naomijenkinart.com ▸
PLAN YOUR COMPOSITION
I’ve used the rule of thirds to create a balanced, harmonious composition and the reference photo has been cropped so the top third remains fairly sparse and softly focused. This immediately introduces a sense of depth, allowing the eye to travel naturally towards the foreground. In contrast, the lower section is sharper and richer in detail, with darker ripples and delicate touches of foam that draw the viewer in. ▸
