18 artistMarch 2020 http://www.painters-online.co.uk
IN CONVERSATION
George Gilbert
studied at Glasgow School of Art,
after which he taught art in schools in
Aberdeenshire, Glasgow and Fife. He is
a member of the Royal Scottish Society
of Painters in Watercolour (RSW) and has
exhibited widely in the UK, including with
the RSW, Royal Scottish Academy and
Royal Glasgow Institute, the Cleveland
Drawing Competition and the Sunday Times
Watercolour Competition.
http://www.georgegilbertrsw.co.ukas I see them and what I do has evolved
over many years. I am not conscious
that I have developed a style, however
people do recognise my work.’Natural light
‘I tend to restrict my palette to a few
colours, perhaps five or six, including
raw sienna, raw umber, light red, burnt
umber, cobalt, viridian. When a brighter
colour is required, I might add cadmium
red or yellow. It depends on the
subject and medium. Sizes vary from
small, such as A5, to about 30 3 40in
(76 3 101.5cm). Whatever the size or the
subject, I take as long as the painting
needs – an outdoor study might take
a few hours or several sittings, or in
the studio it might be several days orweeks. Sometimes I concentrate on one
large painting, and at other times I have
several things on the go. I have to be
flexible as the Scottish climate places
certain constraints on what and when I
am able to paint – I don’t like painting
in artificial light.’
George and his wife Lesley set up
the Courtyard Gallery in Crail, which
ran from 1993 to 2001, with the aim of
holding about eight or ten exhibitions a
year showing contemporary Scottish art
and crafts, including his own.
‘I exhibit on an ongoing basis in
several galleries but I’m reluctant to
accept commissions unless someone
contacts me with an idea that appeals
to me and which fits in with current
work. Generally my sales come through
galleries and exhibitions, although
internet sales crop up from time to
time. It’s always encouraging to receive
an award and I value most those prizes
that are awarded by my peers.’p Serinya, Catalonia, pen and ink wash on
paper, 104 3 134in (26 3 35cm).
This was drawn from a low viewpoint and
conveys the heat and strong sunlight of
Spain. George used irm, straight lines for the
balconies, roof edges and archways, and more
spontaneous-seeming washes on the walls of
the buildings to convey both texture and tonal
contrasts. Showing where sunlight falls, the
paper has been left untouched for highlights
q Still Life with a Milk Can, acrylic,
1223 284in (32 3 72cm).
Intense colours were used here, such as
ultramarine, ochre and burnt and raw umber,
with plenty of white for highlights. This work
builds on the tradition of the still lifes of
the Dutch Golden Age in both style and the
objects chosen
TA