AT THE BEGINNING of our New Year, I have enclosed for you a photo of a finished painting entitled, Glen of Ice and Fire, with a small piece I wrote to accompany this work. I hope they offer a happy view into the wonders of our country, with the new snow on the hills behind, over the fields around, and of course, covering the lawns front and back.
Glen of Ice and Fire
Today the world is all white again here. It is a quiet soft world of falling snow, with visibility dropping into a curtain of dull grey light behind the trees outside, all covered about with untouched snow. It arrived this morning, following a cold recent period of sunny Winter weather, with temperatures dropping below zero most days, and thick hard ice. So, after a mad roaring of the wind in the night, light constant snow was falling here in silence when I awoke. It looked like that forever variety which covers everything quickly. Now above our sky is a dark grey, with a snowy hint of perhaps pink and green within. While as large snowflakes appear to race and shake across my view, in the far distance the pale silhouettes of trees seem to flicker and almost dissolve, between those broken flashing lines of white flakes all driven on a fierce wind. This morning, indifference to my painting above, the only colour visible in these snow showers is the dark trunk of trees, which enhance by contrast, the sense of whiteness in every direction. And again, by contrast, instead of the sunlight and ice today, as in the picture above, the colours are all removed, and it does appear just white right now…
View looking over Scone
And above to offer another Winter location today, and a quite different homely scene, is a view from my parents’ house in similar conditions, looking over the roof tops in the village of Scone.
With best wishes,
Charles Harris Painting Resume.
Charles is a classically trained painter producing Scottish landscapes and portrait paintings and drawings. Charles’ style is traditional and based upon a solid foundation of Fine Art painting techniques, specifically from the Classical era which are no longer taught.
Charles is a passionate advocate of these almost forgotten painting techniques and has travelled all over the world visiting art institutions to deliver keynote speeches and training upholding their value in art today.
Charles offers his own classical painting training through a 5-day, practical Masterclass course in either painting or pencil portraiture, which will be available again in person when possible. The in-person course consists of 4 days of practical classes covering how to use the tools and an understanding of classical painting, and a 5th day including a lecture and Q&A session. The course is designed for all levels of experience from complete beginners to the more experienced and open to all ages.
Charles has currently filmed his Masterclasses re-designing a new Online version which will be available shortly, details of which will be published here when up and running. Charles’ courses take an individual from novice to professional painter and teaches concepts and skills that are fundamental to the creation of art.
Charles is the author of Trust Your Eye – an Illustrated History of Painting, a book on Classical Art explaining how Great Art was made and is filled with full colour plates of some of the best classical paintings ever created. This limited-edition of 250 books is written to help those with no knowledge, revealing lost skills and understanding of great art.
Deeply influenced by the classical era, Charles uses the same fundamental techniques devised by Italian and French artists from a 600-year Classics period entitled the ‘Great Tradition.’ He cites great artists such as Rembrandt, Michelangelo and Leonardo da Vinci as sources of inspiration and understanding. Today Charles is considered an authority on Renaissance painting.
Charles paints directly from life, something that is unusual in art today. His beautiful landscape pieces are painted whilst on location, famously in all weathers. His portrait work is similarly painted during a series of organised ‘sittings’ with his posed subject.
Charles follows an extremely strict, Fine Art painting process in all of his work. Following methods of classical Italian painters, he begins with a monochrome painting, using ochre paint. He then builds the scene in tonal values, focusing on and creating a strong 3-dimensional reality. Only when he is happy with the scene does Charles begin to introduce colour to his painting.