Charles Reid Workshop - Day 5 - Part 2

After lunch it was decided to introduce an optional session. Urchfont is not far from one of the most spectacular ancient monuments in the British Isles, Avebury. The fascinating collection of standing stones spread over a number of fields make the largest stone circle known and for numbers of course participants, particularly our Norwegian and American friends the opportunity to visit this monument was too good to miss. Others more familiar with Avebury were happy to spend the afternoon working at their still life.

Charles kits up for Avebury

For me the opportunity to make a light hearted watercolour sketch of Charles at work seemed too good to miss, so I positioned myself behind him as he worked.

Charles Reid at Avebury - Mick Carney

Followers of Charles' work will know the importance he places on his sketchbook work and this was a unique opportunity to watch him at work in his sketchbook. An ability to record landscape in this fashion is a great boon to the artist who works in the studio. The effective noting technique that the sketchbook provides gives the painter more useful information than photographs and should be a cornerstone of our practice.

Peering into Charles' sketchbook is an education and the first piece below is his sketch produced while I sat behind him.

Avebury - Charles Reid

Unable to resist the temptation to look through the sketchbook I came across the picture below. It had a real resonance for me having had the pleasant surprise of the subject sitting down to dinner next to Sheila and myself on a recent holiday in Venice. The subject is of course another painter and a painting friend of Charles. He needs no introduction from me.

Tony Bennett at work in his studio - Charles Reid

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