Years ago, my eyes were opened to the economy and power of watercolour when I saw ‘View from Monte Mario of the River Tiber’ by Claude Lorrain in the British Museum. You can still relive the energy an

Years ago, my eyes were opened to the economy and power of watercolour when I saw ‘View from Monte Mario of the River Tiber’ by Claude Lorrain in the British Museum. You can still relive the energy an

Unlike the shelter of a studio -where the light is steady, the wind absent, and the kettle within reach - there is no such control outdoors. Instead, it offers participation: you don’t simply observe

Unlike the shelter of a studio -where the light is steady, the wind absent, and the kettle within reach - there is no such control outdoors. Instead, it offers participation: you don’t simply observe

To me, the most important thing about a painting is why. Why do I want to paint this subject? Is it because the lighting on the subject is wonderful? Is it because I just love the subject? Is it becau

Sandra Busby classes herself as a painter of ‘playful light in glass and still-life'. She finds the majority of her inspiration within the distortions of light on reflective surfaces and much of the o