The business of art: 9th of 12

BEFORE SARAH JANE BROWN BECAME A PAINTER, she learned to read the sea. Not in the romanticised, windswept sense; but practically, viscerally, day after day. With over two decades working on the water

LUCIA LEYFIELD IS NOT AN ARTIST prone to grand statements. Her work speaks in subtle tones: sketchbook pages filled with weathered doorways, overheard conversations or fragments of wild gardens. A let

Acclaimed landscape artist Sarah Adams shares how the tides, geology and ever-shifting light of the Cornish coast shape her immersive oil paintings

There are many reasons that an artist’s ambitions can be thwarted, including the decision to become a teacher. Later this month, an exhibition will shine a light on talent obscured by a career in the classroom

WITH more than a hint of nerves, I slide into an empty seat in the auditorium for my first university lecture. I look down the aisle hoping to see a friendly face, but there is no-one I recognise, whi

What paints do you favour and why? I use mostly Golden Heavy Body or Fluid Acrylics. The colour is phenomenal and much stronger than other makes. Mixed media technique is another favourite: I can incl