I came across a British artist who I think you might like, if not already: Susan Ryder. She paints these wonderful interior scenes, with rich colors and painterly strokes.
Her father was an amateur painter and encouraged her to pick up a brush at an early age and pursue the art life. Too often I read about famous artists who had to push against their parents to pursue the art life. But it can turn out okay, as Ryder proves!
Her name seems to have been built on the back of portraits. She did commissions for many famous individuals, including Princess Diana and Queen Elizabeth II. These brought notoriety, and, I assume, a decent pay cheque, but I do prefer her interiors and landscapes. Perhaps that’s just me not liking the idea of staged portraits.
You can see a few of my favorites below, along with some observations.
Scottish Warmth: What an appropriate name. Look at how tight and clustered the composition is. This is how you play into the nature of the subject. Ryder composed the painting in a way that makes it appear warm, intimate, and close. Had she followed standard composition theory and given more space, particularly around the edges, the painting would not have been as effective.
Poppies Near Albi: Look at that stunning contrast between small bursts of red against the sea of greens. There’s also an interesting rhythm to her strokes and dabs. It’s like a visual representation of music.
Conservatory With Blue Glass: This looks like it would be a nightmare to paint. Ryder’s academic training paid dividends here, particularly in relation to the drawing.
Not much is said of Ryder’s landscapes, but they have a beautiful and relaxed charm to them.
A Welsh Stream showcases a similar complexity and style that you see in her interiors. It’s interesting how she used similar brushwork for the water as she did for the surrounding landscape. If I were to paint this scene, I imagine I would try to match my brushwork to the nature of the water. That is, I would use flat planes of color for still water, and long, suggestive strokes for areas of movement. Ryder’s approach will make the water somewhat melt in with the surroundings. Perhaps I will try it when I next confront a similar subject.
I’ll end with three more interiors: Early Evening, Peyton Hall, The Dressing Table, and The Lunch Table. There are two things that strike me about these paintings. First, the strong color themes. Ryder used quite rich colors in her paintings, and I think she was able to get away with it without it appearing garish because she stayed within these strong and cohesive themes. Second, how simple, every day subjects can be transformed into beautiful paintings like these. Inspiration is all around us; we just need to notice it!
Thanks for reading! If you ever want to learn more, make sure to check out Composition Breakdown.
Happy painting!
Dan Scott
