Art Influences
It’s so hard to narrow down my favourite artists. I picked three who in recent years inspired and influenced my monochromatic illustrations and linocut prints. I included them in my free e-book Pen & Paper Serenity: Mindful Mark Making.
1. Tove Jansson (1914-2001)
Tove Jansson, best known as the creator of the beloved Moomin characters, was also a talented illustrator and painter. Her whimsical and imaginative artwork often featured bold, expressive lines and intricate details rendered in ink. Jansson’s mark making style captured the playful spirit of her storytelling, inviting viewers into enchanting worlds filled with charm and wonder.
2. Harry Clarke (1889-1931)
Harry Clarke was an Irish stained glass artist and illustrator celebrated for his richly detailed and hauntingly beautiful artwork. His ink drawings, often rendered in bold, expressive lines and intricate cross-hatching, are characterised by their dramatic lighting, intricate patterns, and ornate decorative elements. Clarke’s mark making style exudes a sense of drama and intensity, drawing viewers into his dark and enchanting worlds.
3. Kay Nielsen (1886-1957)
Kay Nielsen was a Danish illustrator known for his stunning illustrations of fairy tales and myths. His intricate ink drawings, characterized by delicate lines and intricate patterns, are renowned for their ethereal beauty and otherworldly atmosphere. Nielsen’s mark making style evokes a sense of magic and mystery, transporting viewers to fantastical realms where anything is possible.
Favourite Painting
A Convent Garden, Brittany, c.1913
William John Leech (1881-1968)
I love the warm atmosphere and serene energy of this oil painting. Every time I visit the National Gallery in Dublin, I sit down in front of it and slow down. In my daily life, I often crave silence and solitude. This image, to me, is a perfect representation of mindful practices, in this case, mindful walking.
National Gallery of Ireland Description:
In this picture, Leech’s first wife Elizabeth, posing as a novice of the Soeurs du Saint-Esprit, looks up from her prayer book as nuns from the same order process in the background. She wears the Breton bridal costume traditionally worn by novices on the day they took their final vows. The setting is the walled garden of the nuns’ hospital and convent in Concarneau, in which Leech had convalesced in 1904. The painting reflects an interest in the religious devotion of the Breton community that Leech shared with many visiting artists, but also the artist’s love of sunlight and pattern.
