Paul Finn

Paul Finn

My working method is to draw from direct observation as I walk through the landscape. I work exclusively from the landscape and will usually record places which are familiar to me. When I draw, I use ink and sometimes charcoal, I want something immediate and unfussy to draw with.

Paul Finn
Miss Willmotts garden, 2015, ink on paper, 38 x 28 cm

I will return to a place many times to see the elements of the landscape at different times of the year.

Paul Finn
First sight Dedham, ink on paper, 38 x 28 cm

I need time to evaluate what I have seen, and it takes time before I can begin to think about painting. Paintings recollect the emotion of being in the landscape, in the tranquillity of my studio. There is no set method or recipe to the way I paint; I just try to respond to my memories, and to the atmosphere of the landscape. I paint instinctively but am attracted to the patterns, structure and rhythms of the fields, trees and buildings that I see on my walks.

Paul Finn
Beth Chattos woodland garden, oil, 54 x 55 cm

When I work I feel at ease when editing and changing what is in nature. My best work comes as a result of letting go completely and giving myself up to the paint. When I am brave enough I paint physically and vigorously, making marks sometimes with little regard for the final product.

Paul Finn
The bank opposite ( River Stour ), oil,  60 x 20 cm

Ultimately I want to create paintings which celebrate being in the landscape with all of its infinite variety, and enjoy making paintings where my decisions are visible and where abstract elements counterbalance figurative elements.

Paul Finn
From the Church to the Temple. Oil 100x33

Observations et souvenirs

Ma passion a toujours été le paysage. Ayant grandi dans l’ouest du Yorkshire, entouré de mines de charbon et de moulins à foulon, je pouvais en vingt minutes de marche être dans des endroits préservés, que je découvrirais. J'ai conscience de l'histoire quand je peins et j’admire Corot, Constable, Turner et Bonnard, et tant d'autres. Mes peintures ne sont pas réalisées sur le motif, mais s’élaborent à l’atelier. Elles cherchent à capturer l'essence d'un lieu, peut-être mes premières pensées et impressions. J'aime remarquer la façon dont les arbres réagissent visuellement et se relient aux champs. J'aime la façon dont les couleurs travaillent avec d’autres couleurs, et les formes avec d’autres formes. Je dessine quand je suis dehors dans le paysage et avec cela je rassemble mes souvenirs, mes pensées et mes sentiments dans la tranquillité de l'atelier. J’aime pousser et tirer les couleurs sur l'espace plat d'une toile, dans la structure, dans la nature plastique du plan de l'image. J’aime essayer de recréer un espace vraisemblable. Je ne me lasse jamais du défi d'utiliser ce que j'ai observé, pour le reprendre à l’atelier et recréer mes expériences lorsque j’étais sur place, à partir de ma mémoire et des dessins.

Paul Finn, mars 2017


Book review in 'The British Art Journal'

'The British Art Journal'

publishes a book review of ‘The Arborealists: The Art of the Tree’
by Helen Cobby

"The Arborealists: The Art of the Tree with essays by Angela Summerfield, Philippa Beale and Peter Davies. Published April 2016 by Sansom & Co.
Helen Cobby

Trees and woodlands have held a special place in the British landscape and soul for centuries. They nurture complex ecosystems, are crucial for our own survival, and provide unique environments as well as aesthetic structures that signal both local and national identities. Trees are firmly entwined with our cultural heritage and have fascinated artists and writers as diverse as Shakespeare, Wordsworth, Constable, Hardy and the Pre-Raphaelites.


David Wiseman

David Wiseman

The works on canvas are made in the studio and I also work directly from the landscape with a variety of mixed media on smaller works on paper and canvas . 

David Wiseman
David Wiseman, Woodland Water Brownsea Island, pencil on paper, 35 x 25

My painting is  inspired by particular landscape places or events using drawings, photographs and memory. Although spending a lot of time in Devon and the south coast I am equally inspired by local tree lined rivers and parklands close to my Ealing home. 

David Wiseman
David Wiseman, Woodland Life - Distant Water, acrylic, 2016,  102 x 76

My paintings are about the rich contrasting elements in the landscape. The tree which takes on many guises in my paintings is often used as a contrast to the rivers and streams that have recently dominated my work. The relationship between the complex, crowded tree and bush lined river bank and the fluid light and movement of the water is often an important part of my painting. I like to contrast elements ,such as the beautiful complicated pattern of a close up tree trunk against a flash of light in the far distance. When painting outside I try to convey the feeling of being part of the landscape.  I have been a keen runner for many years and most of my running is done along the riverside and canal that inspires much of my painting. 

David Wiseman
David Wiseman, Winter Pitshanger Riverside, 102 x 76, acrylic, 2016

This allows me to be absorbed by the landscape as I pass through it rather than seeing it as a picture postcard cut out image. I also want to instill this feeling of constant change and movement in my paintings.  They are begun in a loose, freely drawn calligraphic way using a series of marks, stains and shapes made with a wide variety of brushes, roller, scraper, sponge, etc.  The final image is slowly extracted in a playful, organic way using overlaid marks and glazes to express qualities of nature such as mood, light, colour, movement, atmosphere, space etc. 

David Wiseman
David Wiseman, Woodland Water, near Abergavenny,  acrylic,  2016,  102 x 76

I am attempting to find equivalents for the landscape in the physical qualities of paint, in order to express a feeling of flux in nature. I want the paintings to be intriguing, tantalising and ambiguous held between the plastic qualities of the paint and all the celebratory  magical illusions and evocations of the depiction of nature.

David Wiseman
David Wiseman, Woodland Water Brownsea Island,  100 x 76,  acrylic , 2016

Je réalise les œuvres sur toile à l’atelier, mais je travaille aussi en extérieur sur papier. Ma peinture s'inspire de paysages ou d'événements particuliers, en recourant aux dessins, aux photographies et aux souvenirs. L'arbre, qui revêt beaucoup d’aspects dans mes peintures, est souvent utilisé en contraste avec les rivières et les ruisseaux qui ont dominé mon travail récent. La relation entre l'arbre, complexe et dense, la rive bordée de buissons de la rivière, et la lumière et le mouvement fluides de l'eau constitue une part importante de mes peintures.

Elles commencent à la façon d’un dessin calligraphique, libre et ample, en utilisant une série de signes, de taches et de formes faits avec une grande variété de brosses, de rouleaux, de grattoirs, d'éponges, etc. L'image finale s’en extrait d'une manière ludique et organique, par signes et glacis superposés, pour exprimer des qualités naturelles comme l’ambiance, la lumière, le mouvement, l’atmosphère, l’espace, etc. Je cherche à trouver des équivalents du paysage dans les qualités physiques de la peinture, afin d'exprimer un sentiment de flux dans la nature. Je veux que les peintures soient intrigantes, séductrices et ambiguës, tenues entre les qualités plastiques de la peinture et toutes les illusions et les évocations magiques et festives du portrait de la nature


The Arborealists at Waterstones Piccadilly on Friday 28th October 2016

The Art of the Tree

on Friday 28th October 2016, 06:30 pm

Join members of the Arborealist group on Friday 28th October 06:30 pm at Waterstones Piccadilly bookshop to discuss their work and the significance of trees in their art. 

The Arborealists: The Art of the Tree

To look inside the book,
please click on the cover image above

Waterstones Piccadilly
London - Piccadilly
203/206 Piccadilly
London, W1J9HD

Sansom & Co
81g Pembroke Road
Bristol BS8 3EA

128 pages, over 70 full colour illustrations, including works of :

Jemma Appleby, Mary Anne Aytoun-Ellis, Jo Barry, Richard Bavin, Philippa Beale, Mick Bennett, John Blandy, Karen Bowers, Guillaume Brandy, Brandy-Dalschaert, Robert Brooks, Hannah Brown, Emma Buckmaster, Peter Clossick, Gary Colclough, Tim Craven, Blaze Cyan, Francis Dalschaert, Celia De SerraSimon Dorrell, Michelle Dovey, Janet French, Sarah Harding, Dan Hays, Fiona Hingston, Abi Kremer, Ffiona Lewis, Hannah Maybank, Fiona McIntyre, Wladyslaw Mirecki, Annie Ovenden, Alex Pemberton, Julian Perry, Howard Phipps, Michael Porter, Nick Schlee, Lesley Slight, Angela Summerfield


The Arborealists at Vaux

The Arborealists visit Vaux
to prepare future exhibition near Poitiers in July 2017

From 14th to 16th October, a group of Arborealists visited the village of Vaux and its area, near Poitiers, France.

Their purpose was to collect images of trees for paintings to be exhibited at Le Dortoir des Moines, Saint Benoit, near Poitiers, France in July 2017.

Saint-Benoit Abbey
near Poitiers

Les Arboréalistes visitent Vaux
et préparent leur future exposition à Poitiers en juillet 2017

Du 14 au 16 octobre un groupe d'Arboréalistes a visité le village de Vaux et sa région afin de collecter des images d'arbres en préparation de leur exposition au Dortoir des Moines de Saint Benoit en Juillet 2017.

Arborealists and their friends
at Francis and Guillaume studio in Couhé

The old bridge at the village of Vaux
upon the river "La Bouleur"

Philippa Beale presenting her work
'Chemin de Croix' or 'Stations of the Cross'
at the XII th. century Church of the Virgin at Vaux

Carved corbels called "modillons"
on the facade of the church of Vaux

The river "Le Clain" at Anché


"A Tree Within" by Arborealist Fiona McIntyre

"A Tree Within"

An exhibition to coincide with the publication of Arborealist artist Fiona McIntyre new book 'A Tree Within'.

A monograph with interview by Art Historian Dr. Alan Wilkinson and a foreword by Southampton curator Tim Craven. The book explores Fiona's artistic development from Edinburgh to Scandinavia to the Cotswolds until her recent incarnation as an Arborealist.


14th September - 31st October
The Bishop’s Palace
Wells - Somerset - BA5 2PD

Telephone: 01749 988111




Robert Brooks

Robert Brooks

As a landscape painter, primarily my objectives have always been to keep the subject and ideas as simple and as coherent as possible. Trees for their beautiful shape and structure fascinate me and provide much inspiration for my work.  Shapes, sizes and relationships, both in colour harmonies as well as drawings are not to be ignored. This emphasis was pummelled into me whilst studying at the Slade School of Fine Art in London, where strict painting methods, including measuring were applied.

Robert Brooks
Large Oak at Throop

Focusing and being truthful to one’s own integrity in art brings much into the drama and beauty of an original artwork. My method was developed and inspired through my tutor Patrick George, who helped me to focus my ideas; as well as one of my muses Cezanne; who’s sheer and direct work got straight to the point of shape and colour, which has influenced my work massively.

Through my early career in the 80’s my style and progression has developed, initially from a somewhat naïve perspective, I have channelled my efforts into simplicity, drawing out the natural beauty seen from the eyes perspective.

When painting on the Purbeck Hills in Dorset, Corfe Castle usually takes on a significant role within my compositions and panorama studies; it does tend to lend itself from any angle and distance.  Seeing a painting slowly come into being; causes much excitement and inspiration towards myself, as well as much joy into my work.

Robert Brooks
Tall Oak at Burley

Not always knowing where to start on a picture can often pose a challenge, but bringing everything together, be it in whatever medium or subject I find myself drawn to; this challenge is frequently what gives me much enthusiasm towards my main pursuit.