- 6 hours ago
- #realityrealmus
Landscape Artist of the Year UK Season 1 Episode 3
#RealityRealmUS
Reality Realm US
🎞 Please subscribe to our official channel to watch the full movie for free, as soon as possible. ❤️Reality Insight Hub❤️
👉 Official Channel: https://www.dailymotion.com/TheVisionFrame
👉 THANK YOU ❤️❤️❤️❤️❤️
#RealityRealmUS
Reality Realm US
🎞 Please subscribe to our official channel to watch the full movie for free, as soon as possible. ❤️Reality Insight Hub❤️
👉 Official Channel: https://www.dailymotion.com/TheVisionFrame
👉 THANK YOU ❤️❤️❤️❤️❤️
Category
🎥
Short filmTranscript
00:00Hello, you join us here at the spectacular Wadston Manor in Buckinghamshire as we continue our search
00:17for unknown artistic talent. And this year it's all about the great outdoors. In just a moment,
00:24eight artists will have just four hours to paint, etch or sketch. One of this estate's most impressive
00:30views for three exacting judges. So sit back and get ready to enjoy some outstanding art.
00:37This is Sky Arts Landscape Artist of the Year. In our search to find the next great landscape artist,
00:44we've teamed up with the National Trust and they're letting us set up home in some of their
00:48most magnificent properties. Thousands applied, but only the best have been chosen to come and
00:55paint some of the country's most spectacular views. I'm feeling happy and quite jolly and I'm really
01:03enjoying it. Yes, that's fantastic. Well, it's a start. They're competing for a £10,000 commission
01:12to paint the view of Flatford in Suffolk, one of the jewels in the National Trust's crown,
01:17which will become part of the mill's permanent collection.
01:21Tell someone to stop. I'm going to keep going.
01:24Today, another eight have come to Wadston Manor to prove themselves.
01:29I think it'd be good to maybe just do that square foot of grass after that.
01:33And it's not just our judges they'll need to impress. Raymond Tizzo used to live at Wadston Manor
01:39and he'll be choosing his favourite to take home.
01:42I'd like to keep quite a few of them.
01:43And there's a twist. Fifty more artists from all over the British Isles have joined them
01:49on a first-come, first-served basis to try their luck as a wild card.
01:54I just moved by a community of artists working. It's really, really nice.
01:59But with the challenges of painting outside, the sky is just going, it's just so changeable.
02:06Who will judges Kate Bryan, Tyshan Sheerenberg and Kathleen Soriano...
02:12She's created something that looks like the house out of Psycho.
02:15...put through to the semi-final.
02:17I feel like I could do another two hours extra.
02:20In today's final eight, we have five professional artists.
02:39They are David Alderslade, Hester Berry, James McGarry, Tenjun Yan and Noreen McIntyre.
02:48I feel really nervous about today. I haven't slept very well for quite a few weeks.
02:54Hopefully I'll sleep better tonight.
02:56And joining them are three amateur artists.
02:59Lucy Davis, David Douglas and Daisy Hardman.
03:04Obviously quite nervous, but excited.
03:06I mean, I'm doing printmaking, so there's quite a lot that could go wrong.
03:10They were all chosen purely on their talent, spotted by the judges from a digital image of their work.
03:16But does the real thing meet expectations?
03:22A painting like this is quite a different thing when you're standing next to it, isn't it?
03:26I really want to touch it.
03:28Yeah, it's...
03:28I really want to touch it.
03:29Well, it's like a Van Gogh. I loved Van Gogh's painting when I was a kid.
03:31It's just incredible to see the brush marks. I mean, this is really thick.
03:35I like the way the artists have used different marks and blended the clouds.
03:39I mean, it's a very dynamic painting. It's very beautiful to see it in the flesh.
03:42And that great energy that they have got going through it.
03:44Well, it looks like a storm, and it feels like it was painted in a storm in swirling fashion as well.
03:49The artist tied to a tree.
03:51Yeah, I hope so.
03:52Oh, I hope so.
03:55God, I love this. What do you think?
03:57It's brave, isn't it?
03:59It's really, really thoughtful.
04:01It's really inventive, the way the artist has found this filigree of trees.
04:06It reminds me of Rackham fairy tales.
04:09It's also a Grimm's fairy tale.
04:11It's very sort of dark and mysterious. It's very beautiful.
04:14I have to say, I wasn't anticipating a black and white landscape.
04:19Something quite exciting about it.
04:20Definitely.
04:21I think we were, because we picked it as an etching on screen.
04:25And I think what we all loved about it was that moodiness.
04:28It's got a weather feeling to it.
04:29You know, today was really sort of quite stormy and grey this morning.
04:32It would have been perfect for them.
04:33As it gets bluer, I worry more and more for them.
04:37This is not naturally the thing that I would normally go for,
04:40because it's a bit too traditional.
04:42For what it is, I think it's really, really well done.
04:45I love the slice that it's taken, being quite narrow,
04:49and somehow managing in that small space to capture the monumentality
04:54of that landscape on the right-hand side,
04:56and yet the more urban landscape on the left.
04:58And I'm looking for something that isn't just about hills and trees.
05:02If someone had described this to me and said,
05:07there's going to be a painting of a dry stone wall
05:09with some corn over the top,
05:11I would have thought, I will totally hate that.
05:13But in fact, they've done something really exciting with it.
05:17I'm really, really pleased with it.
05:19We've got an incredible variety.
05:20And I think that staidness that maybe we were all worried about
05:23actually doesn't appear in anything that we've got on this wall.
05:27We've selected brilliantly.
05:29That's it. You did a great job, you guys. Congratulations.
05:32Thanks.
05:39The artists usually choose their own view,
05:42but today the judges want to see
05:44how they tackle the impressive Wadsden Manor.
05:49Inspired by a French chateau,
05:51will the artists attempt its intricate turrets,
05:54its many sculptures, or its cultivated garden?
05:58It's coming together in my head
05:59exactly what elements of a building I'm going to use
06:02and what trees I'm going to move to the left or to the right
06:05and what statues I'm going to put in or take away.
06:09I think I'm going to go portrait.
06:13I know its landscape and it's...
06:15..is that radical.
06:19James McGarry is a professional artist from Cleveland.
06:22His acrylic landscape is of stays,
06:26a small fishing village in North Yorkshire.
06:29He was inspired to paint the view
06:30on seeing the smoke and light falling across the water.
06:35I just want to start.
06:37It's, er...
06:38I've got butterflies.
06:39It's a strange thing.
06:40Artists, I hope you like the view,
06:50because the challenge is about to begin.
06:53You have four hours to complete your work,
06:55so good luck.
06:57Your time starts now.
06:59Faced with our choice of scene,
07:20a time frame,
07:21and under the scrutiny of judges,
07:23there's a lot for the artist to adapt to.
07:25What's the main challenge for you today?
07:32I wouldn't usually focus on something
07:33so perfectly beautiful, if you know what I mean.
07:36So it is really...
07:38It's more that that I would be focusing on.
07:41You don't have to do a centre stage...
07:44I know. No, I know that.
07:44...monumental house.
07:45I know. I think it would be good
07:46to challenge the judges a bit
07:48and maybe just do that square foot of grass over there.
07:51Noreen McIntyre is a professional artist
07:55from Dysart in Scotland.
07:57Her landscape in shellac, enamel and oil
08:00is of a forest near Queensbury in Fife.
08:03Outside of teaching art,
08:04Noreen has some diverse hobbies.
08:07You pomp iron, is that right?
08:09Oh, don't say that.
08:10What?
08:11No, I don't. I don't.
08:12You lift dead weights, don't you?
08:14I lift, yeah, or I used to do a lot more than I do.
08:16No, I'm interested.
08:17I like the idea of the muscular artist,
08:19because one imagines artists to be these, you know,
08:23fae, wispy characters.
08:25Yeah.
08:25I like the idea of you and your partner's a personal trainer.
08:28Yeah, yes, yeah.
08:29Yeah.
08:29I mean, do you use, like, really heavy brushes?
08:32Sure.
08:42While seven artists are creating their images
08:45by putting paint on canvas bit by bit,
08:48printmaker Daisy has the opposite approach.
08:54I'm going to take my piece of metal
08:55and completely cover it in black ink,
08:58and then from that it's just a case of rubbing away
09:00to decide what bits I want light,
09:01what bits I want dark.
09:03Usually add a bit of white spirit
09:06and some talcum powder just to give it a few bits of texture,
09:09some art making,
09:10and then the mystery is revealed
09:12as to what it's going to look like,
09:14because I kind of don't really know
09:15what it's going to turn out like until it comes through the press.
09:18Daisy Hardman is a graphic designer
09:20and illustrator from Ascot.
09:22At 23, she is the youngest artist in the heat.
09:26Her landscape is dry point etching
09:28inspired by Richmond Park.
09:30Yes, I'm kind of one of the crazy people
09:32that actually really wanted it to be rainy
09:33and horrible and dark and gloomy
09:35because I work in black and white
09:37and I love, like, creating work
09:39that has, like, a real atmosphere to it.
09:50It's coming together.
09:52I'm feeling happy and quite jolly
09:55and I'm really enjoying it.
09:58Lucy Davis did her art foundation course
10:00at St Martin's College in London.
10:02A mixed media artist,
10:04she produces much of her work
10:06in her holiday caravan in Cornwall,
10:08just 100 yards from the sea.
10:11How does the changing...
10:12Because it's a cloudy day, sometimes it's sunny.
10:15How do you cope with that?
10:17You've got to make a decision to go with one,
10:19I'm going to try and work from this
10:20so that my tones, my shadows are on this side
10:23and build that in.
10:25Because it changes so much the view
10:27that you're looking at,
10:28you can't keep changing your mind
10:29and that's a disaster.
10:37Our eight competitors
10:39aren't the only artists painting today.
10:43On a first-come, first-served basis,
10:46we've invited 50 more to come to Wadston
10:48to try their luck as a wild card.
10:51Artists of every age, technique
10:53and level of experience
10:54have come from far and wide
10:56to join this festival of art.
10:58It's such a fantastic atmosphere!
11:01And if any catch the eye of the judges,
11:03they could find themselves in the semi-final.
11:05I'm sort of torn between...
11:13There's one side saying this
11:14and there's one side saying that.
11:16It's a bit like playing snooker.
11:18You know, like, you take the shot,
11:19but you know when you've taken the shot
11:20if it's wrong, you know.
11:21I've got no sense of what your painting style's like,
11:31so you have to come back later.
11:32I haven't.
11:33This is my very first landscape.
11:35Really?
11:36I started painting at Christmas.
11:39Oh, my goodness!
11:40So, anything can happen to do.
11:42OK, well, then we're definitely coming back
11:43to have a look later.
11:44Fantastic.
11:44Fantastic.
11:44You've done a lot already.
11:54Yes.
11:55You have to work quickly out of doors.
11:57You might get moved along.
11:58The wild cards will have to truly impress the judges
12:15if they want to find themselves
12:16next to one of our eight heat artists
12:19at the semi-final.
12:20This bit's quite forgiving,
12:22because if it goes wrong,
12:23I can just ink it up again.
12:25But I guess it's with the press.
12:26If the print's not good,
12:28then it's just a waste of time.
12:34I'm concerned that I won't know when to stop,
12:36because less is more.
12:38I just need to make sure
12:39I'm not getting too wildly mad with it.
12:41Here at Wadsden Manor in Buckinghamshire,
13:10our eight artists are a quarter of the way
13:12into this heat of Sky Arts Landscape Artist of the Year,
13:16and one artist may not need the whole four hours.
13:20Hester, I like it already.
13:22Oh, good.
13:23Shall I leave it?
13:23Yeah, maybe.
13:24Do you know what I mean?
13:25Already has a real beauty to it, I think.
13:27Professional artist Hester Berry
13:29teaches life drawing in Brighton.
13:32Her landscape captures the final light of 2014
13:35at Broughton Burrows in North Devon.
13:38Last year, she made it to the heats
13:39of Portrait Artist of the Year.
13:42I think the judges felt that day
13:44that you should have stopped a bit earlier,
13:47that you overworked it.
13:48Are you aware of that today?
13:50Yeah, well, I felt that at the time,
13:51but I felt a bit weird about just stopping
13:53and twiddling what I felt.
13:54I should make use of the time.
13:55But since having a baby, my time is limited,
14:00so I do stop when I need to.
14:02Because when you were with us last year,
14:04you had Zebedee with you.
14:07Yeah.
14:08Having him has helped me,
14:09because it's made me realise
14:11any moment I have to paint is more precious,
14:14and it's made me more economical as well.
14:25You do a lot of landscape, don't you?
14:31Yeah, yeah.
14:31This is what you do.
14:32This is your job.
14:34Yeah, yeah, completely.
14:35You know, I paint landscapes every week.
14:37David Alderslade is a professional painter
14:40who lives and works in a caravan on Salisbury Plain.
14:43His landscape is of a rusty and overgrown combine harvester
14:47he discovered in a field near the River Avon in Wiltshire.
14:53I'm rather fond of that hedge.
14:54I hope you're going to include the hedge.
14:56Yes, yeah, I'm going to get that in.
14:58That lovely dart.
14:59And the stripes on the lawn as well.
15:01Yeah.
15:01And we'll see if I can get those in.
15:02There's so much, isn't there?
15:03And also the stature in it.
15:05What are we going to do about that?
15:06Are you going to leave that?
15:07I'm going to put both of them in.
15:08There's an interesting one on the left-hand side,
15:10which would be way out of my picture at the moment,
15:12but I'm going to move that over and put that in as well.
15:14I see.
15:14You're going to start a little bit of falsifying.
15:16Yes, yes.
15:16I'm sure people have always done that.
15:18It's for the picture, isn't it?
15:19You know, that's the thing.
15:20I'm going to make my picture work rather than the scene
15:22that's definitely in front of me.
15:28Reimagining the scene isn't just about what's in the picture.
15:31It can involve changing its natural colours.
15:34You've got a hell of a lot of different pigments.
15:39You mix them with water or...?
15:41The gum, Arabic.
15:42OK.
15:42Yeah, and make them more shiny.
15:46Tenjun Yan had formal training in China
15:49before moving to the UK to study at the Slade in London.
15:53The colours in his landscape of Regent's Park
15:55are a result of his ability to see a larger range of colours than most.
16:01You've got this magical condition
16:02where you can see millions of colours at the same time.
16:05Tetrochromic.
16:07Tetrochromic?
16:07Tetrochromic.
16:08When I was staring at some places,
16:10I just can see, like, a lot of colours on that.
16:14But, I mean, on the one hand, like, you can see many colours.
16:18You can just put all the colours on the canvas.
16:20But on the other hand...
16:21It doesn't work.
16:22It's a problem.
16:23Sometimes it's not work.
16:28Today's artists are using everything
16:30from talcum powder to masking fluid
16:33to help them achieve their effects.
16:35It seems they all may have a trick up their sleeves.
16:38David, I find you applying flow improver.
16:43Yes.
16:44I've never heard of that before.
16:45What does it do?
16:47Well, I find, when I use it,
16:48it makes the acrylic a little bit more flowing.
16:51It's almost like fairy liquid.
16:52It sort of makes it a bit less coarse.
16:55I really need some flow improver, generally, in life.
16:59Art teacher David Douglas is an amateur artist from Northamptonshire.
17:03His landscape is of the cliffs in Hunstanton in Norfolk,
17:06a location that, for him, holds fond memories of past holidays.
17:10I know you have a sort of an adage which you paint by,
17:16which is, I believe, strong shapes make strong painting.
17:19Yes, yeah.
17:20Do you feel you've got your strong shape today?
17:22Yes.
17:23Say, for example, a good horizontal down the bottom
17:26stops the composition dropping out.
17:29Right.
17:29This nice vertical shape there,
17:32the danger is you can get all willy-nilly
17:34and do little bits and bobs.
17:35Don't get willy-nilly, David.
17:37I think that's going to let the whole thing down.
17:43The Wild Cards are providing the judges
17:46with a myriad of talent and approaches
17:47to painting Wadsden Manor.
17:49So you start with this sort of muddiness
17:55and then you'll sort of put in the definition?
17:57I'll start with a sketch, actually.
17:59So that's capturing the initial impression.
18:02And will you still?
18:03It's quite gloomy to begin with,
18:04which I really liked.
18:04I like that too.
18:05Now it's getting a bit sweet for me.
18:07So hopefully it'll rain this afternoon
18:08and screw everyone else up.
18:10I've been doing this all day.
18:17I know.
18:18Because of the tree.
18:19Very early this morning you were doing it.
18:28I'm completely drawn to that white statue.
18:31Yes, I'm trying to get all the sensual curves.
18:34Because the garden's very sensual, I think.
18:36In what way would you say that?
18:37Well, it's the shapes, you know,
18:40of curves and like a woman's body, you know?
18:43Yeah, and a man's body.
18:45Yeah, that's true.
18:47Scaled up somewhat, but yeah.
18:49The whole garden is about sex.
18:51I wouldn't have seen that if you hadn't have told me.
18:53I might have a dirty mind, I don't know.
18:54Well, maybe, but I've joined you in there.
18:57I'll get it.
19:03And for one judge,
19:05it's not the view of the house that's stirring emotion.
19:07That's why I'm a bit moved, I don't know why.
19:10It's just...
19:12Sorry.
19:16I've just moved my community of artists working.
19:20It's really, really nice.
19:21And they're all into it.
19:23That's what it...
19:23They're all totally immersed.
19:26Because they want to do it.
19:29There's a great sort of bouncing off of energy.
19:32And I feel that here.
19:33It's a great community of artists.
19:35It's just a very nice, lovely thing.
19:40You know, it was kind of built by Baron Rothschild.
19:44Yes, yes.
19:44As a pleasure palace.
19:46It was all about big society parties.
19:49So it's almost like you've taken that vibe of party time
19:53and you've translated it.
19:55Well, I've never tasted Rothschild's wine,
19:57but maybe one day.
19:59It looks like you have.
20:08There's a couple of the wildcard painters
20:10that I'm definitely going to come back and keep an eye on.
20:12There's some real characters
20:13and that's what you'd hope a wildcard would be.
20:15I want to see people that have come and have got guts
20:17and are just having a great day out
20:18and then, you know, I'd love to see one of them go through.
20:20It'd be lovely.
20:20If you built Wadston Manor today,
20:27it would be a huge feat of engineering.
20:29But back in 1874,
20:31building on a big hill in the middle of the countryside
20:34posed enormous problems,
20:36but not enough problems to stop Baron Ferdinand de Rothschild
20:39from completing the pleasure palace of his dreams.
20:46Ferdinand first saw the hill on which the manor now sits
20:49when he was out hunting with Rothschild's staghounds.
20:53It was a completely bare hill,
20:55and yet you look at it now,
20:56this French Renaissance chateau cloaked in trees
20:59and with this wonderful high Victorian garden,
21:01and he created that from scratch.
21:04And that entailed all sorts of incredible work.
21:06He had to cut the top off the hill
21:09and level it to create the plateau
21:10on which the house now stands.
21:13It was a huge job to get the building materials onto site.
21:16There was even a little railway
21:18so the mares could deliver the stone and wood
21:20to the carpenters and builders.
21:23Once complete, family and friends,
21:25as well as the great and the good, came to stay.
21:29Henry James famously visited.
21:31Queen Victoria came in 1890,
21:33and the Prince of Wales was one of Ferdinand's great friends,
21:36and he came on many occasions.
21:42The house is designed very much
21:43with this very, very grand entertaining in mind.
21:46So you would be taken on a tour of the estate,
21:49you would go to the aviary,
21:50which was stocked with a species of rare birds,
21:53and, of course, you would spend time with Ferdinand
21:56looking at the collections themselves.
21:58If you were very lucky,
21:59you might be invited into his private sitting room,
22:01the Baron's room,
22:02where he might show you the latest acquisition.
22:05And interspersed with all of this programme of activities,
22:07of course, was wonderful eating and drinking.
22:11As the manor was handed down through the Rothschild family,
22:15entertaining remained the theme.
22:18In the 1940s,
22:20James and Dorothy de Rothschild
22:21brought in chef Monsieur Tissot from Paris
22:24and worked closely with him to create their exclusive menus.
22:28What happened,
22:29my father used to prepare a menu in a menu book,
22:32and Mrs Rothschild would come down and say,
22:35oh, yes, like this,
22:36you know, we'll have changed this particular plate,
22:40that sort of thing.
22:41When it came to Christmas,
22:43I used to help my father with getting the turkeys ready,
22:46and I'd spend the rest of the time
22:49running around the fields, exploring.
22:52When I first came here,
22:54they had a horse and trap.
22:55The chauffeur used to say,
22:57come on, Raymond,
22:58do you want to come for a ride?
23:00If that's if there was no school,
23:01and I'd go in this little trap with him,
23:03and we'd drive around,
23:05it's not matter,
23:06had a lovely time.
23:12Raymond, welcome home.
23:14Thank you very much.
23:16How old were you when you first lived here?
23:18I was 11.
23:19We had two rooms here.
23:21Did you see the Rothschilds?
23:22Well, I knew them,
23:23but, I mean,
23:24downstairs don't mix with her upstairs, do they?
23:26So, did your father cater for these huge parties?
23:29Well, with the staff, yes.
23:31I mean, you imagine.
23:32The culinary maid used to get up
23:33at about 6 o'clock in the morning,
23:35light the fire,
23:37so that they were ready to go off for breakfast.
23:40Something like about 150 breakfasts,
23:42150 lunches,
23:44150 cheese or suppers.
23:47And your father was across all of that?
23:49He was inside all that.
23:50And did you go and meet them all?
23:51Were they not...
23:52Oh, yes.
23:53How did they treat you?
23:55A blimmin' nuisance.
23:58Now, part of your visit
23:59is that you will choose a painting.
24:01Yes, yes.
24:02And you will have your pick.
24:03Oh, thank you very much.
24:04It'll be lovely.
24:04Nearly two hours into the challenge
24:18and Daisy's ready to go to press.
24:24Major concern is the press, I suppose,
24:28because I could ink up my plate
24:29and do it all and be happy with how it looks
24:31and then the pressure might not be right on the press,
24:34so the print will come out, like, a bit too weak or something.
24:37Fingers crossed.
24:38And I'm probably going to have to roll it
24:39through that way and then back the other way.
24:43Doesn't feel like there's much pressure there.
24:45So does it mean...
24:46So it means that there'll probably still be
24:48quite a lot of ink on the plate
24:50and it might not.
24:52It's scary.
24:53It's usually quite a stressful moment,
24:55even with no-one else looking.
24:58Yes!
24:59That's fantastic.
25:00That sky is just stunning.
25:03Well, it's a start.
25:04Oh!
25:15It seems that Hester isn't happy
25:20at the halfway stage either.
25:22I'm aware that it's very rough
25:24because I've only been working on it
25:25for a couple of hours,
25:26so I'm not sure whether to
25:28use the rest of my time
25:31or leave it.
25:45At Wadston Manor in Buckinghamshire,
26:00the artists in this heat
26:01of Landscape Artists of the Year
26:03are at the halfway point
26:04and the judges have started
26:06to form their opinions.
26:09Daisy over on the printing press there.
26:12How do you think that's going?
26:13She's created something
26:14that looks like the House Out of the House.
26:15Psycho.
26:15Yeah.
26:16It's nice to see her take
26:17sort of an emotional response
26:19to the building
26:20and put that into the work.
26:21I feel like I want more moodiness.
26:23You know, if you're going to have
26:23the Psycho House,
26:25let's make it really dark.
26:26The sky is very beautiful.
26:28She said she mixed hurts with it.
26:29The ink is quite a sort of
26:30stodgy, thick material.
26:32She's got this fantastic
26:32watercolour-y effect,
26:33which I wasn't expecting from that.
26:35And then James.
26:36I didn't think I'd like James' work
26:38because it's so of a tradition
26:41and it's almost academic
26:42and I really like it.
26:43I'm going against all...
26:44Who am I?
26:45I've changed.
26:47I really like it.
26:50Noreen's sort of mystical,
26:51fantastical.
26:53I'm waiting to see it emerge.
26:54I've got a quiet confidence in her.
26:56Can you see any relationship
26:57to what she's standing in front of?
26:59Because if you look really carefully,
27:00there's this lovely sort of silhouette
27:02of the roof line.
27:03I think it's going to emerge.
27:05What about young David?
27:07Because he's working in watercolour,
27:08he's had to think of what he's doing.
27:10It's a process where he has to work
27:13very carefully and reverse things
27:14and block things out.
27:15It's not sort of instinctive
27:17what he's doing.
27:17It's very well planned.
27:18You always think that landscape painting
27:19would be so sort of expressionistic
27:21and instinctive
27:21and he is so methodical.
27:23So then we have Hester.
27:26Right from the start,
27:27it was a really bold, painterly start.
27:28She had the blocks of trees
27:30and the brush marks.
27:31It was just really nice to watch it happen.
27:33She had like a two or three inch brush
27:35and she just did that
27:36and already I could see the scene.
27:38She just is able to read a scene.
27:40The word on the street
27:41is that she's going to do two.
27:45You're starting again.
27:47Yeah.
27:48And then for the competition,
27:50you will decide which one
27:51you want to be considered.
27:52Yes.
27:53Are you thinking of it differently?
27:55I need to approach it completely afresh
27:57as if I hadn't already done this,
27:59I think, and see.
28:00Lots of luck with it.
28:01Thanks very much.
28:02I want to maybe bring
28:13the woods over,
28:15sort of overlaying in front of here
28:17more and maybe have some greenery
28:20at the side instead
28:21but I don't really want to focus
28:24on the building too much.
28:26I think it's about the building, isn't it?
28:28And it's not lost.
28:30It's a tiny little building far away.
28:32I'm really going, wow, there we go.
28:34There's the manor.
28:35It's in your face.
28:42What you've really captured
28:43is a real sense
28:45of being in France.
28:47Oh, really?
28:47I feel more so than any of the others I've seen.
28:50You've sort of...
28:51We've got a French chateau here.
28:52I'm sort of sitting on the lawns
28:53beside one in the Loire.
28:55Yeah, yeah, yeah, absolutely.
28:58Our eight heat artists
29:00have less than an hour
29:01to complete their work
29:02and impress the judges.
29:03But will a wild card
29:05be joining them in the semi-final?
29:07I like the orange grounds showing to people.
29:11Yeah, I think the orange is really successful.
29:13And I was particularly against that blue
29:15that really pops.
29:20Didn't realise you were going to put them together.
29:22Was that the plan?
29:23Yeah, I planned to join them together.
29:26And what about the degree of finish?
29:27Because there's a higher degree of finish,
29:29isn't there, in the studies, wouldn't you say?
29:32Relative to the scale.
29:38Mine's very different
29:39to the majority of the others.
29:42But I feel like this is the kind of painting
29:43I wanted to make today.
29:46But can the judges agree
29:48on an artist to put through?
29:50What about the one with the orange background?
29:52That was always my favourite for the day.
29:54No, it was too tame.
29:56I tell you, I've gone back to the Diptych Boy.
29:59I know it's muddy and I know it's green.
30:00If we're going with a Diptych guy,
30:02I'm only going with a small one,
30:04the small bit of painting
30:05that you like, the first sketch.
30:06I think the big stuff
30:07is just a lot of big brown painting.
30:08What would you like, then?
30:09Big brown green.
30:09I don't like any of them.
30:10Oh, we'll never win.
30:13The problem is,
30:14is he getting in on the...
30:15I mean, we're showing the Diptych
30:16as the thing that's got him through
30:19with our competitor,
30:20with whoever wins from our competitors.
30:21He doesn't stand up next to them.
30:21He doesn't stand up.
30:23What I don't want to do
30:24is to run the chance
30:26of losing two good wild cards
30:28in another programme.
30:29Yeah, yeah.
30:29So I'd rather leave it.
30:30And keep our fingers crossed.
30:32Yeah, let's keep our fingers crossed
30:33for a really fertile day
30:35somewhere else and we'll get two.
30:36Agreed.
30:42Brushes, paints and pencils
30:43are all part of an artist's kit.
30:45But on a day like today,
30:47there are other essential components
30:48our eight competitors
30:49have decided to bring with them.
30:51There's my daughter,
30:53my mother there
30:54and my daughter's friend
30:57and then my best friend
30:59and then my dad
31:00and they're making a lot of noise
31:02but I love having them here.
31:04It's really good to see them.
31:05I think Sung Joon's invented
31:09a lot of different things
31:10that aren't really there
31:11but that's a good thing, I think.
31:13So try to branch out your imagination
31:14even though you have a certain view.
31:16Sung Joon's gonna win, I'm sure.
31:24I'm amazed that she's done two in the time.
31:26I think the first one's the best one
31:27but you never know.
31:28She's had a really nice day
31:30and well, so me and Zeb too.
31:31It's just been a lad's day out, really.
31:45There are just 30 minutes
31:47of the challenge remaining.
31:51Interesting.
31:52Do you have a favourite at this stage?
31:55Do you actually like any of the ones I've done?
31:57Oh, really?
31:57Yeah, I'm quite unhappy
31:59with the prints that I've got.
32:00I'm quite frightened of your hands, generally,
32:03that they're gonna come near me
32:04at some point
32:04so I'm gonna leave you.
32:07God, the sky is just so changeable.
32:11I feel like I could do
32:12another two hours extra, really,
32:14but, you know, we'll see
32:16if I'm gonna speed up.
32:17Here at Wadston Manor,
32:41there are just 10 minutes to go.
32:43Just ignore me, then, just continue.
32:54I'm just gonna look at it.
32:55It's difficult to choose
33:06because I like the colours in that one,
33:08but I feel like this one just works better.
33:10So that was really just, you know...
33:13That's the more bold.
33:15It is more bold.
33:16I don't know if it's more successful
33:17for being more bold.
33:19I think it's gonna be this one, still.
33:22I'm more confident with this one.
33:24I'm going for this.
33:25OK, you've had another play.
33:26Yeah, I've had a bit of time,
33:27so I've made some bits darker.
33:28Brilliant.
33:29OK, done.
33:30Decision made.
33:32Artists, you have one minute left.
33:36Woo!
33:36Artists, your time is up.
33:59Please put down your equipment
34:01and step away from your work.
34:03Before the judges take a closer look at today's work,
34:15Raymond Tissot,
34:16who used to live at Wadsden Manor as a child
34:18when his father was a chef,
34:19is invited to choose his favourite
34:21to keep as a reminder of his time exploring the estate.
34:26Artists, can you please turn your easels?
34:33So, Raymond, what's your first impression?
34:38Well, I'm quite astonished at what I've seen.
34:41Great deal of variety, isn't it?
34:42Yeah, it is a terrific deal of variety, yes.
34:45I had a go when I was about 14
34:47of doing a picture of the mansion here.
34:50Oh, really?
34:51But from the other side.
34:52It hasn't finished yet, but...
34:54So, Raymond, which painting would you like to keep?
35:04I'd like to keep quite a few of them, actually.
35:06They're very vocative of my time here,
35:09but I've decided which one I'd like.
35:12Ah, James.
35:14Well done, James, and I hope it brings you lots of pleasure, Raymond.
35:24Oh, it will, it will.
35:31The judges now have to decide on a short list of three,
35:35from which only one will claim a place in the semi-final.
35:38At the beginning, when she started, I thought, that's it.
35:43Hester's going to absolutely walk it.
35:45And it's that sort of lusciousness of the paint that she uses
35:48and the confidence with which she applies it.
35:51She's got a lovely movement through the perspective,
35:54sort of up the lawn and then across and then back to the building.
35:57It works really well.
35:59Last year, they commented that I should have finished earlier.
36:02I think they might think that I've taken what they said too much to heart.
36:08I think it's a really courageous, brilliant contemporary painting.
36:23I absolutely love it in its state.
36:25I think it's a really cool painting.
36:27I'd have it in my house and I'd be really proud of it.
36:30This is absolutely magical,
36:32but I don't know where the building is in relationship to it.
36:35It's the reconciling the built environment
36:38with the natural environment, which is what we're doing here today.
36:40I mean, there's this huge, big, imposing house
36:42that's been put into the landscape.
36:44I've fallen for it, I'm afraid.
36:46Yes!
36:46I've been seduced by it completely.
36:48I'm so pleased that you like it as well.
36:52The piece is unfinished.
36:54I really hope that the judges can see potential with it,
36:58but the competition is fantastic.
37:00His graphicness is what we like, the way he simplified forms.
37:05What is interesting is that he's been able to bring in an atmosphere,
37:08so it gets hazy as it goes back.
37:10There's like a sort of myth that's sort of risen out of the hedges in the back.
37:14I think it's... I love it.
37:15He's so good with form and line,
37:18and I think so often we overlook how important having that kind of control is.
37:21The second half seemed to just fly by,
37:25which is when I really want to do the sort of enjoyable parts of it.
37:28So it was a bit rushed, a bit hectic,
37:30but still, it turned out all right.
37:32MUSIC PLAYS
38:02I think we've got our three, haven't we?
38:32Yeah, I think we've got our final three.
38:34Yeah. Yep. Happy.
38:41It's been a fantastic day,
38:43but the time has come to announce who has made it to the shortlist.
38:48The first artist is Hester Berry.
38:52APPLAUSE
38:54The second artist is David Alderslade.
39:01And the third and final artist to make it to the shortlist is...
39:13Noreen McIntyre.
39:15APPLAUSE
39:16And our commiserations with those of you who didn't make it.
39:23Very well done.
39:30I feel this and everything I was making, I wasn't pleased with as it was going,
39:33so I kind of... I wasn't expecting to go through anyway.
39:37It was a bad day for me, I think.
39:38I'm a little disappointed, but, hey, Raymond, you chose my painting,
39:41so that's great.
39:43It's quite moving, that. I've enjoyed that.
39:48To help make their final decision,
39:50the judges talked to Noreen, Hester and David about their work.
39:54We love that window you gave us into that magical forest,
39:59but it's interesting that in the picture that you painted today,
40:02even though the building takes up more than half,
40:05you didn't attempt much more of it.
40:07I knew that I wanted to explore the detail in the woodland area,
40:12and I did want to explore the linear qualities within the building,
40:17but I did run out of time.
40:19My chances probably aren't the best,
40:22but I'm just really happy to be shortlisted.
40:26It's... what an opportunity.
40:28I know you were under immense time pressure,
40:31and you finished it, but where would you have added detail?
40:35I'd definitely have made these bushes a bit more three-dimensional.
40:38There would be more detail in the building as well,
40:40but there's just no time to do it, so...
40:42Well, you did a lot today.
40:44I don't even hazard a guess as to whether I've got a chance, to be honest.
40:48It's just... I'm amazed that I was shortlisted.
40:52You stopped sort of just over halfway through the day
40:55and decided to leave it, and last time we met,
40:58we told you that you'd maybe gone too far,
41:00so was it a conscious decision today to be very careful
41:03to not do too much?
41:05To be honest, over the past year,
41:07I've been used to being a bit more economical
41:09and stopping when I need to, but, yeah, I was aware.
41:14I did think you might think I'd gone too far
41:15in the opposite direction there this time.
41:17I told myself I didn't mind if I didn't get shortlisted this time,
41:22but it is...
41:24I would have been disappointed if I hadn't got as far as I had last time,
41:27so it's... it's nice.
41:30Deciding who goes through to the semi-final
41:32is completely down to the judges,
41:35but something is bugging me.
41:38Can I ask a question about Noreen?
41:40I don't know, for me, I thought, oh, God, I love her stuff,
41:42but she hasn't quite done enough.
41:44That big blank on the side,
41:46just... it doesn't look like an artistic decision to me.
41:48I just felt what she didn't do,
41:51it just undermined the whole thing.
41:53But I wouldn't... I wouldn't...
41:54I would be so upset if that house ever made it into that painting
41:57any more than it already has.
41:59Really?
41:59There was just, like, a magnitude to leaving this ghost there.
42:04She's a very interesting artist,
42:06but we've created a situation today
42:08where we're in these grounds
42:10and we've got this fantastic house,
42:12and I'm not certain that she's risen to the challenge.
42:16I was a bit sad that the print didn't make the final three.
42:20I think Daisy's very special,
42:22and I think we need to keep an eye on Daisy...
42:24Yes.
42:24..going forward.
42:25She was a real contender,
42:27and I loved the way that she did face a series of challenges
42:31throughout the day, but she kept trying.
42:33Hester did two paintings.
42:34It was impressive to do that in the time.
42:37And she's a lovely painter.
42:38The first painting, particularly, that sort of sense of...
42:42The storm.
42:42Yeah, that sort of stormy and really atmospheric,
42:45and it was an equally exciting painting.
42:47So have you agreed the final?
42:50I don't know now.
42:52Yes, we have.
42:53Yeah.
42:53OK.
42:59David, Hester, Noreen,
43:01congratulations on making it through to the shortlist.
43:04I know the judges found it a very difficult decision to make.
43:09But they have decided,
43:11and the judges felt that the artists they've chosen
43:14to go through to the semi-final
43:16displayed consistency of vision,
43:18and they're keen to see how this person will develop.
43:23That person is...
43:24Noreen McIntyre.
43:30You're allowed to cry.
43:37I won't say, thank you.
43:44Well done, lovely girl.
43:47I thought Noreen's work is great.
43:48I thought she might win.
43:49I thought she might have the edge.
43:50And it's really deserved.
43:52It's beautiful.
43:54Well done, Noreen.
43:54Both of the other artists were brilliant,
43:57so it's just not a surprise.
44:00Really happy.
44:01And I can't quite believe it.
44:03All right.
44:08I don't even know.
44:09I don't know.
44:09I don't know.
44:10I know.
44:11I guess I can't.
44:11What do I do?
44:12I guess I can't.
44:13I guess I can be perfect.
44:14I think I should...
44:16I guess I will.
44:16Because of the artist's work
44:17I think I don't get back.
44:18I guess I can.
44:19Because of the artist's work
44:20I've just got a simple start today.
44:20Right.
44:21On Twitter, I think I've just got a magic.
44:23I think I'll announce it at the cafe
44:24when the artist's work
44:26I think I can figure out
44:27on Twitter right then.
44:29Let's live.
44:30And on Twitter now,
44:30and on Twitter,
44:32and on Twitter channel,
44:33Transcription by CastingWords
Recommended
47:55
|
Up next
23:48
24:52
43:45
44:14
44:14
28:30
28:30
38:03
38:39
48:52
Be the first to comment