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Our new art exhibition, which opened on 21 September, features the vibrant and colourful work of Helen Newton. Curator Henriette sat down with Helen to talk about the inspiration behind her work, her artistic techniques, and her attachment to Winterbourne.
HL: Helen, you have been painting houses and gardens for some time now. What drew you to these particular subjects?
HN: In 2015 a friend asked me to paint a portrait of his houseboat moored at South Quay on the Thames. That was my first commissioned house and garden painting. In this case, the garden was potted plants on the quayside and the house was a boat. I included other vessels, Canary Wharf and the river, as well as Hercules the boat. Other commissions followed in the same style using pattern, bright colours and images significant to the owner. Each portrait is a puzzle combining the attachment of the owner with the subject, patterns, colours and representative imagery.
HL: When did you first start painting Winterbourne, and why have you kept returning to it as a subject?
HN: I first painted Winterbourne in 2019, capturing the rear elevation of the house with the repeated pattern of the yew trees below the terrace. Over lockdown I often visited Winterbourne, as it provided a great venue to meet up with family who live locally or work at the University. I often see new paintings when I walk round, as Winterbourne offers so many interesting and changing vistas throughout the year.
HL: Do you have a favourite spot at Winterbourne? If so, why does it appeal to you?
HN: I am not sure I have a favourite spot as such, but I do like to check out the new pots and plantings whenever I visit especially those around the sundial at the end of the terrace.
HL: You take an unusual approach to perspective in your work. Can you explain how you developed that and how it helps you achieve the effect you are looking for?
HN: I would say that there is perspective in my work, just not that of a traditional approach with a vanishing point or points. I take the perspective of the viewer as they move through the subject. This may include paths and plantings as if you are looking down on them and buildings as if you are looking straight at the building elevations. I also tend to move significant elements of the portrait around. A recent client described this as ‘a jigsaw’ approach – everything is included, just not always in the correct place!
HL: You paint many of your watercolours ‘en plein air’. What are the challenges involved in working in the open air? Do you feel that this approach lends a particular quality to the work?
HN: I paint ‘en plein air’ with watercolours, and each painting takes about 30 minutes. These sketches capture the moment; looking back at them I can recall the image clearly, as well as the temperature, people around, and where I was seated. It’s not always a comfortable experience depending on the conditions, but it provides me with so much more than a photograph could.
HL: With your larger gouache paintings, do you work with sketches, photos, or from memory – or a combination of all three?
HN: Watercolour sketches provide part of my research for larger paintings, particularly in regard to selecting a colour palette. I also do a lot of research for larger gouache paintings using Google images, Google Earth, plans, photographs, diagrams, peoples’ comments, and any information I can get, including my memory. For larger gouache paintings, I have a clear image plan because of all the research before I start to paint.
HL: All your work displays a strong sense of design. Are there techniques or artistic styles from around the world that have influenced your painting?
HN: I am attracted to work with a strong sense of colour and pattern rather than realistic images and have found inspiration from the art of First Nations in Canada. I love the imagery of the totem poles and pattern in fabrics. Traditional tiles of Spain and Portugal are also a real source of inspiration.
HL: You took inspiration from illustrations in a book from our archival collection: ‘The Alpine Flora’ by Henry Correvon and Philippe Robert, published in 1911. What aspects of these illustrations really stood out for you?
HN: This book is amazing, as the illustrations combine the scientific aspects of botanic illustration with such strong design elements. These elements include the juxtaposition of specimens which sometimes break out of the picture frame, the use of diptychs, coloured backgrounds, and great combinations of colour and line. I even sourced and bought myself a copy!
HL: If you had to choose one artist whose work excites you more than any other, who would it be and why?
HN: It’s hard to pick just one but I love the work of artists who painted and drew for the love of doing it rather than for any commercial gain. Percy Kelly is my current favourite; he illustrated letters and envelopes to friends using subjects from his life to which he had a great attachment, such as his kitchen and the post box he used.
HL: You say you always have an art project on the go. What are you working on next?
HN: I’m currently working on ‘Cherry Tree’, which is based on a cherry tree in the middle of raised vegetable beds. It is in my own garden and is an image I have had in my head for a couple of years.
HL: Thanks, Helen! We’re looking forward to enjoying your exhibition in the coming months.
‘Houses, Gardens and Floral Design’ by Helen Newton runs from 21 September 2024 to 16 February 2025 and can be found on the second floor of the house. Entry is included with your admission ticket, so don’t forget to look!
