Maureen Jordan s b a

still lifes
the artist
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Links in this section:

My work has been featured in:

The Green Pebble
All issues

Artists and Illustrators
Issue 263 August 2008
A 4-page article, called An Affinity with Flowers featuring full page illustration called A Sunflower Collection
A Sunflower Collection

The Artist
November 2001
Cover story, Masterclass: Vibrancy in Pastel

Pastel Artist International
Issue 11 September/October 2001
An 8-page article, Simply Irresistible Subjects, which included a step-by-step demonstration.

International Artist
Issue 19 June/July 2001
Master Painters of the world - reproduced below

Pastel Artist International
Issue 3 Feb/Mar/Apr 2000
Master Painters of the world - reproduced below

International Artist
Issue 19 June/July 2001
page 79, Master Painters of the world

Yellow pansies on a blue chair
Painting available as a giclee
print - click for details

Yellow Pansies on a blue chair
pastel, 25" x 19"

One sunny July afternoon I was looking for a subject to paint. I asked the man painting my house (I was making a cup of tea for him at the time) if he had an old garden chair which I could use as a prop for a picture. Off he went and came back with the blue chair, much to my delight. Within a very short time I had set up the group so that the sun just shone through the trellis onto the pansies and the chair seat. I quickly got my light easel, stool, pastels and board set up. Sometimes the sun is so fleeting in England that by the time you get it altogether the weather has changed. This time I was in luck.

For this work I used Caput Mortuum Red pastel board which has a soft even finish and is quite a dark colour. I work within an old mount which restricts me to the size that I know will fit my frames. To achieve this type of painting I need the group set up for many consecutive days, with the sun at just the same angle. Because this is quite difficult in our climate, I knew that I had to get the atmosphere and all the important patches of sunlight and main shadows marked in at the first session. I quickly sketched in these details with hard pastels and at the same time keep taking photos so I could finish it off in the studio if I had to. This time everything went like magic from the start - what joy!

Pastel Artist International
Issue 3 Feb/Mar/Apr 2000
page 107, Master painters showcase

Yellow reflections Yellow Reflections
pastel and watercolour
13" x 9.5"

As a professional artist painting flowers and gardens every day, life drawing is my special treat. The flower pictures take a long time as they are often very detailed, but my life drawing is just the opposite - fast, loose and sometimes just splashes of colour, the outline of the body hardly there. Most importantly, I don't want the drawing to look as if the model stopped breathing two hours ago! I am only interested in that single moment - it's as if the body is in motion and you catch the wonderful reflections on the skin.

I work at a nightclass with many other artists. Frequently the model is not in the best position, or cannot be seen properly, and the light is in the wrong place, but just occasionally it's your favourite model, you are in the right mood, the light is right - fantastic!

The night I did this picture it all gelled. I always draw on different coloured backgrounds which forces me to experiment, so before going to class I prepared bits of smooth paper with watercolour - anything that comes to hand - great fun! I took hard and soft pastels. I always do the 15 minute pose so that I do not have time to think, just react to the pose.

I spent very little time sketching in the shape and then just went for patches of colour, a piece of bright yellow cloth and its reflection, then the deep shadows and highlights. Next I put in the softer colours and shapes and somehow, like a jigsaw, it began to fit together and the figure seemed to emerge out of the background. Being short of time I only put in a bit of background colour and added a bit more at home. My rule is not to fiddle with the pose after it is finished.