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'Britain's top artists make big money. Their works can go for millions.' | 0:00:02 | 0:00:08 | |
6 million 5. 7 million. Thank you. | 0:00:08 | 0:00:11 | |
'So how do you get a slice of the action? | 0:00:11 | 0:00:15 | |
'Now's your chance to find out | 0:00:15 | 0:00:17 | |
'as we offered all-comers the opportunity to fight for a spot | 0:00:17 | 0:00:21 | |
'at the hottest exhibition in town. | 0:00:21 | 0:00:24 | |
-Please, open the door. -Art really matters to me. -It's something I want to do for the rest of my life. | 0:00:25 | 0:00:30 | |
'They could stand to make some serious cash.' | 0:00:30 | 0:00:34 | |
-Could you tell us what price you'd put on your piece? -30 grand. -30,000? | 0:00:34 | 0:00:39 | |
I'd like £100,000 for it. | 0:00:39 | 0:00:41 | |
'But first they need the seal of approval from three of the art world's toughest critics.' | 0:00:41 | 0:00:46 | |
I think it looks like it's from the centrefold of a men's magazine. | 0:00:46 | 0:00:49 | |
My first impression when I saw the picture was actual disgust. | 0:00:49 | 0:00:53 | |
'Their hopes and dreams are in the hands of the hanging committee.' | 0:00:53 | 0:00:57 | |
I think you need to go back to the drawing board, literally. | 0:00:57 | 0:01:01 | |
'It's time to Show Me The Monet.' | 0:01:01 | 0:01:04 | |
Hello and welcome to the Royal College of Art in Central London | 0:01:06 | 0:01:09 | |
for this special Show Me The Monet exhibition. | 0:01:09 | 0:01:12 | |
This world-famous school | 0:01:12 | 0:01:14 | |
has launched the career of many British artists. | 0:01:14 | 0:01:18 | |
Over the past few months, creative folk ranging from working professionals to complete amateurs | 0:01:18 | 0:01:23 | |
have been vying for the chance to show their work here. | 0:01:23 | 0:01:27 | |
But to earn their place, they had to face our hanging committee. | 0:01:27 | 0:01:32 | |
'Our hanging judges are three ruthless and much-respected artist critics. | 0:01:33 | 0:01:38 | |
'They're searching for new work to exhibit at the Show Me The Monet exhibition. | 0:01:38 | 0:01:42 | |
'Only the very best will make the grade | 0:01:42 | 0:01:45 | |
'and get the chance to sell for hundreds or even thousands of pounds. | 0:01:45 | 0:01:49 | |
'Hanging judge David Lee prides himself of cutting through the hype | 0:01:49 | 0:01:54 | |
'when it comes to modern art.' | 0:01:54 | 0:01:56 | |
I'm looking for originality, the ability to surprise us. | 0:01:56 | 0:02:01 | |
All good art is about surprise. | 0:02:01 | 0:02:03 | |
'Critic Charlotte Mullins has spent over 15 years writing about the modern art world. | 0:02:03 | 0:02:08 | |
'She knows what separates a genuine new talent from a passing fad.' | 0:02:08 | 0:02:13 | |
We're looking for technical ability. | 0:02:13 | 0:02:15 | |
Not perfectionism. It has to be appropriate to the subject. | 0:02:15 | 0:02:18 | |
'And Roy Bolton has worked for some of the world's most exclusive auction houses. | 0:02:18 | 0:02:24 | |
'He knows what gives an artist the edge.' | 0:02:24 | 0:02:27 | |
It has to jump out and grab me as a viewer. | 0:02:27 | 0:02:30 | |
If it says something directly to me and I feel involved, it's done its job. | 0:02:30 | 0:02:33 | |
'We've scoured the country in our hunt for the best artistic talent. | 0:02:38 | 0:02:42 | |
'Against the imposing backdrop of some of Britain's finest galleries, | 0:02:44 | 0:02:48 | |
'hopeful contenders came to present their work. | 0:02:48 | 0:02:51 | |
'They needed two yes votes to get through. | 0:02:53 | 0:02:56 | |
'And at stake was a chance to fulfil their dreams | 0:02:56 | 0:02:59 | |
'and the opportunity for many to make some serious cash from their work for the first time. | 0:02:59 | 0:03:04 | |
'But not all the judges agreed what makes good art.' | 0:03:04 | 0:03:08 | |
The pair of you. | 0:03:08 | 0:03:10 | |
'Student Alex Jones presented a quirky axe sculpture as his signature piece.' | 0:03:10 | 0:03:16 | |
I was interested in trying to create a relationship between | 0:03:16 | 0:03:20 | |
what the axe is and what it's used for. | 0:03:20 | 0:03:23 | |
'Alex wanted to see if he has what it takes.' | 0:03:23 | 0:03:26 | |
Alex, the axe is used to chop down a tree. Is that it? | 0:03:26 | 0:03:32 | |
'But one judge wasn't on board.' | 0:03:32 | 0:03:34 | |
This is an artistic interpretation of a current issue which, for me, is what art is all about. | 0:03:34 | 0:03:41 | |
'But Alex got through with a chance to sell for big money.' | 0:03:41 | 0:03:45 | |
I won't rabbit on about it, an absolute yes from me. | 0:03:45 | 0:03:48 | |
-Alex, it's a yes from me. -Thank you. -It is coming to the exhibition. | 0:03:48 | 0:03:52 | |
-I'm very pleased to see it there. Well done. -Thank you. | 0:03:52 | 0:03:55 | |
'Teacher Daniel Collins also stepped into the firing line | 0:03:55 | 0:03:59 | |
'with a mysterious painting inspired by Asian carvings.' | 0:03:59 | 0:04:04 | |
A couple of people have asked me recently, "What does it mean?" I think the job of an artist | 0:04:04 | 0:04:09 | |
isn't always necessarily to know what it symbolises. | 0:04:09 | 0:04:12 | |
'David for one didn't know what to make of it.' | 0:04:12 | 0:04:15 | |
Nobody's mentioned the fact that she seems to have a pair of fruit bats dangling from her ears. | 0:04:15 | 0:04:21 | |
THEY LAUGH It's supposed to be about spirituality. | 0:04:21 | 0:04:24 | |
Frankly, it makes my spirit sink. | 0:04:24 | 0:04:27 | |
'There was only one judge who rated Daniel's work.' | 0:04:27 | 0:04:31 | |
I couldn't disagree with them more. I'm intrigued and I want to look at it | 0:04:31 | 0:04:35 | |
-and I would look at that again and again. -Thank you. | 0:04:35 | 0:04:37 | |
'28-year-old artist Rebecca Fontaine-Wolf was looking for feedback | 0:04:37 | 0:04:41 | |
'on her approach to portrait painting. She submitted a giant image of herself.' | 0:04:41 | 0:04:47 | |
I'm really interested in the way in which portraiture can turn a person into a sort of icon. | 0:04:47 | 0:04:52 | |
'The panel was quite impressed by her nod to fame.' | 0:04:52 | 0:04:57 | |
I can see you're playing with celebrity, | 0:04:57 | 0:04:59 | |
what it means to be a celebrity. There are elements of Holly Golightly in Breakfast At Tiffany's there. | 0:04:59 | 0:05:06 | |
'But it was Rebecca's style of painting that bowled them over.' | 0:05:06 | 0:05:10 | |
I love the way you've painted it so thinly and the canvas itself is unprepared and very thin. | 0:05:10 | 0:05:15 | |
You can see through it. I've never seen that before. | 0:05:15 | 0:05:19 | |
-No question, yes. -It's a yes. | 0:05:19 | 0:05:22 | |
Three yeses. Well done. | 0:05:22 | 0:05:24 | |
'Rebecca has got a spot to sell her painting, and its price tag, £1,800. | 0:05:24 | 0:05:30 | |
'At London's Foundling Museum, I met one contender who used to be a teacher | 0:05:31 | 0:05:36 | |
'before bravely giving up her profession and a steady income to have a go at being an artist. | 0:05:36 | 0:05:42 | |
'Mary Rouncefield has had some success but her motivation for applying today | 0:05:42 | 0:05:47 | |
'was the chance to get seen at a big London gallery | 0:05:47 | 0:05:50 | |
'and to silence sceptics who thought she couldn't make a go of it.' | 0:05:50 | 0:05:54 | |
-Welcome. -Thank you. -How are you feeling? A little bit trembly there. -A little bit. | 0:05:54 | 0:05:58 | |
-Have you always been a budding artist? -No. | 0:05:58 | 0:06:02 | |
I was a maths teacher and I decided after a while | 0:06:02 | 0:06:06 | |
that I really wanted to do art, so I went back to university | 0:06:06 | 0:06:12 | |
and studied art and I graduated about 18 months ago, | 0:06:12 | 0:06:17 | |
-so now I'm trying to make a go of it. -How's it going? -Er, quite well. | 0:06:17 | 0:06:22 | |
I sometimes have done some supply teaching to earn some money, | 0:06:22 | 0:06:26 | |
so that is helpful. | 0:06:26 | 0:06:30 | |
-So your head is just about above water. -Just about. | 0:06:30 | 0:06:32 | |
What did family and friends say when you said, "I'm going to give up maths teaching and be an artist"? | 0:06:32 | 0:06:38 | |
Erm, I think they were a bit concerned. | 0:06:38 | 0:06:40 | |
But they can see that I'm enjoying what I'm doing | 0:06:40 | 0:06:43 | |
and I keep saying the old cliche, you only live once. | 0:06:43 | 0:06:48 | |
-What would it mean if you could make it to this exhibition? -It would be very encouraging, it'd be fantastic | 0:06:48 | 0:06:53 | |
because in a way, it would say, actually, you weren't mad to do this | 0:06:53 | 0:07:00 | |
and you are going in the right direction. | 0:07:00 | 0:07:04 | |
-What are you like with criticism? -Well, I think I'm just going to have to take it on the chin. | 0:07:04 | 0:07:09 | |
-Good luck. -Thank you, Chris. -Through those doors. -Thank you. | 0:07:09 | 0:07:13 | |
'So let's see if this aspiring artist can prove her doubters wrong. | 0:07:19 | 0:07:24 | |
'Her hopes of getting to the exhibition and making some much-needed spare cash | 0:07:24 | 0:07:28 | |
'are riding on this rather saucy screen print which, it turns out, has hidden messages.' | 0:07:28 | 0:07:34 | |
-Welcome to the hanging committee. Would you like to tell us about your picture? -Yes. | 0:07:36 | 0:07:41 | |
It's a screen print and it's based on the Rorschach inkblot test, | 0:07:41 | 0:07:46 | |
which was given to psychiatric patients to try and work out what their problems were. | 0:07:46 | 0:07:54 | |
So if a man interpreted a lot of these inkblots as being sexy women, | 0:07:54 | 0:08:00 | |
he was seen as perhaps being | 0:08:00 | 0:08:04 | |
a likely predator or harasser of women and possibly dangerous. | 0:08:04 | 0:08:10 | |
So I decided to produce a sort of visual joke or a visual pun | 0:08:10 | 0:08:16 | |
whereby my inkblot actually does consist of sexy women. | 0:08:16 | 0:08:21 | |
Although, if you look at them, you can see their clothing | 0:08:21 | 0:08:26 | |
and their hair, which looks rather artificial, | 0:08:26 | 0:08:29 | |
but you can't actually see the woman. She is like the invisible woman. | 0:08:29 | 0:08:33 | |
So I'm commenting on sexual stereotypes | 0:08:33 | 0:08:38 | |
and the way women are seen in society, as well. | 0:08:38 | 0:08:41 | |
How much would you value this work at? | 0:08:41 | 0:08:44 | |
Probably around £200 or so. | 0:08:44 | 0:08:49 | |
-Do you mind if we have a closer look at the picture? -Thank you, yes. | 0:08:49 | 0:08:52 | |
'So, this former maths teacher is making a clever comment on stereotyping. | 0:08:53 | 0:08:58 | |
'But as a new artist, Mary's not being greedy with her guide price. | 0:08:58 | 0:09:02 | |
'Will the judges think it's worthy of a select spot at the exhibition where their peers will see it? | 0:09:02 | 0:09:08 | |
'Their reputations ride on every piece they put through. | 0:09:08 | 0:09:11 | |
'So does Mary's work and its message make the grade?' | 0:09:11 | 0:09:15 | |
Mary, I think this is probably a very commercial image. | 0:09:18 | 0:09:21 | |
In a way, it's a sort of classic bachelor pad decoration on the wall. | 0:09:21 | 0:09:27 | |
But on a serious point, you mentioned the figures don't have faces | 0:09:27 | 0:09:31 | |
and that's a bit of a comment on women and how they're seen. | 0:09:31 | 0:09:34 | |
To my mind, that objectifies these women more. | 0:09:34 | 0:09:38 | |
-Oh. -That they're purely bodies wearing boots which you'd find in only a few places. | 0:09:38 | 0:09:44 | |
-SHE LAUGHS -And Avengers costumes. | 0:09:44 | 0:09:47 | |
That's part of what I'm trying to say. That if you go to an extreme, this is what you get. | 0:09:47 | 0:09:53 | |
The woman herself is not important any more. | 0:09:53 | 0:09:56 | |
Mary says that she's commenting on sexual stereotypes | 0:09:56 | 0:10:00 | |
whilst actually perpetuating them. | 0:10:00 | 0:10:03 | |
'Has Mary's message backfired? And can she turn the judges around?' | 0:10:03 | 0:10:08 | |
It's a bad James Bond or Avengers poster or album. | 0:10:08 | 0:10:13 | |
-Mary, do comment. -I think that's outrageous! | 0:10:13 | 0:10:15 | |
Yes. I've... | 0:10:15 | 0:10:18 | |
Yes, I can perhaps see that you might say a Bond woman might dress like that but... | 0:10:18 | 0:10:26 | |
-They did dress like that! -I've certainly not seen that image anywhere else. | 0:10:26 | 0:10:31 | |
Well, we've had a very lively debate but Mary has stood up for herself. | 0:10:31 | 0:10:36 | |
'Are her dreams of showing and selling at the exhibition slipping away?' | 0:10:36 | 0:10:40 | |
It is a very slick image and I rather like the way you've drawn it. | 0:10:40 | 0:10:44 | |
When you get close up, you see it's quite interesting as a drawing, | 0:10:44 | 0:10:49 | |
-but I'm not getting the emotion you want to convey with it, I think. -It's too rooted in a different time. | 0:10:49 | 0:10:54 | |
They probably had a T-shirt with this on in the 1960s. | 0:10:54 | 0:10:58 | |
Emotion... | 0:10:58 | 0:11:00 | |
-I'm 58, I'm not 12. -I think they're being slightly blinkered. | 0:11:01 | 0:11:04 | |
It doesn't matter that the clothing references might be from the 60s, it's immaterial. | 0:11:04 | 0:11:10 | |
It's a very cool, funky image. | 0:11:10 | 0:11:12 | |
'Well, it seems one judge is a fan. But Mary needs two yes votes to warrant her career change. | 0:11:12 | 0:11:18 | |
'Plus, the money from a possible sale may mean one less shift as a supply teacher. | 0:11:18 | 0:11:22 | |
'Will she get through?' | 0:11:22 | 0:11:24 | |
Mary, I'm sorry, it's a no. | 0:11:24 | 0:11:26 | |
You won't be surprised to hear it's no from me, as well. | 0:11:29 | 0:11:32 | |
I'm sorry about that, Mary. I think it would've been a yes from me. | 0:11:32 | 0:11:35 | |
-But I'm sorry, it won't be going through to our exhibition at the Royal College of Art. -Thank you. | 0:11:35 | 0:11:41 | |
'It's a blow for Mary. For now, her bid to exhibit at the Royal College of Art and silence the doubters | 0:11:41 | 0:11:47 | |
'has been dashed, as she fails to turn her ladies into loot this time around. | 0:11:47 | 0:11:52 | |
'But her belief in her art and the path she's chosen is still very much intact.' | 0:11:52 | 0:11:57 | |
-What did you make of all that? -They had very strong opinions. | 0:11:57 | 0:12:00 | |
This is your opportunity to bite back. David said it was a bad James Bond poster. | 0:12:00 | 0:12:06 | |
-Yeah. -It was a bit too commercial, it wasn't real art. -Mm. | 0:12:06 | 0:12:10 | |
-Do you want to respond right now? -Nothing is new. | 0:12:10 | 0:12:13 | |
Just because here's an old fuddy-duddy that had his heyday in the 60s... | 0:12:13 | 0:12:19 | |
I hope he's listening. You're an old fuddy-duddy. | 0:12:19 | 0:12:21 | |
I think it's not right to say that you can't reference | 0:12:21 | 0:12:28 | |
previous styles in art, | 0:12:28 | 0:12:30 | |
because all artists do it. | 0:12:30 | 0:12:33 | |
-All I can say is commiserations. -Thank you. -And I loved the way you fought your corner there. | 0:12:33 | 0:12:38 | |
-I really did. -Thank you. -As we all say, you're only just starting. | 0:12:38 | 0:12:42 | |
-Thank you very much. It was lovely to meet you. -Thank you. -Bye-bye. | 0:12:42 | 0:12:46 | |
'Still to come on today's show, | 0:12:48 | 0:12:51 | |
'a mountain scene splits the judges.' | 0:12:51 | 0:12:54 | |
You don't get the blow off of the snow in the sky, you don't get that sense of the mountain... | 0:12:54 | 0:12:59 | |
Oh, wow, yeah. | 0:12:59 | 0:13:01 | |
David, you have absolutely no poetry in your body whatsoever. | 0:13:01 | 0:13:05 | |
'And one artist sticks up for his dark art.' | 0:13:05 | 0:13:10 | |
If it doesn't contain all the features or all the elements of a traditional portrait, | 0:13:10 | 0:13:14 | |
-is it any less of a portrait? -No. -No, not at all. | 0:13:14 | 0:13:18 | |
We'll be catching up with all those who made the grade and won a place here at the exhibition. | 0:13:18 | 0:13:22 | |
They could meet a VIP and even make a sale. | 0:13:22 | 0:13:26 | |
For all those artists here tonight, it's been a gruelling journey. | 0:13:26 | 0:13:29 | |
'We asked all-comers to send us their works of art | 0:13:35 | 0:13:38 | |
-'and the very best entries were sent to the hanging committees.' -Hello. | 0:13:38 | 0:13:42 | |
'The judges have had to assess art of all shapes and sizes, | 0:13:42 | 0:13:47 | |
'including sculptures, pictures, paintings and photos.' | 0:13:47 | 0:13:52 | |
'Next, we're off to Glasgow to an inspiring venue called A House For An Art Lover. | 0:13:59 | 0:14:05 | |
'It was here that I met a mountaineer based in the remote Scottish highlands | 0:14:05 | 0:14:09 | |
'who's desperate to break into the lucrative London art scene. | 0:14:09 | 0:14:13 | |
'But will his nerves get the better of him?' | 0:14:13 | 0:14:16 | |
Jamie, nice to meet you. Welcome to the hanging committee. You look nervous. | 0:14:16 | 0:14:21 | |
-I am very nervous, yeah. -Why is that? -It's difficult speaking in front of people. | 0:14:21 | 0:14:26 | |
-Do not worry about it. It's a lot of fun. Where do you come from? -All the way from near Fort William, | 0:14:26 | 0:14:32 | |
-a village called Corpach. -Oh, beautiful part of the world. | 0:14:32 | 0:14:35 | |
-It's magic. -You don't sound very Scottish. -No. | 0:14:35 | 0:14:38 | |
-How long have you lived there? -About ten years. | 0:14:38 | 0:14:41 | |
-Before that, I grew up in Lincolnshire. -Right. -So flat as a pancake. | 0:14:41 | 0:14:45 | |
-Are you a trained artist? -I'm self-taught as a painter. | 0:14:45 | 0:14:48 | |
What would be your ambitions in the art world? | 0:14:48 | 0:14:51 | |
Er, I would like to make a good living from my art | 0:14:51 | 0:14:55 | |
and have successful exhibitions of my paintings. | 0:14:55 | 0:15:00 | |
-So if you could get through to the exhibition we're having in London, it'd make a big difference. -Yeah. | 0:15:00 | 0:15:05 | |
Away you go, your destiny's through those doors. | 0:15:05 | 0:15:08 | |
'Today's a one-off chance for Jamie to impress three art critics | 0:15:12 | 0:15:16 | |
'you don't normally meet in a remote highland village. | 0:15:16 | 0:15:19 | |
'This self-taught artist is hoping his hyper-real image of a mountain scene will make the grade. | 0:15:19 | 0:15:24 | |
'But going in front of the panel is a daunting prospect | 0:15:24 | 0:15:27 | |
'for someone who's outside the loop of the art world and who's never been to art school.' | 0:15:27 | 0:15:32 | |
-Welcome to the hanging committee. -Thank you. -Would you like to tell us about your work? | 0:15:34 | 0:15:38 | |
Yes, I will indeed. This is my painting of a mountain in Scotland called Stob Ban in Glen Nevis. | 0:15:38 | 0:15:45 | |
Erm... | 0:15:45 | 0:15:47 | |
-Sorry. -Don't worry. | 0:15:50 | 0:15:52 | |
As with all my paintings, this is an amalgamation of many trips out | 0:15:54 | 0:15:59 | |
to the same mountain over many years. | 0:15:59 | 0:16:02 | |
Jamie's obviously really nervous and it's obvious why. | 0:16:06 | 0:16:11 | |
So much is riding on the judges' decision today. | 0:16:11 | 0:16:15 | |
That way, I can include all the magic and adventure that I've had | 0:16:15 | 0:16:22 | |
over those years and to try and create the most striking painting. | 0:16:22 | 0:16:27 | |
Would you like to tell us a value for this work? | 0:16:27 | 0:16:30 | |
I valued it at £2,000. | 0:16:30 | 0:16:32 | |
-OK. How did you get to that figure? Have you sold others? -I have sold others, yeah. | 0:16:32 | 0:16:37 | |
-Do you mind if we have a closer look? -Absolutely, go ahead. | 0:16:37 | 0:16:41 | |
It seems extraordinary for a man that's climbed so many mountains in Scotland, risked his life, | 0:16:43 | 0:16:48 | |
he finds this a daunting task. | 0:16:48 | 0:16:52 | |
'But the chance for a major breakthrough and a spot to sell for some big money | 0:16:54 | 0:16:59 | |
'is possibly in reach, unless Jamie's nerves blow his chances.' | 0:16:59 | 0:17:04 | |
Jamie, we're just going to ask some questions now | 0:17:05 | 0:17:09 | |
about your incredible painting. Charlotte. | 0:17:09 | 0:17:13 | |
Yeah, hi, Jamie. | 0:17:13 | 0:17:15 | |
Well, it's quite hard from here to imagine it is a painting. It looks like a photograph. | 0:17:15 | 0:17:20 | |
But getting close up, it's actually quite freely painted. | 0:17:20 | 0:17:24 | |
I'm curious to know where you learnt to paint like this. | 0:17:24 | 0:17:27 | |
I'm self-taught and it's just the style that has evolved naturally. | 0:17:27 | 0:17:31 | |
Really? You didn't go to art school? | 0:17:31 | 0:17:35 | |
No, I didn't. I studied vehicle design at university, which is a bit odd. | 0:17:35 | 0:17:40 | |
But the mountains have played a big part in the style that I paint in. | 0:17:40 | 0:17:44 | |
It's a very good example of how a painting close to can be freely painted | 0:17:44 | 0:17:49 | |
-and when you step back from it, just coheres completely as almost a photographic image. -Thank you. | 0:17:49 | 0:17:56 | |
'The judges are amazed that Jamie's a self-taught artist. | 0:17:56 | 0:18:00 | |
'But what about the subject matter?' | 0:18:00 | 0:18:02 | |
My only concern with an image like this | 0:18:02 | 0:18:06 | |
is that it's a very touristic kind of image. | 0:18:06 | 0:18:11 | |
For me, it's important to have the sublime, that sense of awe from nature. | 0:18:11 | 0:18:15 | |
I could imagine cloud writing in that blue sky. | 0:18:15 | 0:18:19 | |
"Scotland - where mountains look like photographs" or something like that. | 0:18:19 | 0:18:24 | |
It looks as though there's some travel agent slogan missing from it. | 0:18:24 | 0:18:28 | |
Are you not swept up in the whole romanticism of a very spectacular Scottish mountain? | 0:18:28 | 0:18:35 | |
If there's any tiny criticism here, which I think is what David is saying, is that it's too perfect. | 0:18:35 | 0:18:40 | |
-It's too... -If it were a Victorian cottage it would be chocolate-boxy. | 0:18:40 | 0:18:44 | |
I think that's probably the only criticism I can find, but it's so small. | 0:18:44 | 0:18:48 | |
'So is the painting a piece of fine art or just a picture postcard? | 0:18:48 | 0:18:53 | |
'Could this mountaineer have misjudged what the panel's looking for? | 0:18:53 | 0:18:57 | |
'The judges need to assess the work's artistic qualities on very strict criteria.' | 0:18:57 | 0:19:02 | |
This style of painting isn't very fashionable at the moment | 0:19:02 | 0:19:05 | |
in terms of it being so detailed and so crisp | 0:19:05 | 0:19:08 | |
and seemingly so perfect. But I don't really care. | 0:19:08 | 0:19:13 | |
I think the originality in this is that you are a climber and you climb and you climb | 0:19:13 | 0:19:18 | |
and I get your love of climbing from this. | 0:19:18 | 0:19:21 | |
Technically, obviously you're very gifted | 0:19:21 | 0:19:24 | |
-and emotionally, I do get that sense of the sublime, the awe of nature. Well done. -Thank you. | 0:19:24 | 0:19:29 | |
I don't know what response to have to this. Emotional involvement, absolutely none from me. | 0:19:29 | 0:19:35 | |
I can see what you're trying to do, but it's an awe-inspiring picture of a mountain | 0:19:36 | 0:19:44 | |
and I've seen lots of those before. | 0:19:44 | 0:19:47 | |
Jamie, for me, as an image, it's not something I'm naturally drawn to. | 0:19:47 | 0:19:52 | |
The skill in bucketloads and the fact that you're self-taught is incredible. | 0:19:52 | 0:19:57 | |
Immaterial for our judging criteria, but incredible nonetheless. | 0:19:57 | 0:20:00 | |
All that bring us to voting about whether we think this picture should come to the Royal College of Art. | 0:20:00 | 0:20:06 | |
It's very difficult to guess which way the judges are going with this | 0:20:06 | 0:20:09 | |
but there's one thing for sure - this is a really important decision | 0:20:09 | 0:20:13 | |
for Jamie's confidence and his future in art. | 0:20:13 | 0:20:17 | |
Jamie, | 0:20:18 | 0:20:21 | |
-it's a sublime yes from me. -Thank you. | 0:20:21 | 0:20:24 | |
David. | 0:20:24 | 0:20:26 | |
Too much of a travel image for me. No. | 0:20:28 | 0:20:30 | |
'The verdict could still go either way. It all now rests on Roy. | 0:20:31 | 0:20:35 | |
'Will he save or quash Jamie's dreams of getting to an important London gallery | 0:20:35 | 0:20:41 | |
'to sell for thousands of pounds?' | 0:20:41 | 0:20:44 | |
Jamie, for me... | 0:20:44 | 0:20:46 | |
..I think it ticks every box for our criteria, so it must go through. | 0:20:48 | 0:20:53 | |
-You will be coming to the Royal College of Art with us. Congratulations. -Thank you. | 0:20:53 | 0:20:58 | |
'He's done it! It's a fantastic finish after such a faltering start. | 0:20:58 | 0:21:04 | |
'But that's just the first hurdle. Can Jamie now make a sale at the London exhibition | 0:21:04 | 0:21:08 | |
'and will his nerves hold out?' | 0:21:08 | 0:21:11 | |
You don't get the blow off of the snow in the sky? | 0:21:11 | 0:21:14 | |
-You don't get that sense of the mountain being... -Oh, wow, yeah. | 0:21:14 | 0:21:18 | |
David, you have absolutely no poetry in your body whatsoever. | 0:21:18 | 0:21:22 | |
'To exhibit in the bright lights of London is an exciting chance for mountain-lover Jamie | 0:21:26 | 0:21:32 | |
'to meet some serious movers and shakers in the art world.' | 0:21:32 | 0:21:35 | |
Jamie, you've climbed this mountain. Do you feel you're climbing the London art market mountain now? | 0:21:36 | 0:21:42 | |
Absolutely, yeah! What an event! | 0:21:42 | 0:21:45 | |
-Yeah? -Great to be here. -Great feedback? -Yeah, actually, very positive. | 0:21:45 | 0:21:50 | |
'Jamie's incredible style of painting is certainly making an impression.' | 0:21:50 | 0:21:54 | |
You think it's a photograph from a distance | 0:21:54 | 0:21:58 | |
until you get up close to it and then you see all the detail. | 0:21:58 | 0:22:01 | |
'While the painting's generated a lot of interest, Jamie's not made a sale this time. | 0:22:02 | 0:22:08 | |
'But this highland artist has made a splash at an event | 0:22:08 | 0:22:11 | |
'where his name was on everyone's lips.' | 0:22:11 | 0:22:14 | |
-Was it all worth it? -Excellent. | 0:22:14 | 0:22:17 | |
-Wonderful night. Great to meet lots of people. Lots of positive comments, which was good. -What next? | 0:22:17 | 0:22:22 | |
I've got lots of paintings on the go, got an exhibition in October. Lots to do. | 0:22:22 | 0:22:26 | |
-Well, I wish you the very best of luck in the future. -Thanks, Chris. -Take care. -Cheers. | 0:22:26 | 0:22:31 | |
'Jamie's debut at a prestigious London art event has been a huge success | 0:22:31 | 0:22:35 | |
'and given his confidence a boost.' | 0:22:35 | 0:22:39 | |
A place at this exhibition doesn't come easy. | 0:22:40 | 0:22:44 | |
The hanging judges can't afford to let through any art | 0:22:44 | 0:22:47 | |
that isn't worthy of consideration by some of these art A-listers. | 0:22:47 | 0:22:51 | |
So let's remind ourselves exactly what it takes to get a yes. | 0:22:51 | 0:22:56 | |
'First and foremost, it's got to be original. | 0:22:57 | 0:23:00 | |
'The judges will spot a rip-off or a replica a mile off. | 0:23:00 | 0:23:04 | |
'Secondly, technique is a must. The artists must be highly skilled in what they do. | 0:23:04 | 0:23:10 | |
'And finally, does the piece give you goose bumps? | 0:23:10 | 0:23:13 | |
'It's got to connect on an emotional level. | 0:23:13 | 0:23:16 | |
'Next under the spotlight is a brave young hopeful, | 0:23:19 | 0:23:23 | |
'first-year art student Sophie New. | 0:23:23 | 0:23:26 | |
'Sophie's never exhibited before or sold to buyers she doesn't know | 0:23:27 | 0:23:31 | |
'so today's bid of glory by this young artist is a real leap into the unknown. | 0:23:31 | 0:23:37 | |
'She's also taking a gamble presenting an experimental painting she did when she was just 18.' | 0:23:39 | 0:23:46 | |
-Hi, Sophie. -Hello. -Welcome to the hanging committee. | 0:23:49 | 0:23:52 | |
Tell us about your work of art. | 0:23:52 | 0:23:54 | |
I've always been interested in figure painting but with this, I wanted to push the boundaries | 0:23:54 | 0:24:00 | |
and try something new, cos I was always painting people as they looked. | 0:24:00 | 0:24:04 | |
So I painted the figures as I usually would | 0:24:04 | 0:24:08 | |
but then I kept going, putting washes into it, trying new techniques, | 0:24:08 | 0:24:12 | |
new colours, erasing bits, taking bits out, so it became something completely different. | 0:24:12 | 0:24:16 | |
What do you think the value of your work would be? | 0:24:16 | 0:24:19 | |
This is one thing I do not know cos I've never done anything like this before. | 0:24:19 | 0:24:23 | |
I've never put my work out there to be valued. I don't know. | 0:24:23 | 0:24:26 | |
-That's all very good. Do you mind if we take a closer look? -Sure. | 0:24:26 | 0:24:29 | |
'Sophie hasn't put a value on her painting | 0:24:31 | 0:24:34 | |
'but if she gets the price tag right, she might make some spare cash to help fund her studies.' | 0:24:34 | 0:24:39 | |
The judges are having a really close look now. Poor Sophie can't even bear to watch them. | 0:24:43 | 0:24:50 | |
'She's one of our youngest competitors | 0:24:50 | 0:24:52 | |
'and as three heavyweights in the art world get ready to question her, it's clear she's terrified.' | 0:24:52 | 0:24:59 | |
-You're a student, are you? -Yeah. -Fine art? -Yeah. | 0:24:59 | 0:25:03 | |
First year. Just started. | 0:25:03 | 0:25:05 | |
How often during the day do you spend drawing? | 0:25:05 | 0:25:08 | |
Erm, probably on a normal day about four or five hours. | 0:25:08 | 0:25:14 | |
Erm, I can sense the energy that you've put into it | 0:25:18 | 0:25:22 | |
and you're trying to convey that sense of drunken abandon, you've got girls dancing in their pants | 0:25:22 | 0:25:27 | |
having a wild time cos they've been having a few drinks. | 0:25:27 | 0:25:32 | |
I can see that in the paint but I'm not somehow getting that connection. | 0:25:32 | 0:25:36 | |
'Has Sophie's decision to bring her boldest, most experimental piece to date been a step too far?' | 0:25:36 | 0:25:43 | |
The bikini bottoms on the figure on the left don't actually fit that figure. | 0:25:43 | 0:25:50 | |
You know, I think if you're going to play fast and loose, you've got to have some basic there, | 0:25:50 | 0:25:56 | |
some foundation of good drawing | 0:25:56 | 0:25:59 | |
in order to build on it and then play with it. | 0:25:59 | 0:26:02 | |
I think if you're just throwing paint about, I'm not sure that's good enough. | 0:26:02 | 0:26:06 | |
'David's got misgivings. Is Sophie running before she can walk? | 0:26:06 | 0:26:11 | |
'Could this explosion of colour still take Sophie through to the exhibition | 0:26:11 | 0:26:15 | |
'and give her the chance to make a sale?' | 0:26:15 | 0:26:18 | |
I think it's incredible you did this while doing A-levels. | 0:26:18 | 0:26:21 | |
You have some way to go in developing your own style but you're having a go, being exuberant, | 0:26:21 | 0:26:26 | |
you've still got a couple more years left at college to really work out what your style is. | 0:26:26 | 0:26:30 | |
David, what are your thoughts? | 0:26:30 | 0:26:33 | |
Originality? No. | 0:26:35 | 0:26:38 | |
Looks like something from the 1960s to me. | 0:26:38 | 0:26:41 | |
Technique - you need to sharpen that drawing significantly. | 0:26:41 | 0:26:47 | |
Do I have an emotional response to it? | 0:26:47 | 0:26:50 | |
Actually, I feel a bit sleazy looking at it. | 0:26:50 | 0:26:52 | |
'David may feel uncomfortable, but what do the others think?' | 0:26:54 | 0:26:58 | |
You seem to be a strong individual as an artist | 0:26:58 | 0:27:01 | |
and I think it's very important that you stay that way. | 0:27:01 | 0:27:04 | |
Talking about pricing, you said you weren't sure. | 0:27:04 | 0:27:07 | |
I would go to local bars, restaurants, clubs, | 0:27:07 | 0:27:10 | |
-put those tentacles out and just get things hanging. -I've sold things to friends. -That's perfect. | 0:27:10 | 0:27:16 | |
So it comes to voting and whether we think this would work well in our exhibition in London. | 0:27:16 | 0:27:22 | |
'Sophie's never sold commercially or exhibited in a major gallery. | 0:27:22 | 0:27:27 | |
'She needs two yes votes to make this dream come true.' | 0:27:27 | 0:27:31 | |
You never know the final vote. You just never know. | 0:27:31 | 0:27:34 | |
I want everyone to remember that you're on your first year of university doing a fine art course. | 0:27:36 | 0:27:41 | |
I think you're very brave. I am going to say no. | 0:27:41 | 0:27:44 | |
-I just think you need to develop a little more. -Thank you. | 0:27:44 | 0:27:48 | |
David. | 0:27:48 | 0:27:50 | |
-You're not ready, Sophie. -OK. -No. -OK. | 0:27:52 | 0:27:55 | |
That's it. That's two of three. But I do agree. I think you're not quite ready yet | 0:27:55 | 0:27:59 | |
but I think your voice is individual and that's a very important thing, so keep at it. | 0:27:59 | 0:28:05 | |
-All right, then. Thank you. -Thank you. | 0:28:05 | 0:28:07 | |
'It's a disappointment for student Sophie as she misses out on her first real chance | 0:28:07 | 0:28:11 | |
'to turn her art into cash. It's not her time yet, but she might have the makings of great things.' | 0:28:11 | 0:28:17 | |
Sophie, Sophie. Come over here. | 0:28:17 | 0:28:19 | |
-Are you all right? -Oh, I don't know. -Ohh! | 0:28:19 | 0:28:22 | |
Yeah, I am, cos they said sort of positive things with negative things. | 0:28:22 | 0:28:27 | |
She said keep going. It was a good experience. I'm glad I came. | 0:28:27 | 0:28:30 | |
I'm definitely not going to give up because it's their opinion at the end of the day | 0:28:30 | 0:28:34 | |
-and they're just three people. -Go out there, keep experimenting. | 0:28:34 | 0:28:38 | |
-I'm really sorry but thanks for coming in. -It's all right. | 0:28:38 | 0:28:41 | |
See you soon. Good luck with everything. | 0:28:41 | 0:28:43 | |
'Back in Glasgow, I couldn't resist having a look around the so-called House For An Art Lover. | 0:28:50 | 0:28:56 | |
'It was designed by Charles Rennie Mackintosh.' | 0:28:56 | 0:28:59 | |
His work is so distinctive. | 0:28:59 | 0:29:02 | |
You'll probably notice these flowers and pots designs, they're everywhere in this house. | 0:29:02 | 0:29:06 | |
He also designed his own furniture. | 0:29:06 | 0:29:08 | |
'Take a look at these stunning chairs. | 0:29:08 | 0:29:11 | |
'They are iconic Mackintosh design. | 0:29:11 | 0:29:14 | |
'But elegant seats didn't make the judging any more comfortable for our next contender. | 0:29:14 | 0:29:18 | |
'Alan Reed is a long-established professional artist | 0:29:18 | 0:29:22 | |
'who's been painting for over 25 years. | 0:29:22 | 0:29:25 | |
'He's exhibited all over Britain and sold for thousands of pounds. | 0:29:25 | 0:29:29 | |
'But one thing he's never managed to do is exhibit at the Royal College of Art.' | 0:29:29 | 0:29:34 | |
-You've been a very successful artist for quite some time now. -Yeah, I haven't had a proper job. | 0:29:34 | 0:29:39 | |
Nor have I, really, so don't worry. | 0:29:39 | 0:29:41 | |
When did you know you might have something? | 0:29:41 | 0:29:45 | |
I started doing some paintings when I was at college and the staff started buying them. | 0:29:45 | 0:29:49 | |
-At that point, I thought, "I must have something decent to work with." -It's a good clue! | 0:29:49 | 0:29:54 | |
Any professional artist is used to criticism | 0:29:54 | 0:29:59 | |
-but not necessarily people telling them to their face. -I'm my worst critic. | 0:29:59 | 0:30:03 | |
-If I didn't feel the painting looked very good, it would never go in a frame. -Very best of luck. | 0:30:03 | 0:30:08 | |
'Alan's chosen to put forward a painting of his native Newcastle | 0:30:14 | 0:30:19 | |
'as his dream ticket to the exhibition. Will the judges be able to tell Alan's no amateur | 0:30:19 | 0:30:23 | |
'but already a popular selling artist?' | 0:30:23 | 0:30:27 | |
-Welcome to the hanging committee. -Thank you. | 0:30:32 | 0:30:35 | |
Would you kindly introduce your work for us? | 0:30:35 | 0:30:37 | |
Right, this is an original watercolour painting of my hometown of Newcastle-upon-Tyne. | 0:30:37 | 0:30:43 | |
The painting started all as a watercolour demonstration in a bookshop in Newcastle one Saturday. | 0:30:43 | 0:30:50 | |
So this was literally the view out of the window that I was doing for the people watching the demonstration. | 0:30:50 | 0:30:56 | |
At least two thirds of the painting was painted on the spot, looking out the window. | 0:30:56 | 0:31:00 | |
And the final third, which was some of the figures and the buildings on the left, was painted in the studio. | 0:31:00 | 0:31:07 | |
-What price do you put on this? -That would be £2,500. | 0:31:07 | 0:31:10 | |
-Do you mind if we have a closer look? -Absolutely. | 0:31:12 | 0:31:16 | |
'Alan regularly commands four-figure sums for his landscapes. | 0:31:19 | 0:31:24 | |
'But will the judges think he deserves the exhibition spot he so desperately wants?' | 0:31:24 | 0:31:29 | |
-Hi, Alan. -Hiya. -I wanted to know how long it had taken you, all told, to finish this work. | 0:31:32 | 0:31:38 | |
It started off at about nine, ten o'clock in the morning at this particular demonstration | 0:31:38 | 0:31:44 | |
and I worked through till about four o'clock. And at that point, | 0:31:44 | 0:31:48 | |
I'd done all the base washes, virtually all that building there | 0:31:48 | 0:31:52 | |
and some of the base washes around here. | 0:31:52 | 0:31:54 | |
So the last day or so was spent doing the detailed areas round here and the figures. | 0:31:54 | 0:32:02 | |
-So that's two days' work. -About two days, yeah. | 0:32:02 | 0:32:05 | |
-Roy? -Alan, to me, | 0:32:05 | 0:32:09 | |
the figures seem slightly enlarged for the landscape. | 0:32:09 | 0:32:15 | |
And they have the feel of a 1950s architectural drawing. They're very stylish | 0:32:15 | 0:32:19 | |
but they're incidental, dropped in to make the thing look a bit more pleasant. | 0:32:19 | 0:32:23 | |
-You said that you added them later. -Yes, I did. | 0:32:23 | 0:32:26 | |
I did a sketch on location a few days beforehand where I painted figures as they were moving around | 0:32:26 | 0:32:31 | |
so the figures should convey a certain degree of movement as they're moving through the scene. | 0:32:31 | 0:32:38 | |
'Roy's comment on his figures is unexpected criticism for Alan, | 0:32:38 | 0:32:41 | |
'who gives demonstrations on how to do watercolour. How will the other judges rate the piece?' | 0:32:41 | 0:32:47 | |
I like your comment, Roy, about looking like an architectural drawing. | 0:32:47 | 0:32:54 | |
-It does look very static. -This was my point about asking how long it took to do because the light... | 0:32:54 | 0:33:00 | |
Watercolour, for me, is about capturing the transience of light, and this done over two days | 0:33:00 | 0:33:05 | |
just feels like it's slightly laboured in that way. | 0:33:05 | 0:33:08 | |
It has that static quality. | 0:33:08 | 0:33:11 | |
For me, watercolour shouldn't be static. It's all about life. It's got to have some soul in it. | 0:33:11 | 0:33:16 | |
'It's clear this professional artist is putting his neck on the line | 0:33:16 | 0:33:20 | |
'in trying to achieve his goal to both show and sell at the Royal College. | 0:33:20 | 0:33:24 | |
'The judges have reservations and they need to assess his work on all the criteria.' | 0:33:24 | 0:33:31 | |
Alan, I think technically it's one of the best watercolours I've seen this year. | 0:33:31 | 0:33:35 | |
I bet people in Newcastle love your work because this will evoke that street. But does it go beyond that? | 0:33:35 | 0:33:42 | |
Originality and emotional impact leave me slightly below the mark. | 0:33:42 | 0:33:46 | |
Alan, it's elegant, it's light, it's airy, | 0:33:46 | 0:33:50 | |
it does a lot of things it should do. | 0:33:50 | 0:33:52 | |
For me, the figures really let it down. | 0:33:52 | 0:33:56 | |
They bring me into a 1950s mock-up of what an idealised location should look like. That's a personal point. | 0:33:56 | 0:34:04 | |
For me, Alan, I can't see that this is any different, in a way, | 0:34:04 | 0:34:08 | |
to the kind of competent watercolours one sees in framers' windows up and down the country. | 0:34:08 | 0:34:15 | |
-Should we go to a final verdict? -'There's not doubt that Alan's painting is technically excellent. | 0:34:15 | 0:34:20 | |
'But to be good enough, the judges must find originality and emotional content in this work.' | 0:34:20 | 0:34:27 | |
Alan, I'm afraid it's no from me. | 0:34:28 | 0:34:31 | |
Alan, you're a highly-skilled draughtsman | 0:34:32 | 0:34:35 | |
but due to our criteria, I must say no. | 0:34:35 | 0:34:38 | |
And it's no from me, I'm afraid. Thank you very much for showing it to us and goodbye. | 0:34:41 | 0:34:46 | |
-OK, thanks. -Thank you. | 0:34:46 | 0:34:48 | |
'So Alan's dream of exhibiting at the Royal College | 0:34:48 | 0:34:51 | |
'where he could've sold this piece for a four-figure sum is over. | 0:34:51 | 0:34:55 | |
'But has he taken the judges' criticism on board?' | 0:34:55 | 0:34:58 | |
I just have to go on from there and just continue working and painting and selling my paintings. | 0:34:58 | 0:35:03 | |
What will you take away from today's experience? | 0:35:03 | 0:35:06 | |
What they said was very true. People who like Newcastle will like that painting | 0:35:06 | 0:35:11 | |
and that painting will sell for £2,500 at some point in the near future. | 0:35:11 | 0:35:15 | |
-Commiserations. Not this time. Bad luck, sir. -All the best. -And you. | 0:35:15 | 0:35:20 | |
So far, we've seen four brave souls go face-to-face with the hanging committee | 0:35:21 | 0:35:26 | |
and we've got time for one more hopeful to chance their arm. | 0:35:26 | 0:35:30 | |
'The last contender on today's show is computer animator Stuart Howitt. | 0:35:35 | 0:35:40 | |
'He dreams of being a full-time artist | 0:35:40 | 0:35:42 | |
'and is hoping entry to our exhibition will set him on the road to earning a decent living.' | 0:35:42 | 0:35:47 | |
-How are you? -Very well, thank you. -Not too nervous? -No. | 0:35:47 | 0:35:51 | |
I had to do a speech last year to 100 people I didn't know, so this is a walk in the park. | 0:35:51 | 0:35:56 | |
A walk in... Did you hear that, judges? A walk in the park. | 0:35:56 | 0:36:00 | |
That's very brave talking. Do you paint full-time or have you got a job? | 0:36:00 | 0:36:05 | |
No, I've got a full-time job, well, a kind of part-time job and I do my painting, as well. | 0:36:05 | 0:36:09 | |
How much do you think this today, if you get to our prestigious grand exhibition, could change your life? | 0:36:09 | 0:36:15 | |
I think, in the sheer scope of getting your work seen and maybe your name out there, | 0:36:15 | 0:36:21 | |
I think it's an absolutely huge thing. | 0:36:21 | 0:36:24 | |
-Good luck and away you go. -Thank you very much. | 0:36:24 | 0:36:27 | |
'Stuart is really keen to prove himself as an artist | 0:36:33 | 0:36:35 | |
'and today could be his big break. | 0:36:35 | 0:36:38 | |
'It's all riding on an oil painting called Head Study. | 0:36:38 | 0:36:42 | |
'Will Stuart's bold style of portraiture turn the judges' heads | 0:36:42 | 0:36:46 | |
'and stand a chance of earning him some confidence-boosting cash?' | 0:36:46 | 0:36:50 | |
-Welcome to the hanging committee, Stuart. -Thank you. -Would you introduce your work? | 0:36:52 | 0:36:56 | |
Yeah, this is a painting of my husband James. | 0:36:56 | 0:37:01 | |
I wanted to kind of experiment with light a little bit | 0:37:01 | 0:37:06 | |
and therefore leave a lot of his features in shadow. | 0:37:06 | 0:37:10 | |
I think generally when we look at people, we tend to concentrate around the eyes and the mouth | 0:37:10 | 0:37:15 | |
and, overall, I think that's quiet a small portion of the face and the head. | 0:37:15 | 0:37:21 | |
Could you give us a value for this work? | 0:37:21 | 0:37:24 | |
I valued it at around £1,000. | 0:37:24 | 0:37:27 | |
Have you sold much work before? | 0:37:27 | 0:37:29 | |
Yeah, I've sold a few pieces. | 0:37:29 | 0:37:32 | |
-Do you think we could have a closer look at it? -Yeah, sure, please do. | 0:37:32 | 0:37:36 | |
'The portrait of Stuart's husband is clearly an intensely personal study. | 0:37:39 | 0:37:44 | |
'Will the judges think it's worthy of an exhibition spot | 0:37:45 | 0:37:48 | |
'where it could be sold for a great deal of cash?' | 0:37:48 | 0:37:51 | |
The one question I really have is, you've used a lot of light and dark. | 0:37:55 | 0:38:01 | |
This is a portrait of your husband, so you see all the beauty and everything else in him. | 0:38:01 | 0:38:06 | |
I'm lacking that because he's so dark. | 0:38:06 | 0:38:09 | |
Did you find that a problem? | 0:38:09 | 0:38:11 | |
-Did you... I assume it's not an oversight. -No, I really... | 0:38:11 | 0:38:16 | |
I think with this portrait, I kind of wanted to omit all the detail | 0:38:16 | 0:38:22 | |
so the viewer isn't seduced by the features | 0:38:22 | 0:38:25 | |
and therefore it presents something else to the viewer. | 0:38:25 | 0:38:27 | |
I was a bit troubled because once I noticed that | 0:38:27 | 0:38:31 | |
he might be wearing sunglasses, I couldn't work out whether he was or not. | 0:38:31 | 0:38:36 | |
-He isn't, is he? -No, he isn't, but he looks a little bit like the Terminator, doesn't he? | 0:38:36 | 0:38:41 | |
-Erm... -No, that's just the shadow from his brow. | 0:38:42 | 0:38:45 | |
You're playing with tones in light and dark. | 0:38:46 | 0:38:49 | |
Dark shirt, dark background, it's a very contemporary setting | 0:38:49 | 0:38:52 | |
and I do like that little patch of flesh on his chest. | 0:38:52 | 0:38:56 | |
-It brings interest to it. -It needs that in order to work. | 0:38:56 | 0:38:59 | |
But I think you may have lost it slightly in the shadows. | 0:38:59 | 0:39:03 | |
I don't find the shadows quite clear enough. | 0:39:03 | 0:39:06 | |
'Stuart's painting technique might prove a stumbling block. | 0:39:06 | 0:39:09 | |
'Have his feelings for the subject got in the way.' | 0:39:09 | 0:39:12 | |
I find these days that portraits are so lacking in ambition. All we've got there is a head. | 0:39:12 | 0:39:19 | |
If you go in the National Gallery, they're figures standing in complicated backgrounds | 0:39:19 | 0:39:24 | |
-and they're full-length. I find it slightly meagre. -I don't find it meagre at all. | 0:39:24 | 0:39:29 | |
I don't think it lacks ambition. | 0:39:29 | 0:39:31 | |
I think it's quite forceful and that's a difficult thing to capture. | 0:39:31 | 0:39:35 | |
Also what I wanted to see was, if it doesn't contain all the features | 0:39:35 | 0:39:40 | |
-or all the elements of a tradition portrait, is it any less of a portrait? -No. -Not at all. | 0:39:40 | 0:39:44 | |
'Well done, Stuart. He's fighting back. | 0:39:44 | 0:39:48 | |
'But it's now crunch time. Stuart's about to find out if his dream to get to his first major exhibition | 0:39:48 | 0:39:53 | |
'and sell for a large sum of money will get the go-ahead.' | 0:39:53 | 0:39:58 | |
I think the chink of flesh you see down here makes it original as a composition | 0:39:58 | 0:40:03 | |
and I can see what you're trying to do. I do have an issue with the eyes. | 0:40:03 | 0:40:08 | |
-On balance, I'm going to say yes. -Thank you. -Roy? | 0:40:08 | 0:40:13 | |
Erm, Stuart, I think it's almost too ambitious | 0:40:13 | 0:40:17 | |
with the incredible use of light and dark. | 0:40:17 | 0:40:20 | |
-For me, it's just a no. -OK, thank you. | 0:40:20 | 0:40:24 | |
'The decision and Stuart's chances of getting through now hang in the balance. | 0:40:24 | 0:40:29 | |
'Could David, who's been critical, vote it through?' | 0:40:29 | 0:40:33 | |
I find it subtly enough painted in the head. | 0:40:33 | 0:40:37 | |
In originality? No, no portrait's original these days. | 0:40:37 | 0:40:42 | |
In technique, it's so-so. | 0:40:42 | 0:40:45 | |
In emotional involvement, erm, fairly superficial. | 0:40:45 | 0:40:51 | |
-'Is it all over for Stuart?' -It has failings. | 0:40:51 | 0:40:56 | |
-But yes, I'll vote for that. -Thank you very much. | 0:40:58 | 0:41:02 | |
Yes! | 0:41:02 | 0:41:04 | |
-We'll see you there. -Thanks for all your comments. Very helpful. | 0:41:04 | 0:41:08 | |
'What a turn up for the books! Stuart's through! | 0:41:08 | 0:41:10 | |
'This computer animator's got the break he wanted to try and advance his art career. | 0:41:10 | 0:41:16 | |
'This glitzy setting in the Royal College of Art is Stuart's chance to shine.' | 0:41:18 | 0:41:23 | |
I think Stuart has really made a good effort. | 0:41:24 | 0:41:26 | |
I love to see the way he's used highlights and left the eyes out. | 0:41:26 | 0:41:31 | |
An artist who can just knock them right back | 0:41:31 | 0:41:33 | |
to make you think about what that person's feeling | 0:41:33 | 0:41:36 | |
really interests me. | 0:41:36 | 0:41:38 | |
'It's also a golden opportunity to pitch to dealers, collectors and the general public, | 0:41:38 | 0:41:44 | |
'who might snap up Stuart's portrait for a sizeable fee. | 0:41:44 | 0:41:48 | |
'Stuart's gone for a guide price of £1,000 for his Head Study.' | 0:41:48 | 0:41:53 | |
Have you got your fingers crossed for selling it or do you want to keep it? | 0:41:54 | 0:41:58 | |
-Well, I'd like to sell it but my husband really love it. -He'll have to buy it. | 0:41:58 | 0:42:03 | |
'The guests can make offers on any piece that takes their fancy. | 0:42:03 | 0:42:07 | |
'But Stuart won't be negotiating directly with potential buyers. | 0:42:07 | 0:42:11 | |
'Anyone who wants to place a bid can make a sealed offer to the independent agent | 0:42:11 | 0:42:16 | |
'who'll take a commission of ten percent.' | 0:42:16 | 0:42:19 | |
'For Stuart, the exhibition is a critical test. | 0:42:20 | 0:42:24 | |
'If he's sold, it's a sign that he really has what it takes to be a professional. | 0:42:24 | 0:42:28 | |
'Now it's the moment of truth.' | 0:42:28 | 0:42:31 | |
£1,000 is what you were asking for. | 0:42:31 | 0:42:35 | |
-Do you think you got it? -Hm, possibly not. | 0:42:35 | 0:42:38 | |
-That's not a confident start! Possibly not. -Possibly not. | 0:42:38 | 0:42:42 | |
-OK. Well, we did have an offer. -OK. | 0:42:42 | 0:42:46 | |
The offer was for £1,100. | 0:42:46 | 0:42:51 | |
-Fantastic! -Congratulations, sir. You have made a sale. | 0:42:51 | 0:42:55 | |
-Excellent. -Well done. How does that make you feel? -Brilliant. | 0:42:55 | 0:42:59 | |
It's the beginning of new things. It's going to start something big, I think. | 0:42:59 | 0:43:02 | |
-Fantastic. -Brilliant. Thank you very much. | 0:43:02 | 0:43:05 | |
'£1,100 is the most Stuart's ever sold for. | 0:43:05 | 0:43:09 | |
'It's a clear sign that art is something he can now do full-time.' | 0:43:09 | 0:43:13 | |
That's it from us today, but join us next time on Show Me The Monet | 0:43:15 | 0:43:18 | |
when those judges will be meeting more budding artists. But for now, bye-bye. | 0:43:18 | 0:43:22 | |
Subtitles by Red Bee Media Ltd | 0:43:24 | 0:43:28 | |
E-mail [email protected] | 0:43:28 | 0:43:32 | |
. | 0:43:32 | 0:43:32 |