0:00:02 > 0:00:05I'm on a wonderful Welsh adventure as I discover more about four
0:00:05 > 0:00:10outstanding artists influenced by this great land.
0:00:10 > 0:00:15During this series, I'll be creating paintings inspired by their work.
0:00:15 > 0:00:18I'm going to have to paint in ways I've never done before.
0:00:18 > 0:00:23And at the end of it, I'll probably turn to you and say,
0:00:23 > 0:00:25"Can you tell what it is yet?"
0:00:46 > 0:00:51We're leaving the mainland behind, crossing Menai Strait, heading for
0:00:51 > 0:00:56the island of Ynys Mon. In English - Anglesey.
0:00:56 > 0:01:00It's an island that's crammed full of spectacular scenery,
0:01:00 > 0:01:05and it certainly was the inspiration for one of my favourite artists,
0:01:05 > 0:01:08Sir Kyffin Williams.
0:01:08 > 0:01:10In my humble opinion,
0:01:10 > 0:01:17Sir Kyffin Williams is the best artist Wales has ever produced.
0:01:17 > 0:01:19His work is hugely popular,
0:01:19 > 0:01:21not just here
0:01:21 > 0:01:27but in places where they've never ever seen a Welsh farm or a sheep dog.
0:01:33 > 0:01:39Kyffin was born in 1918 in Llangefni which is just a few miles from here.
0:01:39 > 0:01:44But despite the fact that he was an art teacher in London for many,
0:01:44 > 0:01:52many years, all he ever wanted to do was get back here and paint Wales.
0:01:52 > 0:01:54And who can blame him?
0:01:57 > 0:02:03I knew Kyffin, and felt a real connection with his dramatic paintings.
0:02:03 > 0:02:05But as much as I love his landscapes,
0:02:05 > 0:02:09some of my favourites are actually his paintings of people.
0:02:13 > 0:02:17And with great trepidation and more than a little fear,
0:02:17 > 0:02:23I'm going to paint a portrait in his style as a tribute to a great man.
0:02:32 > 0:02:36If I'm to get to grips with Kyffin's style, I really need to
0:02:36 > 0:02:40revisit the people and places that mattered most to him.
0:02:40 > 0:02:45Although Kyffin lived in London for 30 years, he only made it big as a
0:02:45 > 0:02:50painter when he was in his 50s, following his return home to North Wales.
0:02:52 > 0:02:56There's an old saying that every Welsh home should have a harp
0:02:56 > 0:03:00in the corner and a Kyffin Williams on the wall.
0:03:00 > 0:03:04Well, there were plenty of Kyffin's paintings on the walls here at this
0:03:04 > 0:03:08old cottage where he used to live, when we visited him.
0:03:08 > 0:03:11It's right opposite the Menai Strait.
0:03:11 > 0:03:16My wife and I had admired his work for many years,
0:03:16 > 0:03:22and not only was he a great artist but he became a very dear friend.
0:03:22 > 0:03:26And I had the privilege of painting his portrait just before he died.
0:03:28 > 0:03:35I'm so proud that Kyffin liked my finished portrait of him sitting in his favourite armchair.
0:03:35 > 0:03:40Kyffin never married, he simply lived for his art.
0:03:41 > 0:03:46But how did a boy who was born into a family of country vicars
0:03:46 > 0:03:49become a celebrated international artist?
0:03:49 > 0:03:52Well, I do know that during the Second World War
0:03:52 > 0:04:00he ended up at one of Britain's top art schools, the Slade, after epilepsy ended his military career.
0:04:00 > 0:04:01VOICE OF WILLIAMS: Why the Slade?
0:04:01 > 0:04:05Because an army doctor advised me in his wisdom,
0:04:05 > 0:04:11"Williams, you should do something that doesn't tax the brain. Try art."
0:04:11 > 0:04:17After the war, I shared my time between teaching at Highgate School, London, and Wales.
0:04:17 > 0:04:20Every spare moment was spent in Wales.
0:04:23 > 0:04:29Sketching constantly and painting, at least two canvases a week, sometimes one a day.
0:04:31 > 0:04:37When Kyffin moved back to his beloved Anglesey in 1974, his great patron and close friend,
0:04:37 > 0:04:42Lord Anglesey, converted this cottage and studio for him.
0:04:42 > 0:04:44Kyffin never left.
0:04:44 > 0:04:48And for the next 30 years until his death in 2006,
0:04:48 > 0:04:53the Marquess remained a guiding light in his life and career.
0:04:53 > 0:04:57It's great to share memories, as the Lord rarely gives interviews.
0:04:57 > 0:05:01Yes, I think we can say with a modicum of certainty,
0:05:01 > 0:05:05that in 50 years, say,
0:05:05 > 0:05:10people will acknowledge that he, at this period of his life,
0:05:10 > 0:05:12was the great artist in Wales.
0:05:12 > 0:05:18And he was not in any way,
0:05:18 > 0:05:20- "Oh, aren't I great?"- No.
0:05:20 > 0:05:26Until, of course, he got his knighthood and then was acting like a boy, he was so delighted with it!
0:05:28 > 0:05:32Oh, he was a great man. He was a great man and a great artist.
0:05:33 > 0:05:40He was mad keen on artists who took the trouble to actually draw.
0:05:40 > 0:05:44Those who didn't, he was very cross with them.
0:05:44 > 0:05:49I once heard him call a contemporary artist "evil".
0:05:53 > 0:05:59But it seems Kyffin did like one young contemporary artist - me.
0:05:59 > 0:06:02Though I can't think why!
0:06:02 > 0:06:08When I first saw any work by you, I said, "That man knows how to draw."
0:06:08 > 0:06:16And I said to Kyffin, "That man knows how to draw." And I think he'd already met you so he agreed with me.
0:06:24 > 0:06:28As I travel through Kyffin's creative heartland, I'm getting
0:06:28 > 0:06:33increasingly nervous about painting a portrait in his style.
0:06:33 > 0:06:40At a time when most artists were using brushes, Kyffin became the master of the palette knife,
0:06:40 > 0:06:46a technique he used to depict the edginess of Snowdonia and Anglesey.
0:06:47 > 0:06:52I nearly always stick to brushes, so this is really going to test me.
0:06:55 > 0:07:02Well, I've got my palette there, I've got a bag full of tubes of oil paint,
0:07:02 > 0:07:06and I've got this little thing, a palette knife.
0:07:06 > 0:07:09They were all tools of choice for Sir Kyffin Williams.
0:07:11 > 0:07:17I don't know how I'm going to go doing a painting using this little thing,
0:07:17 > 0:07:19but he made an art of it.
0:07:27 > 0:07:31'Today I'm visiting Hefin and Nestor Jones at their Snowdonia farm.'
0:07:31 > 0:07:33I've been looking forward to this.
0:07:33 > 0:07:39'Hefin has kindly agreed to sit for his portrait and, boy, am I nervous.'
0:07:40 > 0:07:46The Jones's knew Kyffin and loved the way he portrayed their Wales.
0:07:46 > 0:07:50They also happen to be the parents of another famous Welsh son,
0:07:50 > 0:07:58the opera superstar Bryn Terfel, and unsurprisingly, music runs in the family.
0:07:58 > 0:08:00A bit like myself.
0:08:00 > 0:08:03You're very musical, aren't you?
0:08:03 > 0:08:09Yeah, yeah. I don't know where it all came from but my parents were both from Wales,
0:08:09 > 0:08:14and from Victorian times... and everybody sang.
0:08:14 > 0:08:19They always did it, you know, so I was always surrounded by music.
0:08:19 > 0:08:26Still the same. Hefin is in the male voice choir and I'm with the ladies' choir, so keeping the tradition up.
0:08:26 > 0:08:28Lovely. Lovely.
0:08:28 > 0:08:35THEY SING IN WELSH
0:08:41 > 0:08:45Lovely. You've got a great smiling face, I can't wait to paint you.
0:08:45 > 0:08:49- Oh!- It's a Kyffin Williams colour that shirt, isn't it?
0:08:49 > 0:08:56- Is it? Worth a lot then. - I don't know about that!
0:08:56 > 0:08:59So, can you show me where I can change into my painting gear?
0:08:59 > 0:09:02- Yes.- You lead the way.
0:09:02 > 0:09:08THEY SING IN WELSH
0:09:19 > 0:09:22- Lead on. Lead on.- OK.
0:09:24 > 0:09:29What you really need to understand is that Kyffin created at least two
0:09:29 > 0:09:36big oil paintings a week, 52 weeks of the year, using a palette knife.
0:09:36 > 0:09:42By the way, this is the first time I've ever painted a portrait with a pallet knife,
0:09:42 > 0:09:46and I could end up with egg on my face here.
0:09:46 > 0:09:49Kyffin would have loved to have painted you, you know, because
0:09:49 > 0:09:55he loved painting people from the local community. Your face will
0:09:55 > 0:10:01be somewhere here and that will be coming down there, and then the rest of it down there,
0:10:01 > 0:10:05and perhaps a little bit of that browny colour in there.
0:10:05 > 0:10:10I wish I could get the colours so flat and so orderly,
0:10:10 > 0:10:14and ordered and in their right position the way Kyffin did.
0:10:14 > 0:10:18And then what I'm going to try and do is get some of the colours
0:10:18 > 0:10:23for your face a little bit, get some red into that just underneath there.
0:10:23 > 0:10:30Lovely. I'm floundering at the moment a little bit.
0:10:30 > 0:10:36I don't know whether I'm getting it right until I've gone much further with it than I have so far but I...
0:10:36 > 0:10:41Gosh, it's not as easy as one might have imagined
0:10:41 > 0:10:47by looking at the ease with which Kyffin Williams did it.
0:10:47 > 0:10:54I'm taking my time to finish the rest of Hefin's portrait, but Kyffin would always rush back to his studio
0:10:54 > 0:11:01with his sketches and finish his painting in just one go. Remarkable.
0:11:01 > 0:11:05John Smith helped care for Kyffin in the last years of his life,
0:11:05 > 0:11:09a life that revolved around his studio.
0:11:10 > 0:11:13We've got a magic day for it. Isn't it brilliant sunlight out there?
0:11:13 > 0:11:17But when I come in here to this studio, when I came before, he had
0:11:17 > 0:11:23everything dark. He used to paint in here with it almost pitch black.
0:11:23 > 0:11:25What was the reason for that?
0:11:25 > 0:11:28He suffered from epilepsy which probably developed as a child
0:11:28 > 0:11:30but became worse when he was in London.
0:11:30 > 0:11:33This made him sensitive to light. He was on medication.
0:11:33 > 0:11:36And that is the reason that it affected...
0:11:36 > 0:11:39It affected his ability to cope with bright sunlight?
0:11:39 > 0:11:42Yes. And consequently his paintings gradually became darker.
0:11:42 > 0:11:45He didn't used to go out on the mountains when it was sunny, did he?
0:11:45 > 0:11:49- Not at all. - He wanted it to be wet and dingy.
0:11:49 > 0:11:53- Cloudy, rain, wind.- Yeah. Snow.
0:11:53 > 0:11:57I saw him in hospital, I went to see him, and eventually after about an hour I was about to leave,
0:11:57 > 0:12:03and I went through the door and for some weird reason I just felt that
0:12:03 > 0:12:06I probably wouldn't see him again.
0:12:12 > 0:12:13I'm very...emotional.
0:12:17 > 0:12:22Thinking about all our loss, you know?
0:12:22 > 0:12:27Mmm. It's a pity you hadn't known him sort of ten years before.
0:12:27 > 0:12:29I felt the other day, I was thinking about this, and you
0:12:29 > 0:12:33could have put a wonderful exhibition on together, the two of you.
0:12:33 > 0:12:39- We could have gone painting together, which I would have loved. - Yes.
0:12:39 > 0:12:44It's been an incredibly emotional day, but life affirming too.
0:12:44 > 0:12:50This visit has really helped me to reconnect with my old friend Kyffin.
0:12:56 > 0:13:01Kyffin said that he painted for excitement and never really thought
0:13:01 > 0:13:07he would make it as an artist, but standing here in his old studio,
0:13:07 > 0:13:13I honestly think he has done more for the visual arts in Wales
0:13:13 > 0:13:17than any other artist.
0:13:21 > 0:13:28I'm now in the heart of the place that inspired Kyffin more than anywhere else, Snowdonia.
0:13:28 > 0:13:31Although I was proud to call Kyffin a friend,
0:13:31 > 0:13:36there are still lots of things I don't know about him as an artist.
0:13:36 > 0:13:43To help me, I've asked his best pal, Derek Llwyd Morgan, to join me up Snowdonia.
0:13:43 > 0:13:48Derek is also the world authority on the life and the art of Sir Kyffin.
0:13:48 > 0:13:55I know my wife and I have always loved seeing his work in the Royal Academy.
0:13:55 > 0:13:59- We would make a beeline for that room.- Yes.
0:13:59 > 0:14:04And be stunned and amazed. Why did he return to Wales after so long away?
0:14:04 > 0:14:09By the mid-'70s, he had sold enough to have confidence to come back to Wales
0:14:09 > 0:14:12and be a full-time professional painter.
0:14:12 > 0:14:15Do you think his paintings have an effect on the way people
0:14:15 > 0:14:18- see their surroundings here in Wales?- Oh, yes.
0:14:18 > 0:14:23Having looked at Kyffin canvases for a while before coming up the mountain,
0:14:23 > 0:14:29you come up the mountain and you see the mountain Kyffinesque, not in nature but through Kyffin's eyes,
0:14:29 > 0:14:35- and I'll always think that is the mark of a good artist.- How lovely.
0:14:35 > 0:14:39What's your lasting memory of the man?
0:14:39 > 0:14:41Oh, I have no doubt about that.
0:14:41 > 0:14:45Every time I have been to an exhibition of his, I always thought that I would
0:14:45 > 0:14:53like also to put Kyffin on show, for people to see that glorious moustache and the brilliant blue-grey eyes
0:14:53 > 0:14:57that depicted Wales in such a brilliant manner.
0:14:59 > 0:15:01HE SPEAKS WELSH
0:15:04 > 0:15:09It's that swirling rain that comes from every direction and gets everywhere.
0:15:09 > 0:15:15I'm really gutted that the weather is just too bad for me to sketch up here.
0:15:15 > 0:15:19But I doubt that these conditions ever stopped Kyffin from painting.
0:15:19 > 0:15:22So, I'm back down the mountain now,
0:15:22 > 0:15:26and I know exactly what will cheer me up.
0:15:26 > 0:15:29# Now the ladies of the harem of the court of King Caractacus
0:15:29 > 0:15:33# Were just passing by All together now
0:15:33 > 0:15:36# The ladies of the... # Noses. You can remember noses.
0:15:36 > 0:15:39# Now the noses on the faces
0:15:39 > 0:15:43# Of the ladies of the harem of the court of King Caractacus
0:15:43 > 0:15:47# Were just passing by All together now
0:15:47 > 0:15:50# The noses on the faces of the ladies of the harem
0:15:50 > 0:15:53# Of the court of King... # It's no good crying!
0:15:53 > 0:15:55# Now the noses on the faces of the ladies
0:15:55 > 0:15:58# Of the harem of the court of King Caractacus... #
0:15:58 > 0:16:01Just move your mouth in time to the music.
0:16:01 > 0:16:04# The boys who put the powder on the noses on the faces
0:16:04 > 0:16:06# Of the ladies of the harem of the court of King Caractacus...
0:16:06 > 0:16:12- # You're too late- Too late! - Because they've just passed by. #
0:16:18 > 0:16:24Oh, dear! They might have coped a little better with Jake The Peg, possibly.
0:16:26 > 0:16:33Thankfully the weather does improve, though, so I can whip out my sketch book at one of Kyffin's favourite
0:16:33 > 0:16:41spots in Snowdonia. I'm really starting to see this inspirational landscape through his eyes now.
0:16:41 > 0:16:44Time to return to my portrait of Bryn Terfel's dad, Hefin.
0:16:44 > 0:16:52For me, this is a labour of love for Kyffin so I want to do him proud.
0:16:52 > 0:16:59Get it on that edge of the palette knife so I can actually draw with it.
0:17:03 > 0:17:05That goes down there.
0:17:05 > 0:17:10At a later time, that is going to be that brilliant gleaming white down that edge,
0:17:10 > 0:17:14and this darkness is going to come in under here.
0:17:16 > 0:17:20I think, under the edge of the hair like that.
0:17:22 > 0:17:27Yes, I think that works. Yeah, that works.
0:17:27 > 0:17:29You're pleased with yourself!
0:17:29 > 0:17:33- Well, it worked you see, that little bit worked. It just worked.- Yeah.
0:17:33 > 0:17:39A couple of little lines of darkness on the shirt there.
0:17:43 > 0:17:46I've got you looking about 22 years old here, is that OK with you?
0:17:46 > 0:17:49Yeah, that's fine with me, yes.
0:17:52 > 0:17:56It's almost the same as your shirt colour, that's great.
0:18:00 > 0:18:01Yeah, that's nice.
0:18:04 > 0:18:07You've got such an infectiously smiling face.
0:18:07 > 0:18:12You cheer people up just looking at you.
0:18:12 > 0:18:14I don't know whether you know all these things, do you?
0:18:14 > 0:18:17You're very kind.
0:18:21 > 0:18:28I'll just put a different colour in there. I've started to get the measure of how to do it.
0:18:31 > 0:18:37Nowhere near as good as the master but I've got an idea.
0:18:37 > 0:18:41He's obviously not pussyfooting about, he's not scraping
0:18:41 > 0:18:47the palette knife over the dry canvas, he's putting on great swathes of thick colour.
0:18:52 > 0:18:55Kyffin was inspired by local characters.
0:18:55 > 0:18:59Like me, he loved painting people.
0:18:59 > 0:19:02Last year, I had the honour of opening an exhibition of his portraits,
0:19:02 > 0:19:06here at the Kyffin Williams gallery in Llangefni.
0:19:06 > 0:19:10They are fantastic. What a treat.
0:19:11 > 0:19:17What's remarkable about these portraits is that they are done in the same
0:19:17 > 0:19:25sweeping style as he's done his landscapes, with a palette knife and quantities of thick, thick paint.
0:19:25 > 0:19:29Even the great man himself struggled a bit.
0:19:29 > 0:19:37As he said, "Every portrait I have painted has been a considerable strain, nothing comes easily to me."
0:19:37 > 0:19:41That's a shock, isn't it? "But I believe that some of my best work
0:19:41 > 0:19:45"has been of the many interesting faces I have painted."
0:19:45 > 0:19:48And you would have to agree with him.
0:19:49 > 0:19:53The relationship one has with one's sitter,
0:19:53 > 0:19:58it invariably creates a tension which isn't there with a landscape.
0:19:58 > 0:20:02I do like painting portraits, I find it immensely difficult.
0:20:02 > 0:20:07Because it is so difficult, it is so tremendously worthwhile.
0:20:07 > 0:20:11For me, this is one of Kyffin's best portraits.
0:20:11 > 0:20:19The subject is Evan Roberts, a remarkable blind botanist from Capel Curig. It's magical.
0:20:19 > 0:20:22I'm meeting Evan's son, Ioan, to find out more.
0:20:22 > 0:20:26Why do you think Kyffin chose your dad?
0:20:26 > 0:20:29Somebody mentioned Evan Roberts to him.
0:20:29 > 0:20:33He got very interested and started delving into his life,
0:20:33 > 0:20:39and next thing he came up and he started painting.
0:20:39 > 0:20:42- Was he happy with your dad as a subject?- No.
0:20:42 > 0:20:45- No?- No, he got quite annoyed with my father.
0:20:45 > 0:20:47- Why?- Because he was always moving.
0:20:47 > 0:20:53Blind, couldn't see, and if he was talking to him, he'd do that.
0:20:53 > 0:20:58Move his head. And that's exactly how the painting is.
0:20:58 > 0:21:01I understand he became a very respected botanist.
0:21:01 > 0:21:05- Oh, yes. Worldwide.- Worldwide?- Yes.
0:21:05 > 0:21:09It's amazing, isn't it, that a man from a little house here
0:21:09 > 0:21:13in the middle of Wales gets this worldwide reputation?
0:21:13 > 0:21:15Yes. And all self-taught.
0:21:15 > 0:21:18- Very inspiring.- No schooling.
0:21:18 > 0:21:20Hardly any schooling. He hated the school.
0:21:20 > 0:21:22What did you think of the portrait?
0:21:22 > 0:21:26- Beautiful. - Is that the dad that you knew?
0:21:26 > 0:21:30- Sorry.- Yeah, I feel the same.
0:21:35 > 0:21:37It's very emotional, isn't it?
0:21:40 > 0:21:47- I lived all my life with him. - Yeah.- Sorry.- Come on. Easy!
0:21:50 > 0:21:57Kyffin was passionate about teaching local kids to draw, and he passed on those fantastic skills throughout
0:21:57 > 0:22:03his life, and like Kyffin, I believe the future of art in this country lies with the younger generation.
0:22:03 > 0:22:07They don't often look happy and smiling in a portrait.
0:22:07 > 0:22:12Children need to learn the basics, it's as simple as that.
0:22:12 > 0:22:17Slabs of colour across the background that are put on with a knife.
0:22:17 > 0:22:21They were all done by Sir Kyffin Williams.
0:22:21 > 0:22:26- Really good, isn't it?- It is.
0:22:26 > 0:22:30Oh, look at the teeth you've got, Destiny. How many teeth is that?
0:22:30 > 0:22:35312 teeth in that fellow's mouth!
0:22:39 > 0:22:43Hey, that's a good one, Josh, with the smile. Look at that.
0:22:43 > 0:22:45Lovely.
0:22:47 > 0:22:51That's very good. Good one, Ossian, lovely.
0:22:51 > 0:22:55You've got another four million teeth now!
0:22:58 > 0:23:02Gosh, look at the hair.
0:23:02 > 0:23:05I can't believe how talented these kids are.
0:23:05 > 0:23:07Kyffin would have been blown away.
0:23:07 > 0:23:13Enough drawing for now, time for a tune about a Welsh sheep dog who bit me on the backside.
0:23:13 > 0:23:16- Do you want to learn a song?- Yes.
0:23:16 > 0:23:19OK, I've written a special song for you today.
0:23:19 > 0:23:21So, in Welsh it goes...
0:23:21 > 0:23:28# Ci mawr, Ci mawr ddu Dangos eu ddanedd, troi i rhedeg
0:23:28 > 0:23:35# Ci mawr, ci mawr ddu Brathais fy penol
0:23:35 > 0:23:37# Ah! #
0:23:37 > 0:23:39Is that good?
0:23:39 > 0:23:41- Yes. - Did you understand my Welsh, then?
0:23:41 > 0:23:43- Yes.- Did you? Well, that's a relief.
0:23:43 > 0:23:46One, two. One, two, three, four.
0:23:46 > 0:23:52# Ci mawr, Ci mawr ddu Dangos eu ddanedd, troi i rhedeg
0:23:52 > 0:23:57# Ci mawr, ci mawr ddu Brathais fy penol
0:23:57 > 0:23:59# Ah! #
0:24:01 > 0:24:06Very good! That was a good shout at the end.
0:24:06 > 0:24:14I know how much teaching drawing meant to Kyffin. He would have got such a kick out of today.
0:24:16 > 0:24:22Drawing, like painting and other art forms, is an act of appreciation and love,
0:24:22 > 0:24:28and as long as people enjoy the world around them, it will always be an act of devotion.
0:24:32 > 0:24:35Gosh, it's so hard not to miss the man.
0:24:35 > 0:24:42As I follow in Kyffin's footsteps, I can see why this land was so inspirational to him.
0:24:45 > 0:24:51Kyffin's Wales... Oh, shut up, will you, sheep? I'm trying to do a piece to camera.
0:24:53 > 0:24:54SHEEP BAAS
0:24:54 > 0:24:58There are things about Kyffin's Wales which have changed beyond
0:24:58 > 0:25:03recognition, but in other ways time has stood still.
0:25:03 > 0:25:05The farmsteads are still here,
0:25:05 > 0:25:11together with the families that have worked this land for generations.
0:25:14 > 0:25:19I guess that's why I wanted to paint Bryn Terfel's farmer dad, Hefin,
0:25:19 > 0:25:24because he's just the type of Welshman Kyffin loved to paint.
0:25:26 > 0:25:30Oh, come on. Now, sit!
0:25:36 > 0:25:43I'm starting to feel quite happy about this, which is a great relief because I was very nervous before
0:25:43 > 0:25:46I started this, as to whether I would be able to do it, you know?
0:25:55 > 0:25:58Have you met Kyffin yourself?
0:25:58 > 0:26:01- I met him, yes.- Oh, yes? - He was a nice man.
0:26:04 > 0:26:10- And we got on like a house on fire, you know, we sort of admired the same things, I think.- Yeah.
0:26:14 > 0:26:19# Nid wy'n gofyn bywyd moethus
0:26:19 > 0:26:24# Aur y byd na'i berlau man... #
0:26:24 > 0:26:25Who's doing harmony, you or me?
0:26:25 > 0:26:32# Gofyn wyf am galon hapus
0:26:32 > 0:26:37# Calon onest, calon lan
0:26:37 > 0:26:43# Calon lan yn llawn daioni
0:26:43 > 0:26:48# Tecach yw na'r lili dlos
0:26:48 > 0:26:54# Dim ond calon lan all ganu
0:26:54 > 0:27:02# Canu'r dydd a chanu'r nos. #
0:27:02 > 0:27:05Good.
0:27:09 > 0:27:15Oh, dear... Yes!
0:27:15 > 0:27:18- Come and have a look and see what you think, Hefin.- OK.
0:27:27 > 0:27:30Oh. That's really good.
0:27:30 > 0:27:33- Does it capture you, do you think? - Yes. Yes.
0:27:33 > 0:27:36- I'm a bit older, maybe, but... - A bit taller?
0:27:36 > 0:27:38- Older.- Older!
0:27:38 > 0:27:41I thought you said taller. Where's that dangerous lady of yours?
0:27:41 > 0:27:43- I've been watching you.- Have you?
0:27:43 > 0:27:45- Yes.- I wasn't aware of you there.
0:27:45 > 0:27:51The woman that's the first to congratulate you on a good job.
0:27:51 > 0:27:54- Thank you very much. - It's a very good painting.
0:27:58 > 0:28:04Well, it's been wonderful learning more about Sir Kyffin Williams and about his life and about his work.
0:28:04 > 0:28:12It has been incredibly emotional at times, and massively challenging
0:28:12 > 0:28:18towards the end here, trying to work in the palette knife and do a portrait with a palette knife.
0:28:18 > 0:28:24I really hope that, as a friend and as a fellow artist, he would
0:28:24 > 0:28:28have appreciated my homage to him,
0:28:28 > 0:28:33to a great, great Welshman who is sadly missed.
0:28:42 > 0:28:45That was the most difficult bit of all!
0:28:53 > 0:28:56Subtitles by Red Bee Media Ltd
0:28:56 > 0:28:59E-mail subtitling@bbc.co.uk