Flight of the Gondolas - Signed Limited Edition Print by Brigid Marlin


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A stunning image by Brigid Marlin. This is a signed limited edition print reproduced from an original oil and egg tempera painting using the Mische Technique, for which Brigid Marlin is renowned.

The image size is approximately 50 x 41cm.

The print is edition 5/50 and signed by Brigid Marlin.

Supplied unmounted & unframed (can be mounted and/or framed contact the gallery for details).

This piece can also be purchased by 10 monthly installments of £19 per month using Own Art - interest free credit - contact the gallery and we will email you full details.

See more work available by Brigid Marlin

Artist Statement About This Piece

"When I worked on this painting, the idea came as a mystery, a sort of puzzle that needed to be solved. I knew that I must be prepared to make several false starts before the right image began to take shape.

Strangely, I always know when I am going wrong with a fantasy picture, but I am never absolutely sure I am going right, until at last something seems to be going in the right direction, which tells you more about your idea than you had known up until then. As Wilde's Lady Bracknell said: "I don’t know what I mean until I hear what I say."

Painting The Flight of the Churches was like going on a personal journey. I worked on a fairly large gesso panel. I began with painting a ground of umber and red, and swirled the paint around with my fingers. The shapes of the balloons seemed to form themselves, and I wondered what they were. Then I suddenly saw St. Mark’s Square in Venice, and realised that this was St. Mark’s Cathedral floating away. I got hold of a photograph of St. Mark’s Cathedral, and by holding a silver Christmas tree ornament to it, I saw in the reflection how to paint it in the round. I painted the cathedral as a series of balloons, with long streamers, like umbilical cords. I achieved a beautiful transparent look with the colours by painting the cathedral with white underpainting and adding the colours as glazes on top. I used soft colours such as Naples yellow, rose doré, cerulean blue, and a mixture of monestial green, azure blue and yellow ochre for the domes.

Then I realised that if St. Mark’s was floating away, probably other churches were floating away, too. I did some photographic research, and found other Venetian churches to turn into balloons. I painted them against a light blue sky — cerulean with lemon yellow near the horizon, and with ultramarine near the top to make the kind of sky that you often see in Venice. In order to add a little drama, I added clouds made with titanium white, permanent rose and Payne’s grey. The next thing that occurred to me was that if the churches had all left the ground, the place must look a mess, so perhaps there had been some kind of disaster. Referring to a photograph of St. Marks Square, I began to paint the disaster. By breaking off the corners of the buildings at either side, I achieved a very powerful line of perspective. The buildings were added using white underpainting and Indian red and permanent rose as glazes on top.

Then I made holes in the ground of the square for people to crawl out of, but I couldn’t picture how they should be dressed. Finally, I decided that they wouldn’t wear anything. Maybe after a disaster like this they had lost their clothes! The next problem was the shadow of the balloons on the ground. In order to be convincing, a fantasy must conform to the ordinary laws of the world.

As C. S. Lewis wrote: "A myth must have the inner consistency of reality." Unless my shadows were convincing, the whole painting would lack conviction. Renaissance artists used to make tiny models in their studios and use them to work out by analogy how things would look in the real world. So I collected various scraps, some wax, toothpicks and plasticine, and made a tiny model of the balloons. Then I took a strong lamp and held it near the model. The shadow of the balloons was perfect, and completely different from anything I could have imagined. I took a photograph, and when I painted the shadows in the picture it took on a new feeling of reality. Meanwhile, I had been struggling with the colours. Often, paintings of a dream or nightmare are most effective if painted in nightmare colours.

But as this was a painting about Venice, my colours were soft Venetian pinks, greens and blues. I debated whether to change things but judged that I could get away with the same colours. Nevertheless, the painting still needed one strong accent of colour. So I made the water a bright turquoise, using monestial turquoise as a glaze. This seemed to bring the whole picture together and it also emphasised the water element which is such a huge part of Venice. When the picture was finished people asked me what it meant. I don’t know — if you do know, what is the point of painting a fantasy picture in the first place?"

About Brigid Marlin

Brigid Marlin was born in Washington D.C. USA in 1936.

She paints mainly using the Mische Technique, a medieval method revived by Austrian artist Ernst Fuchs, with whom she studied in Vienna.

Her fantasy work can be classified as Fantastic Realism, using figurative elements to represent visionary and psychic subjects, often with scriptural themes.

She has painted portraits, inter alia, of the Dalai Lama, J. G. Ballard and Queen Elizabeth, the Queen Mother. Her portrait of Ballard hangs in the National Portrait Gallery in London.

She studied art at the National College of Art in in Dublin, Ireland, Le Centre d’Art Sacre, Paris,L’Ecole des Beaux-Arts, Montreal , and The Art Students League of New York. Then she married and moved to England where she had three sons.

 Later she went to Vienna to study with Professor Ernst Fuchs and learnt the Mische Technique- the painting secrets of the Masters of the Italian Renaissance, which Fuchs had researched and rediscovered.

 At Professor Ernst Fuchs’ invitation she went to Austria to teach the Mische technique at his Summer Seminar near Vienna for seven years.

She has travelled abroad teaching this technique at the Museum for Modern Art, Nairobi, at the Triangle Art Centre, Chicago, at the Bezalel Institute of Art,  and at the Philadelphia Institute of Technology, as well as giving private classes in the technique to the Princess Nauf in Riyadh, Saudi Arabia, Tatsuhiko Yamoto in Tokyo, etc, etc and she lectures on the technique all over the world.

 Brid Nmarlin now lives and works in Hertfordshire, England.

Her life was featured in the BBC Radio Four program "In Conversation".

She has appeared on television on chat shows both in England and New York.

Her work is in the collections of Stanley Kubrick, Ex-President Nixon, Ann Oestreicher, Virginia H Rogers, J. Erdelac of General Motors, Lady Arran, and many others. Her portrait of J.G.Ballard hangs in the National Portrait Gallery, London, her portrait of Lord Longford is in the Art Collection of the House of Lords and her portrait of Cecil Lewis, founder of the B.B.C., hangs in Bush House, BBC Headquarters.

She has published a number of books on the Mische technique.





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