Julian Bailey

JULIAN BAILEY

Julian Bailey’s paintings are filled with energy and movement. We are very pleased to hold stock of his work which can be seen below in two sections, the oils on board first and the works on paper separately beneath. All the paintings are presented framed in good pale wooden frames and are available to buy or reserve now. Please call us on 01308 459511 or email with all enquiries. Please remember to click on both sections!

WORKS ON PAPER

Julian Bailey’s works on paper are shown below. These are all presented framed in wooden box frames with white mounts and glass and are available to buy or reserve now. Please call us on 01308 459511 or email with all enquiries. If looking at them in the slide show please remember to click on both sections!

‘Whole, true to themselves, emotionally rich and seemingly spontaneous…

‘Bailey’s paintings belong to a world of which he is himself very much a part. His art has the power to strike a rich chord; the ability to evoke the full choreography of life in all its timbre and cadence, light and joy.

‘This is a deeply engaged and deeply engaging painter who has achieved what he set out achieve, namely a truly viable language in paint.’

Extracts from Vivienne Light FRSA’s foreword to the catalogue for Julian Bailey’s At the Waterfront solo show in 2015.

When we were Young oil on board 106.5 x 109 cm £11,000

Julian Bailey works in oil on board, enjoying the resistance of the hard surface.  ‘I have a fairly wide range of colours, but try to limit my palette as much as possible in one painting.  I try to keep the colours fresh and clean, using clearly visible brush strokes which define the objects.  I want the finished paintings to look spontaneous with everything in the right place, even if it has taken a lot of time with many changes and repainting.’  The results do look remarkably effortless and spontaneous. His figures seem simple, yet are full of attitude, while his landscapes reach for the anatomy of the countryside to find just as much character and form as there is in his figures. Whatever they may be, the elements of his paintings give the sense of being in that place at that moment, just when everything comes together to make something remarkable.

Julian Bailey in Studio

Artist Julian Bailey lives with his family near Dorchester. Born in 1963, he had his first successful exhibition at Malvern Public Library when he was still at school.  He studied art at the Ruskin School while attending New College, Oxford and then went on to the Royal Academy Schools where he was awarded the Turner Gold Medal and later the Landseer Scholarship.

He had his first one-man show in London in 1991 and has exhibited regularly since, joining Browse & Darby in Cork Street in 1999 as their youngest artist. He and his family moved to Dorset in 1998 when Julian began to paint landscapes, particularly the Dorset coast. In 2011 he was elected to join the New English Art Club and awarded the David Messum Prize. He also won the Manya Igel prize that year. His work is in numerous collections including HRH The Prince of Wales, New College Oxford, Pembroke College Oxford, Reed Executive, Old Mutual Assurance, Daiwa Bank, SG Warburg and more. He has had three solo shows at Sladers Yard and participated in numberous group shows.

Lone Rider on the Ridge etching and gouache 14 x 15 cm £380

To enquire about any of the paintings please phone us on 01308 459511 or email  gallery@sladersyard.co.uk

7 Responses to Julian Bailey

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  3. Remarkable – and infinitely pleasurable – to admire at leisure and in impressive quantity this series of paintings, united overtly as well a subliminally by their marine settings, nautical orientation and embracing of individuals – and by specific weather-impacts – on the surroundings.

    The impacts on one’s powers of perception (however feeble and errant mine may be) appear to be reinforced and multiplied by the semblance of straightforwardness and limitation in respect of brush-strokes, colours and focal-points and formations before one. Very interesting to experience this sort of carefully controlled directness converting gradually and committedly to a multi-dimensional and decidedly deep follow-on visual image of the scene before one.

    It’s a great – and very respectable – contrast to the lamentable array of artists, would-be as well as theoretically established, who do the opposite: namely, ‘over-egg the pudding’ with detail, lines, shapes, colours, depths, dimensions, shadows, angles, horizons and topical variations, which end up by creating a frenzied fair-ground of psychotic delusion that exhausts one’s eyes and mind, and take ages to sort in to an order and a message which might, in the end, mean something or other!

    If I may humbly and deferentially say so, as an artist and one who has taught art, I’m very content and grateful to see such an impressive array of representations: thank you very much indeed, and very best wishes.

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