Andrew King ROI IEA EAGMA

Andrew is an established full-time professional landscape and marine painter.  He was born in Bedford in 1956,  but has lived and painted in North Norfolk since 1987.  Andrew has been an elected full member of the prestigious Royal Institute of Oil Painters (ROI) since 1992 and has served on its Council.  He is one of the four founder members of the Institute of East Anglian Artists (IEA) and was recently awarded honorary status.  Andrew enjoys being an active member of the long established and well regarded East Anglian Group of Marine Artists (EAGMA), and has served as the group's Hon. Secretary.    

Andrew regularly exhibits throughout East Anglia and elsewhere in the UK and has also exhibited internationally.  His work has been purchased for royal, public and private collections in the UK, Europe and the USA.  

 

Royal, Public & Private Collections include:

HRH Princess Michael of Kent

The House of Lords Art Collection

Luton & Bedfordshire Arts Council

Rt. Hon. Sir Tony Baldry MP

Lionel Blair

The late Sir Clement Freud

Andrew can be referenced in 'Who's Who in Art' and also 'Who's Who in International Art'.  He has featured in many articles, including publications such as the 'East Anglian Daily Times' magazine and  'Anglia Afloat' 

Notable Achievements & Awards include:

Fine Art Degree (BA. Hons) - Hornsey College of Art, London.

Post Graduate 'David Murray' (Landscape Painting) Scholarship - The Royal Academy of Arts, London.  

Royal Academy of Arts - membership of their Alumni 'Reynolds Club' (RASA).

Royal Institute of OiI Painters (ROI) - Finalist for the 'Windsor & Newton Young Artists Award' in 1985 and elected an Associate Member in 1987.

 

Past Notable Solo Exhibitions include: 

Thompson's Gallery, Aldeburgh

The Portland Gallery, London 

The Hunter Gallery, Long Melford

The Hawker Gallery, Amersham

A & K Wilson Gallery, Harpenden

Regatta Fine Art, Holt

Lichfield Cathedral

Stowe School, Buckingham

Past Notable Group exhibitions include: 

Mall Galleries, London:

The Royal Institute of Oil Painters Annual Exhibition (ROI) - every year since 1985.

The Royal Society of Marine Artists (RSMA)

The Royal Institute of Painters in Watercolours (RI)

The New English Art Club (NEAC)

The Royal Society of Portrait Painters (RP)

The National Society (NS)

The Discerning Eye Exhibition

Royal Society of Painters in Watercolours (RWS), Bankside Galley, London

The Llewellyn Alexander Gallery, London (4 man show)

Rouen Town Hall, France (2 man show)

Thompson's Gallery Annual Exhibition, Aldeburgh - every year since 1982

The Courtyard Gallery, Cambridgeshire

Andrew is currently represented by the following galleries:

 

Thompsons Gallery, Aldeburgh

Adrian Hill Fine Art, Holt

Mandell's Gallery, Norwich

Walker Galleries, Harrogate

Geedon Gallery, Fingringhoe

Artist's Statement:

 

My approach is influenced mainly by the most recent followers of the East Anglian School of Artists, and in common with this group, the initial work for my paintings is completed on location.  I find inspiration in capturing the fleeting effects of light and atmosphere in landscape primarily in East Anglia, but also Cornwall, North Yorkshire and overseas.

 

My method on location is to work quickly on small panels in oil.  I have always found that working 'en plein air' gives my work a freshness and vibrancy, that is often hard to maintain when working solely in the studio.  Using my small panels for reference, I tend to work on larger paintings in my studio as the logistics of handling a canvas bigger than say 18"x 24" outdoors on a windy day can become difficult!

 

I am particularly drawn to the expansive skies that are so often a feature of my native East Anglia and I always try to approach my subject in a spontaneous manner; using broad sweeps of the brush to reflect mood and movement. 

My adopted "style" of working results from the need to paint extremely quickly in changing weather or light.  I feel that this helps to keep my approach fresh and lively.  Working in the studio has many merits, but I find it essential to paint outdoors regularly in order to react and respond to the sky and those important effects of changing light moving across the landscape. 

 

I strive to avoid slavishly copying and including too many topographical details, but rather I endeavour at all costs to respond and "react in paint" to what I am both seeing and "feeling" as the light changes. 

 

A painting day on Mersea Island, Essex 

 
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