Edward Wesson

Edward Wesson, English Watercolour artist

Edward Wesson (1910-1983) was an English watercolor artist known for his distinctive and highly regarded watercolor paintings. He was born in Blackheath, London, and became one of the leading watercolorists of his time. Wesson’s work is characterized by loose, fluid brushwork, a keen sense of light and atmosphere, and a mastery of the medium.

Wesson’s subject matter primarily revolved around landscapes, coastal scenes, and urban views. He had a special affinity for depicting English villages, harbors, and the countryside. His paintings often captured the essence of a scene with a minimalist yet expressive approach, using bold washes of color and a limited color palette. Wesson’s ability to convey the mood and atmosphere of a place with a few confident brushstrokes set him apart as a watercolorist.

Throughout his career, Wesson gained recognition for his art and was a member of several prestigious art societies, including the Royal Society of British Artists (RBA) and the Royal Institute of Painters in Water Colours (RI). His work continues to be admired by watercolor artists and enthusiasts, and his paintings are held in private collections and galleries around the world.

Books about Edward Wesson

While there may not be a large number of books exclusively dedicated to the life and work of Edward Wesson, there are some resources and publications that discuss his art and provide insights into his watercolor techniques and style. Here are a few books and resources related to Edward Wesson:

1. “Edward Wesson: The Landscape Paintings” by Steve Hall: This book is a comprehensive overview of Edward Wesson’s landscape watercolor paintings. It includes a collection of his works, along with insights into his artistic approach and style.
2. “Edward Wesson: Master of Watercolour” by Ron Ranson: This book provides an in-depth look at Wesson’s watercolor techniques and artistic philosophy. It is written by Ron Ranson, a watercolor artist who was influenced by Wesson’s work.
3. “The Watercolorist’s Essential Notebook” by Gordon MacKenzie: While not specific to Edward Wesson, this book is a valuable resource for watercolor artists. It covers various watercolor techniques, including those that artists like Wesson may have used. It can help you better understand the medium.
4. Art Magazines and Exhibition Catalogs: Art magazines, particularly those dedicated to watercolor painting, may feature articles and discussions about Edward Wesson. Additionally, exhibition catalogs from art exhibitions featuring his work may provide valuable insights and images.
5. Online Resources: Online resources, such as articles, websites, and video demonstrations, can offer information about Edward Wesson’s techniques and contributions to the world of watercolor painting.

To learn more about Edward Wesson and his watercolor art, you may need to explore a combination of these resources, as there may not be an extensive collection of books solely focused on his life and work.

Edward Wesson’s loose watercolour style

Edward Wesson was celebrated for his loose and expressive watercolor painting style. His approach to watercolor painting emphasized simplicity, spontaneity, and a keen sense of observation. Here are some key characteristics of Edward Wesson’s loose watercolor style:

1. Bold Brushwork: Wesson used broad and confident brushstrokes, often applying paint with large brushes to create a sense of energy and movement in his paintings. His strokes were dynamic and purposeful.
2. Limited Color Palette: Wesson frequently worked with a limited color palette, often using just a few well-chosen colors. This limited palette allowed him to create harmony and unity in his compositions.
3. Wet-on-Wet Technique: He used the wet-on-wet technique, in which he applied wet paint to a wet paper surface. This technique allowed colors to blend and flow naturally, creating soft transitions and gradients.
4. Negative Painting: Wesson often employed the technique of negative painting, where he painted around the subject to create shapes and define objects. This technique added depth and complexity to his compositions.
5. Suggestion Over Detail: Instead of meticulously rendering every detail, Wesson focused on suggesting shapes, forms, and textures with a few well-placed brushstrokes. His paintings often conveyed a sense of place and mood more than precise representation.
6. Impressionistic Approach: His work exhibited an impressionistic quality, capturing the atmosphere and mood of a scene rather than a strict representation of reality. This gave his paintings a sense of light and airiness.
7. Spontaneity and Fluidity: Wesson’s style was marked by a sense of spontaneity and a willingness to embrace accidents and natural effects that occurred during the painting process. He often allowed the paint to flow and blend on the paper.
8. Subject Variety: While Wesson was known for his landscapes, he also painted coastal scenes, urban views, and village scenes. His loose style was versatile and applicable to various subject matter.
   

Overall, Edward Wesson’s loose watercolor style is characterized by its economy of means, where he could convey a great deal with minimal brushwork and a deep understanding of the medium. His ability to capture the essence and atmosphere of a scene with an economy of strokes is what makes his work so highly regarded by watercolor artists and enthusiasts.

His gear consisted of a Winsor and Newton Perfect Easel, where he complained that the wing nuts used to unscrew and land in the snow or sand, initially a De Wint palette, followed by a Binning Munro and finally a Holbein 1000. They were filled with the following W&N artist tube colours :- Raw Sienna, Alizarine crimson Winsor (or Cadmium) Yellow, Burnt Umber, Light Red, Burnt Sienna, Winsor Blue, Ultramarine Blue and Cobalt Blue. His palette for his pen and ink wash was:- Payne’s Grey, Burnt Umber, Burnt Sienna and Raw Sienna. The other colour he used extensively was “filth” which was the amalgamation of all the used colours on his dirty palette.

Edward Wesson’s choice of painting gear and colors provides insight into his working methods and preferences. Here’s a breakdown of his gear and color palette:

Easel: Winsor and Newton Perfect Easel, which he found had a drawback with wing nuts that tended to come loose and get lost in the snow or sand.

Palettes: Wesson used several palettes over time:

• Initially, a De Wint palette
• Followed by a Binning Munro
• Eventually settled on a Holbein 1000, which he found suitable for his needs.

Colors: He primarily used Winsor & Newton artist tube colors. His palette included the following colors:

• Raw Sienna
• Alizarin Crimson
• Winsor (or Cadmium) Yellow
• Burnt Umber
• Light Red
• Burnt Sienna
• Winsor Blue
• Ultramarine Blue
• Cobalt Blue

Pen and Ink Wash Palette: For his pen and ink wash, Wesson used the following colors:

• Payne’s Grey
• Burnt Umber
• Burnt Sienna
• Raw Sienna

“Filth” Color: Wesson made use of a color he called “filth,” which was essentially the amalgamation of all the used colors on his dirty palette. This color likely resulted from mixing various leftover pigments and residues on his palette, creating a neutral or muddy hue that he found useful in his painting process.

Wesson’s selection of colors was relatively limited, showcasing his mastery in creating a wide range of hues and tones from a small set of pigments. His preference for a restricted palette enabled him to focus on color mixing and achieving harmony in his paintings without the need for an extensive array of colors. The use of “filth” further exemplifies his resourcefulness in utilizing all available resources in his artistic practice.