Now that headline seems a strange way to begin a feature about Rob Pointon. Strange because Rob’s work is everything that I admire and appreciate in oil painting. Quality of light, observation, spontaneity, consummate skill. I called in to Contemporary Six on Princess Street to have a privileged look at Rob’s latest show, opening later in the week. In my eagerness I arrived early - as he finished bringing 30 paintings into the gallery. The paintings, therefore, were still in their protective coverings. I like to think that my preview was, therefore, a pre-preview view. That’s a bit of a mouthful…

 

I’d not met with Rob since 2020, when we had arranged to meet on the corner of Albert Square whilst he painted. It was fascinating then to chat to him about the colour palette he had mixed, a range to select the all important light of the hours. At that time he told me that he spent the ‘first half an hour mixing eight or nine colours, then holding my brush up to the light, mix again if it’s not quite right.’ 

 

Rob graduated with a first class honours degree in art from Aberystwith Uni and then on to the Royal Drawing School in London. The subsequent years have seen him with work in the personal collection of the King (when he was Prince of Wales) and as artist in residence for several international organisations, plus the Household Cavalry. He is a member of the Royal Institute of Oil Painters. And on. No questions about his credentials. 

 

So what is Back to School all about?

 

Rob is quiet and softly spoken. Within five minutes of what was meant to be my opportunity just for an early look at these new works, the conversation steered off into him telling me that he had just spent two weeks studying at the Florence Academy of Art. The Academy is a school of classicism. It is an academy which teaches the realist method of figure drawing and painting, as taught in the ateliers of 19th century Paris. “I wanted to learn the classicist methods of painting. Techniques that I could use in my own work. We painted two full size nude figures over the two weeks, were taught the classicist theories and application.” Rob’s quiet enthusiasm shone through; he showed me (on his phone) the colour palette he had studied, the sculpture and anatomical figures examined to build drawing and painting on. In short, learning more, despite his extraordinary existing level of skill. 

 

“The skill levels and studies in Florence teach the greatest subtleties of figure drawing, take everything to another level. They have an extraordinary resource of classical sculptures to study. Stages of realist drawings on display by absolute masters.” I was going to write that Rob is almost in awe of the Academy’s teaching. But it is to his credit that he is. And wants to go on learning. 

 

Of course I spent some time (in my own awe) looking at the still packaged paintings stacked against the walls, awaiting hanging for the exhibition by Alex Reuben, the gallery owner. The exhibition is called ‘Manchester’s Urban Tapestry: a painters perspective.’ In my conversation with Rob three years ago he told me that ‘the Manchester streets are my painting gymnasium.’ But in this show he has also included beautifully studied paintings inside Manchester Art Gallery and Piccadilly Station. The MAG paintings capturing quiet moments, the Piccadilly paintings capturing frantic bustle. And it’s worth reiterating that Rob paints plein air. That is, from life. “Manchester Art Gallery were very helpful. It’s not an easy proposition for me to set up my easel in a public space for two or three days at a time. At Piccadilly I just tried to capture fleeting figures…apart from railway staff who were ever present and the pianist…who sat for a couple of hours for me.’

 

Manchester’s Urban Tapestry runs until November 18th at Contemporary Six. It is an exhibition of paintings not to be missed. And I am sure that, like me, you’ll wonder what more Rob can possibly learn.

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