Anthony Eyton was born May 17, 1923. He is a British figurative painter working in the post-Impressionist tradition. He started studying art in 1941, his studies delayed by the war, and then returned to his education at the Camberwell School of Art, completing in 1950. Eyton was Head of Painting at St Lawrence College, Kingston, Ontario in 1969 and taught at the Royal Academy Schools from 1964 to 1999. He is the winner of many artist awards in Britain and internationally and is regarded as one of the top contemporary British artists, along with names like Frances Bacon, LS Lowry, Lucien Freud, Frank Auerbach, Henry Moore, and David Hockney. He is now 97 (a week shy of 98), and still painting every day. “I work every day if possible. Up at 7am. Muesli with fruit and coffee…. The difficulty is paperwork that doesn’t get done. I hope to start working at 10 and go on until 1.30 or 2.” – Anthony Eyton Eyton works his paintings hard, he says around 20 – 30 sittings each. He uses paintbrushes a few feet long because he can’t stand while he paints anymore, and the long handles give him “more of a flow – or an attack.” He paints from observation, the chairs a play of form and space. He does not perceive a difference between interior and exterior scenes. Anthony Eyton paints some chairs, and talks about painting from observation After watching Anthony paint, you might be interested in some 24″ brushes. You can find them at Rosemary and Co. Energy from variety If variety is the spice of life, it is also the spice in art. While harmony can be produced by similarities, so energy can be produced from differences in an artwork. These differences can be even more effective if they are disparate natures, so you have at least two elements pushing off from each other. For example:light – dark tonesneutrals – bold bright colorswarm – cool colorssoft – hard edgesshort staccato marks – long lyrical linesstraight clean lines – organic tremulous lineslarge shapes – small shapesthick paint – thin painthard touch – soft touchwet into wet – dry brushpaint applied with soft squishy thing – paint applied with hard square thinga whole lot of marks one way – a few marks another way(what else?) Here’s another way to experiment with this energy increase from variety:What would happen if every time you prepared to make a brushstroke, you changed the tool and/or the color? For example, you could paint with:small round soft brushbig flat bristle brushpencilragyour fingersomeone else’s fingerthe side of your credit card the side of someone else’s credit carda sticka palette knife(what else?) See how many different marks are within these high energy works? On his 2019 show: “…I’ve got a lovely letter from Frank Auerbach. He says he can’t get to the exhibition because he’s not as mobile as he used to be, but he loved the catalogue and thought my paintings now were the most original ones I’ve painted. It’s quite something to be doing your best work in your 90s!” – Anthony Eyton Anthony Eyton. Three Chairs in the Studio II, 2019. Photo by Browse & Darby.