Call for Entries Open Now

The RBA Call for Entries is now open!

The Royal Society of British Artists seeks submissions of work for exhibition at their Annual Exhibition 2019.

Here’s President of the RBA, Nick Tidnam, to tell us more:

How to Submit

ALL work must be submitted online. Pre-selection from online entries will take place, after which pre-selected entries should be delivered to Mall Galleries, London, for final selection:

– Upload images of work at http://mallgalleries.oess.uk between Monday 17 December 2018 and Friday 15 March 2019, 12 noon [Note: Images must be in JPEG format and under 5MB]

– Check http://mallgalleries.oess.uk on Friday 22 March, from 12 noon, to see if your work has been pre-selected

– If pre-selected, deliver your work on Saturday 27 April, 10am to 5pm, to Mall Galleries, 17 Carlton House Terrace, London SW1Y 5BD

– Check mallgalleries.org.uk on Wednesday 1 May, from 12 noon, to see if your work has been accepted to the exhibition

– If unaccepted, collect your work from Mall Galleries, 17 Carlton House Terrace, London SW1Y 5BD on Friday 3 May, 10am to 5pm


Important Dates

Submission opens: Monday 17 December 2018, 12 noon

Submission closes: Friday 15 March 2019, 12 noon

Pre-selection notification: Friday 22 March, 12 noon [Log in to see if your work has been pre-selected]

Receiving Day (if pre-selected only): Saturday 27 April, 10am to 5pm

Acceptance notification: Wednesday 1 May, 12 noon

Collection of unaccepted work: Friday 3 May, 10am to 5pm

Exhibition open: Thursday 4 July, 10am to 5pm

Exhibition closes: Sunday 14 July, 1pm

Collection of unsold work: Thursday 18 July, 10am to 5pm


Conditions

Eligibility

  • Any artist over 18 may submit.
  • Acceptable media: Any medium including sculpture and original prints.
  • Submission fee: £18 per work (or £12 per work for artists aged 35 or under), which includes Free Admission to the exhibition (normally £4).
  • Maximum of six works submitted.
  • Maximum of four works selected.
  • Work must not have been exhibited previously.
  • Works should not be larger than 2.4m along the longest dimension.
  • All work must be for sale. The price of works must include commission of 45%+VAT (please note that where foundry fees apply, foundry costs will be deducted before commission is calculated).
  • Minimum price: £300 (framed prints: £180, unframed prints: £120).

Delivery & Collection

  • Works should be delivered without any protective packaging as this cannot be retained.
  • The gallery will not be responsible for wrapping works or providing wrapping materials for any works being returned.
  • Paintings should be completely dry at the time of delivery.

Selection

  • Please note that selectors’ decisions are final and we are unable to offer feedback.

International Entrants

  • Artists from outside the UK may need to register for VAT, please check with HM Revenue and Customs: https://www.gov.uk
  • Artists sending work from abroad should use a picture carrier. Many artists use Picture Post as they offer a packing and delivery service for our exhibitions (we do not accept any liability for their services). Picture Post – Tel: 0044 (0)1302 711011 / Mobile: 07833 450788 /  Email: info@picturepostcompany.co.uk

Terms & Conditions

  • For full terms and conditions, click here.

Prizes & Awards (subject to final confirmation)

There are many prizes and awards available to win, including:

The de Laszlo Foundation Prize: The de Laszlo Medal and £1,500 will be awarded to the artist aged 35 or under for the best art work from life

The Nathan David Award for Sculpture: £150

The Stuart Southall Print Prize: £250

The Patron’s Prize: £500

The LARA Prize for a Young Artist: Short course at London or Bristol

The Anthony J Lester Art Critic Award: £50

The Artist Magazine Award: The winner will be interviewed in The Artist magazine, print and digital editions

The Davison Award for Oil Painting: £100

The Dry Red Press Award: The winning work will be published as a greeting card in the Dry Red Press ‘Prize Winners’ range, with royalties from the sale of the cards going to the artist

Frinton Frames Award: £200 of picture framing at Frinton Frames bespoke handfinished picture frame makers

The Geoffrey Vivis Memorial Award: £100

The Gordon Hulson Memorial Prize for Draughtsmanship, Variety & Exploration: £200

The Michael Harding Awards: Two awards of £500 worth of Michael Harding art materials, and 10 painting starter sets

The Winsor & Newton Painting Award: Art materials to the value of £500

Hahnemuhle Fine Art UK Award: A prize of artist paper, worth £250

RBA Christmas Lunch

An excellent Christmas Lunch was enjoyed by Members of the RBA on the 7th December in the TACP room at 17 Carlton House Terrace. Staff of the FBA including outgoing Director Lewis McNaught joined Members for lunch.  The RBA send particular thanks to Meg Dutton for organising  the amazing spread we all enjoyed and our thanks also go to Annie Williams and Susie Perring who helped to prepare the party.

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RBA President Nick Tidnam made Honorary Member of RBSA

At a recent presentation in Birmingham, RBA President Nick Tidnam was made Honorary Member of the Royal Birmingham Society of Artists (RBSA). Nick is seen proudly displaying his certificate, flanked by RBSA President Rob Neil (left), and RBSA Ambassador, the Lord Lieutenant of Staffordshire, Mr John Crabtree (right).
The presentation was at the RBSA Gallery, and was held during the well attended and lively Private View of the annual RBSA Members and Associates exhibition.
Nick was given a very warm welcome.

Photo courtesy Grahame Wickings.

LARA Prizewinner’s Blog

Each year, the LARA Prize for a Young Artist is awarded for work that balances technical understanding with a subject that is authentic and relevant to the twenty-first century. As the recipient of this year’s LARA Prize, I had the privilege of attending a week-long painting class taught by Luca Indraccolo.
The first day was dedicated to drawing. We were introduced to basic anatomy and asked to consider the major planes of the face. The second day began with practical instructions for setting up our palettes in the most useful way. We were introduced to the Munsell colour chart. Originally used for soil classification, Munsell’s chart is a way of visualising three qualities of colour; value, hue and chroma. This was vital theory to have in our minds as we started mixing paint.
On the third day, we discovered the importance of ‘keying’ a painting. Overnight, the faster drying pigments had ‘sunk in’, causing them to appear lighter. We spent time re-establishing the darkest darks and lightest lights in our portraits. Throughout the week, the tutors were great at identifying our individual tendencies, telling us why they might exist and how we could counter them to create more naturalistic paintings.
On the fourth day, we dealt with edges. Noticing when a colour changes temperature but not value can be tricky, but is an effective way to make an edge appear soft in a painting. I focused in on the nose in my portrait and tried to detect any subtle shifts in temperature which could help the form appear to turn.
On the fifth day, we refined our likenesses. I realised that there is a significant amount of designing which contributes to making a successful painting. Trying to ‘copy’ nature is futile! Paintings are always a trick – an illusion suggesting space and depth on a two dimensional surface. With new knowledge about the structure of the face and the location of blood vessels, I was able to make better judgements than I could have made by simply relying on my eye.
As someone with no formal training as a painter, practising on my own is often frustrating and progress can be slow. It’s easy to see how the systematic methods taught at LARA can accelerate learning and produce great results. the overall atmosphere was supportive and underpinned by the acknowledgement that each student was at a different point in their journey. It was inspiring to see what students with two or three years experience at LARA could achieve.
I feel very lucky to have had the opportunity to sample atelier training and I hope to return to LARA in the future because there is plenty more left to learn.

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