The 24th issue of The Art of Watercolor makes its international comeback under the sign of water. The Spanish Nuria Meseguer deploys vast aquatic frescoes from her studio in the Canary Islands. At the antipodes, the American Rose Nygaard develops a gestural abstraction, and the UruguayanAlvaro Castagnet travels the world.
The portfolio is that of the Russian Kiril Bozhkov. After these portraits, we meet the British Stephen Berry and David Poxon.
We visit the workshop of the Iranian Kourosh Aslani. After a focus on the Chinese watercolourist Zhou Tianya, a whole file on watercolor artists on travels.
Not forgetting the usual sections (news, revelations and reader's contest).

The News

The Biennial of Sainte-Féréole

Near Brive-la-Gaillarde, Sainte-Féréole welcomes the couple Viktoria and Slawa Prischedko as guests of honor for this 2016 biennial.
Numerous demonstrations by Gilles Brunerie, Fernand Thienpondt, Thierry de Marichalar as well as Paty Becker to name but a few.

Another highlight of the Biennale, the competition: painting the town. No less than twenty-eight artists have crisscrossed the streets of the town.
The award ceremony rewarded Anne Huet-Baron.

Landscape from Viktoria Prishedko

La biennale internationale d’aquarelle de Thessalonique

Carren Sioson Yellow Canna

The only organization dedicated to watercolor in Greece is "Watercolor International", which Georges Politis founded. Its aim is to promote watercolor and water-based techniques in general, both in Greece and abroad..

   We have really great artists exhibiting this time around. We have tried to raise the bar even higher by inviting some of the best artists from around the world. Of the three exhibitions, this one will I think be the best.
As long as we are not talking about “pure” watercolor, all water-based techniques can be accepted as watercolor, including gouache, acrylic inks, etc… If these techniques allow artists to create beautiful paintings, then it is perfectly acceptable.
I think what matters is the result, not the purity of the technique needed to achieve it.   

Page 14 George Politis

  Stanislasw Zoladz, Springtime.



Anchoring 1. 58 x 38 cm

French Isabelle Seruch-Capouillez

    Between a French mother of Italian origin and a Belgian father, the milestones were laid for me to feel imbued with all these influences. It was in Belgium, in the region of Mons, in a family open to culture, that from an early age I felt the need to express myself, among other things, through drawing. The imprint of Flamingo or Surrealist painters followed me during my artistic studies where I acquired the basics validated by diplomas in plastic arts and graduat in graphic arts.
At that time, I was attracted by Folon's watercolors but it was later, after my arrival in France, in the early 1980s, that I really discovered my passion for watercolors, which I essentially worked alone.
I work with watercolor in all its possibilities, wet, dry, whatever means allow me to translate what I feel. Usually, I do not look for a subject, it is he who imposes himself on me and not always in a conscious way.
The “Anchorage” theme was born following an invitation to India; after my return, I made these watercolors which express my personal vision of this trip where the human is very present. I like to paint outdoors on the motif but without this possibility, I draw inspiration from sketches and shots to recompose what I have in mind. Sometimes it's the colors that guide me but I'm not really a colorist, I rather work on values and I try to be less illustrative, always in search...    

Page 16 Isabelle Seruch-Capouillez

The Glowing Bunch

Idian Megha Kapoor

    Inspired by impressionism, I see things as an impression of colors. I like to be expressive with my bold brushstrokes and colorful palette. I love watercolor now that I have less time to paint, and its spontaneity has given me the freedom to do it every day. My art is also the witness of my deep connection with nature, with light, with God. I study nature in my studio and also do outdoor studies. I like to paint flowers because they push me to be happy in all circumstances, and they smile forever through my works.
Painting does not mean that you fill the drawing with colors. To be an artist is to let things happen. You just have to plan in your head and at the same time your brush has to go with the flow: that comes with constant practice.
I feel an immense bliss while I devote myself to the act of painting, which for me is like a meditation. I truly believe in the saying that “practicing art is not for making a living, but for growing your soul”.    

Page 17 Megha Kapoor

Gabriel Garcia Marquez. 2014. . 60 x 90 cm

Columbian Carlos Ortega Delgado

It was at the age of 8 that he realized his ability to copy everything he saw in detail, especially by means of sculpture. Reproducing geographical maps was also very easy for him. Then he made the portrait of his teachers and classmates.
At the age of 18, during his military service, he maintained his relationship with art by drawing human figures in his notebook, a theme that is still dear to him today.
Released from military obligations, four years later, he began to travel to Ecuador, a neighboring country. To earn a living, he became a street designer, especially along the Malecon in Guayaquil. Nature became his main source of inspiration.
He also worked with a model who allowed him to deepen his knowledge of the human body... and to start selling paintings. Developing his instinct as a painter and perfecting his art, Carlos began to frequent art galleries and there met the renowned artist Oswaldo Guayasamin, who was his teacher at the Guayaquil Academy of Arts. It was there that he studied the painters Luis Caballero, Joaquin Soroya, Steve Hanks, Diego Velázquez, Albrecht Dürer, among others.
He discovered watercolour, which he began to study conscientiously. After a few years, he was able to teach portraits, frescoes, etc. He is now a graphic designer.

Page 18 Carlos Ortega Delgado

Play. 2015. 28 x 38 cm

Le Serbe Endre Penovac

    My way of painting with watercolors is similar to what our world is like. The predictable and the unpredictable, what is planifiable and what is not are an integral part of it. What we have prepared over a long period of time never satisfies us as much as miracles, the unexpected. That's why I use watercolor in a way that allows color and water to "work wonders" on paper. The human being is also like that, a mixture of sensitivity and reason. In unequal parts, of course, but which are part of a whole for everyone.
In light of this, the subject of a painting is secondary to me. However, in art, finding something new and magical to say is only possible if you know your subject well. So it's natural; For my part, I find inspiration in my environment.
For example, one of my main characters is our black cat, Boszi (which means "witch" in French). I have been painting in watercolor for decades. I was captivated by its dynamism, and the challenge it represents for the painter. In some respects, there is a confl ict between the painter, the water, the paper and the pigments. If they harmonize, if they understand each other, then it can give birth to a great painting: the painter is able to express his thoughts, the pigments overwhelm the water and together they adopt the benevolent paper .    

Page 16 Endre Penovac

Tea Break. 2016. 56 x 38 cm.

Angus McEwan's Favorite Painting

    Tea Break is a moment preserved for eternity, a frozen moment when a person puts their cup and newspaper on their desk and leaves the room never to return. Why didn't she come back? Why didn't she retrieve her coat, clean her cup, or throw the newspaper in the trash?
We have a feeling that the owner of the coat will be back soon, until we realize that there are cobwebs on it. I came across this scene by chance, in an old lumber mill in Scotland; the tools and objects looked straight out of the 1940s. This is something a little different from my usual subjects, but it was an idea that had been in my head for a while.
There is a calm and magnificent atmosphere in this sawmill; I wanted to capture the lightness of the light as it filtered through the old windows. The challenge for me was to make not the textures but the contours, soft and blended.
I painted and repainted a lot of places until I was satisfied with the result. The bottom left part in particular gave me a hard time: it had to be dark enough while still having enough visual clues to make out the different elements.
Additional difficulty, I used honey as a binder, which made some parts of the canvas shiny - which I didn't want. So I had to completely repaint the legs of the chair with another, much more matte paint.    

Page 92   Angus McEwan


My last painting


These artists have already been published in the Art of Watercolor, we find their last painting.


Midnight blues
Ona Kingdon
43 X 69 cm

This painting has a very limited palette, but uses a wide range of values to increase the contrast between light and shadow.


The tannin factory 1,
Théo Sauer
52 X 76 cm

The leaves shimmering in the light give this work a 3D feel.


At the End of the Day,
  Atanas Matsoureff
76 X 56 cm

The jacket represents the memory of a person's life while being the symbol of our daily lives


George Politis
38 X 56 cm.

The emphasis here is on strong diagonals and intriguing contrasts.



Patricia Castelao
56 X 76 cm

Respect the gestures of the model as well as the other details without losing the fluidity of the watercolor


Street to Dubar Square
Ong Kim Seng
53x73 cm

Very quickly, the crowd began to gather around me: I couldn't even see my subject!


Antwerp, fashionable villa,
Xavier Swolfs
76x56 cm cm

I marvel at the whiteness of the water and the colors like all the children of a happy couple.


Lars Lerin
Light in the East

I attach great importance to the representation of light sources, street lamps or illuminated windows.