
Welcome Hearth - Glenmorangie House Hotel
Highland Gems Collection
Paul Taggart Miniature Masterworks
Oils on Gesso'd Wood Panel
Private Collector Ownership
Frame Size (outer) 28cm[w] x 28cm[h]
FRAME - Hand-made by Frinton Frames. 75mm wide profile. Gesso covered dome-shaped reverse moulding, hand-coloured in black and red distressed with an antique wash. Inner edge finished in cream/green.
“Welcome to our Highland studio and thank you for dropping by to view my miniature Masterworks oil painting, ‘Welcome Hearth’ – one of a suite of four paintings in which Glenmorangie Whisky is the subject. Much-beloved around the world, Glenmorangie whisky is steeped in the history of the Highlands of Scotland, where it continues to be distilled on the banks of Dornoch Firth, north of Inverness.
SUBJECT - there is a history to Glenmorangie House Hotel at Cadboll, yet it is not forbidding, nor foreboding. Any artist would find plenty of subjects within the grounds and the house – the walled garden, the walled kitchen garden, the orchard, the doocot featuring a booted figure (once a factor on the estate) and a ruined castle, to name but a few. I had always felt that the tree lined drive leading down to the cliff walk would make an interesting view, with the Moray Firth and distant mountains in the background – the subject of my Masterworks oil painting in this suite, ‘Highland Welcome’.
However, as part of this evocative series, I also wanted to capture, in the simplest way, the cosiness of the Buffalo room, which awaited all guests, (when this painting was completed and the hotel was then known as Glenmorangie Highland Home). Where a wee dram of something warming was usually to hand, as they settled down to relax, replete after their evening meal of freshly prepared ingredients.
Memories are made of times, such as this, as they are from the paintings that ensue – Eileen and I had enjoyed the hospitality and craich on one such evening.
METHOD – these miniature Masterworks oil paintings are created using my unique method, a method based on traditional techniques, which are progressively worked through in layers from dark-to-light; a process that cannot be hurried, nor short-cuts taken. First, the underlying thinned colours of the underpainting, next the impasto stage, with glazes and tints used extensively to enrich and subtly enliven the oil painting – it is through these techniques where the ‘art’ of oil painting comes into its own.
As always, we thank you for reading and watching, with best wishes from Eileen and myself,”
Paul Taggart
Artist : Author : Presenter : Producer
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