David Bellamy: 30 years at Patchings Festival

David Bellamy is a bit of a legend in his own time. Having taught a generation to paint through his numerous books, he has inspired so many to take a trip to the outdoors equipped with a sketchbook to enjoy the natural landscape, with his infectious sense of adventure.

A prolific author, having published a whopping 22 books starting with ‘The Wild Places of Britain’ in 1986. Many shelves hold ‘David Bellamy’s Watercolour Landscape Course’ that was originally published by Webb & Bower, and later by Harper Collins. But it was ‘The Grog Invasion’ which was his most fun book to write, where his humour and sense of fun comes through, which resulted in much giggling and mayhem.

David has been demonstrating with St Cuthberts Mill since the Patchings Festival started. Now in its 30th year we took the opportunity to ask David Bellamy to look back on his experiences at Patchings, as he also reaches a milestone 80th year, with no evidence of slowing his escapades.

All of David’s demonstrations are unique. As a natural storyteller, whose tails are hilarious combined with his talent to paint. His audiences are taken on the adventure to where the original sketch was first produced, whether it was in the Artic, Middle East, Greenland or his native mid-Wales. There is a strong possibility this year’s demonstration may feature the Italian Dolomites mountain range, after his recent trip.

PATCHINGS 30th ART FESTIVAL

by David Bellamy

Demonstrating watercolour painting at Patchings gives me a real buzz: the ambience, the packed audiences, the frisson of excited anticipation that is so special about Patchings, and the lively sessions with like-minded folk who love painting. Nowhere else is quite like the place, and having missed only two festivals in their 30 years I've been privileged to see Patchings blossom from the early beginnings through to the modern events featuring the latest state-of-the-art art materials. The show is always planned meticulously and with great sensitivity by Chas and Liz Wood and their magnificent helpers, and it's a great pleasure to work with them.

I began demonstrating for St Cuthberts Mill way back in the mists of time, usually in stifling, hot summer days in London, so it was a tremendous contrast when we began amidst the lovely Nottinghamshire countryside at Patchings with fresh air and a host of attentive Patchings volunteers who would shower us with cakes and all manner of goodies. In the early days, the St Cuthberts Mill marquee was set up beyond the trees and away from the main area. Demonstrations began too early in the morning, as many coaches arrived too late for the start of the first one, so that was soon changed to a later start.

Each year the number of coaches grew as Patchings became so well-known and you were guaranteed a great day out seeing so many artist demonstrators and all the latest in art materials. These days it is much more hi-tech with cameras above the demonstrator able to record my mistakes in clear definition: the days when one could hide a problem by gesticulating with your brush in the air while your other hand swiped away the error with a craftily placed sponge are long gone!

One of my more memorable moments at Patchings happened during a thunderstorm. The brand-new marquee incorporated a specially darkened construction, and when the lights went out in the storm all 300-or-so of us were left in complete darkness as rain hammered down on the roof. I kept talking, telling the audience to stay seated as the problem would soon be fixed – even though I hadn't a clue how long it would take – and then regaled them with a series of anecdotes, determined if it went on for too long to perhaps offer to sing as well, though my singing is pretty dreadful. 

Happily, we didn't have to wait too long for the lights to return, but looking at my painting I was horrified to see that the roof directly above my demonstration was leaking from a huge pool of rainwater causing the roof to bulge inwards, to drip great blobs onto my now not-so-lovely sky! Thankfully it only took a little sponging off and relaying a wash to restore the sky. It's at times like this that I value the Saunders Waterford paper for its robustness, a feature that allows me to sponge a passage repeatedly, whether as a planned technique or to correct or reduce part of the composition. It has never let me down, and the High-White version really brings out the best in the colours. I adore the surface texture.

Every day at Patchings is a memorable one, and Chas, Liz and all their many helpers are always generous and welcoming, making it a great pleasure. Meeting fellow artists, students and many manufacturers of art materials adds to the enjoyment, and the lovely thing is that if you need a break you can wander off around the small lake, admire the 'Monet' bridge and enjoy a quiet interlude amidst nature. Whether you just dabble in painting or are never without a paintbrush in your hand, Patchings is a truly uplifting and inspirational place.

David Bellamy will be demonstrating in the ST CUTHBERTS MILL FESTIVAL MARQUEE at the 2023 Patchings Festival.

Advanced tickets to the Patchings Festival are now available here:
www.patchingsartcentre.co.uk/patchings-festival

Patchings Festival entrance tickets are £13/£12. The St Cuthberts Mill performances have an additional £5 fee. Buy tickets for St Cuthberts Mill Demonstrations

David Bellamy’s webpage www.davidbellamy.co.uk

David Bellamy’s blog: http://davidbellamyart.blogspot.com/

2023 ST CUTHBERTS MILL FESTIVAL MARQUEE line-up