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Oriel
Glan y Mor
Gallery and Picture Framing
Beth Robinson's
Pembrokeshire Paintings
I see no sheep

 
sandcastlesBeth Robinson
Sandcastles currently on display at the Jane Adams Gallery, St Just
From Foel Eryr  Beth Robinson
From Foel Eryr
October afternoon Beth Robinson
October afternoon
winter storm Beth Robinson
Winter storm
across Aberfelin bay, Trefin
across Aberfelin Bay, Trefin
currently on display at The Mill Trefin
dusk light over Trefin
dusk light over Trefin, 
currently on display at Makers Mark
cottage on the mountain
Cottage on the mountain
spring blossom 2012
Spring blossom 2012
Melin Trefin 2012
Melin Trefin 2012 SOLD
Aberfelin Bay, Trefin
Aberfelin Bay, with Trefin in the distance
currently on display at The Mill Trefin
Tafarn y Bwlch autumn 2011
Tafarn y Bwlch, autumn 2011
Cottage on Garn Fawr 2   Beth Robinson
Cottage on Garn Fawr 2
Winter scorch Beth Robinson
Winter scorch
Carn Meini  Beth Robinson
Carn Meini
from Garn Fawr 2012
from Garn Fawr 2012
Caerfai afternoon Beth Robinson
Caerfai afternoon
cold day on Foel Eryr
Cold day on Foel Eryr
early morning glow
early morning glow
currently on display at the Makers Mark
Walking the dog, Trefin 3 Beth Robinson
Walking the dog, Trefin 3
The road to Mynachlogddu Beth Robinson
The road to Mynachlogddu
Receding tide  Beth Robinson
Receding tide
Pwll Deri
Pwll Deri
Carreg Samson  Beth Robinson
Carreg Samson
Late afternoon    Beth Robinson
winter sun, Preseli 
Treledydd at dusk Beth Robinson
Treleddyd at dusk
Trehilyn at dusk
Trehilyn at dusk
Winter afternoon sun Beth Robinson
Winter afternoon sun 
Cold afternoon, N pembrokeshire coast
Cold afternoon, North 
Pembrokeshire coast
reverie  Beth Robinson
reverie
Nolton July Evening
Nolton, July evening
Brynberian Garden
Brynberian Garden
Shrubbery1
Shrubbery 1
Beth Robinson  Strumble head
Strumble Head
ON the coast path, Trefin, with Penberi in the distance
On the coast path, Trefin, with Penberi in the distance 
across the water  Beth Robinson
across the water
Abereiddi evening   Beth Robinson
Abereiddi evening

 
Althoug her parents were from Pembrokeshire, Beth Robinson was brought up in Chepstow, Monmouthshire. She graduated in Music from the Royal Welsh College of Music and Drama and the Royal Academy of Music before embarking upon a career in opera. Under the name Beth Michael she has worked with companies including Scottish Opera, Welsh National Opera, English National Opera, Wexford Festival Opera, Bayreuth Festival Opera and English Touring Opera, singing roles ranging from Madam Butterfly, Tosca,  Manon Lescaut, the Merry Widow to Cenerentola and Carmen. For many years she was a member of the Royal Opera, Covent Garden, where she met her husband Alan, a stage technicianBeth Michael  at Covent Garden .
 

in performance at Covent Garden


At the age of eleven, Beth had to make the choice whether to study music or art, and although she had experimented with silk painting, it was not until she and Alan moved to Trefin in North Pembrokeshire, when she retired from singing due to health problems that she was finally able to explore her talent for painting. 
From the first, she has found a ready audience for her work, with its emphasis on the light changes and moods of the North Pembrokeshire land and seascapes. Her work is sometimes figurative, sometimes abstract, but always demonstrate her emotional response to the scene before her. Beth's paintings now hang in many parts of the world, and  are also owned by some well known artists.

Beth's work has been exhibited both locally and nationally, and a couple of years ago was she was one of only 100 artists across Britain invited to take part in the prestigious Discerning Eye/ING Platform 100 exhibition in London and touring throughout England.

Beth and Alan (who, very conveniently, is now a picture framer!) now live in the foothills of the Preselis with a menagerie of border collies and cats.


 
Beth says:
I was asked by a student who was studying my work as part of her course what my techniques and influences were and this is what I wrote: 
Technique:
As I’m self taught, I’m not sure what I SHOULD be doing, but basically, I just shove loads of paint on until it looks right. 
I tend to destroy brushes, as I’m very heavy handed with them, so like to use a palette knife and fingers. 
A damp cloth is also useful for blending or for removing paint. 
If I want to paint a scene, I spend a lot of time just observing light effects and what the colours the different times of day bring out. 
I’ll take a photograph for the landmarks, and sometimes do a sketch in situ, then work in my studio. The photograph is printed out with low resolution or greyscale, and I  put it aside once I have the picture blocked out on the canvas/paper. Then I start to move the paint around. This sometimes removes the landmarks I’ve blocked out; but if it looks ok, I’ll just go with it.
If you look at any view in sunshine, try nearly closing your eyes – you’ll sometimes see the refracted light through your eyelashes – it’s a reminder that our brains will filter the green of grass, for example,  to be fairly uniform. But actually, if you really look, you can see blues, reds, yellows, purples, browns as well as loads of greens.
I love the impressionists – Manet, Monet , Degas, etc.  etc. – basically all of the ones that create effects with light and colour, and I have to make a conscious decision not to look at too much Turner, in case I produce clones…. Another master of light is Andrew Wyeth. Where he lived, the light is very cold so colours are muted and subdued, but he has a great variation in his limited palette, with great use of light and shadows.
Beth Robinson's blog
morning  shore   Beth Robinson
morning shore
limited edition prints available
Buddy at work Beth Robinson
Buddy at work
silent evening light  Beth Robinson
Silent evening light
Bringing home the catch Beth Robinson
Bringing home the catch
Abercastle
Abercastle
recon Beacons
Brecon Beacons
Strumble Head
Strumble Head 2012
Carn Llidi from Whitesands
Carn Llidi from Whitesands SOLD
evening, June
evening, June