Château de Saurs, Gaillac region, France this classic painting widely considered a master work tells us it’s story on this page.
An impressive 76 x 121 cm (30″ x 48″), oils on canvas, available, £ 8,000.
Of the finished work “more than a match for anything in the Musée d’Orsay” said Alain Soreano, author, historian in his welcoming speech declaring open my invited exhibition at the Centre Culturale, by invitation of the ville de Gaillac.
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Many distinguished people and renowned companies have chosen Frickers paintings as you can discover by reading my illustrated résumée.
Frickers paintings have been exhibited at many venues in Britain and Europe including by invitation a one man show in the European Parliament.
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Château de Saurs, the making of a master work
I visited the location a number of times while producing Château de Saurs.
A painting should never be never a mechanical interpretation, it is an opportunity to go beyond those limiting mechanical qualities into other more profound values.
“A work of art which did not begin in emotion is not art”, Paul Cézanne, born on the 19 Jan 1839.
My challenge was how to represent with feeling, the fine formal qualities this classic Palladium style building in it’s refined setting and to suggest it’s sophisticated wines.
As with all my work it is best is to see the original to fully appreciate the commitment however this page gives you an idea of the ‘taste’ of the painting, its presence and emotions so if you like what you see here you’ll love the original.
I consider myself very very lucky to have had during 2015/16 ready access to most of the subjects in my ‘Gaillac Collection’ in the beautiful Tarn.
This was largely thanks largely to my ‘French sister’ Hélène Ancelet for arranging a house for me to rent in the picturesque 13 th century baside of Castelnau de Montmiral.
Châteaux, de Saurs and this series of Gaillac paintings
I am able to seize a rare opportunity in 2016 to return and complete these paintings on location thus making each and every one in this Gaillac series including this Châteaux, de Saurs, the largest of the series, a very special result and exceptional moments in my painting career and life.
In my experience there is no substitute for investing time, as I use to say to the nippers when coaching sailing, “sometimes slower is faster“.
In a classic manner this painting began with two visits to make a carefully considered reconnaissance of the location and for a meeting with the owner to gain an impression of how he felt about this fabulous site which is one of his businesses and importantly, his family home.
On Location
With the kind permission of M. Yves Burrus I visited the gardens of this classic château several times during 2016 and 2017.
Besides exploring extensive gardens as can you too, I sketched on location including in colour.
M. Burras opens to visitors during ‘working’ hours which during summer includes week ends.
However, in common with many other Châteaux in France, de Saurs remains a family home therefore family privacy and it’s ambience I felt had to be respected.
In consultation M. Burrus we both felt the gardens deserved, needed to be included in the de Saurs painting.
We also agreed it would be interesting to include a family gathering on the terrace and with the beloved dogs of Monsieur Burrus.
Later, a delightful touch, the squirrels, Hoopoe and pigeons in the garden were introduced at the suggestion of his grand daughter who was following the progress via my blog.
Châteaux, de Saurs is renowned for fine wines, many of them award winning, however we, Yves Burrus and I, felt and hope you agree that château de Saurs while is a magnificent building that equals any in Bordeaux or elsewhere in wine growing France, it is the gardens that make the subtle balance between formal and informal.
We felt the gardens are de Saurs most distinguishing visual characteristic so I looked for a composition to best reveal the relationship between the chateau and it’s environment.
I took photographs and gave the matter a few coats of ‘thinking’.
The next stage was to re visit to make sketches.
Sketching and drawing makes one ‘really’ look, so first in graphite to confirm or deny my choice of perspective.
A fair question
how best to represent this classic Palladium style building in it’s environment and at the same time complement the other paintings scheduled for an exhibition in the following December?
The initiative came because I was being honoured with an invitation to show at the centre cultural, of the ville de Gaillac …
Château de Saurs is the most classical building in the Gaillac region.
I consider that aspect important for the ‘feel’, ambience, of my eventual painting.
The best exhibitions come and go, therefore the painting must also have ‘stand alone’ quality, a high ‘WoW’ factor.
How to represent the varieties of colour, shape and texture among the many plants in a well laid garden there are so many greens, some subtle, others contrasting ?
Thus I decided to follow up the graphite and pencil sketches with colour, a ‘plien aire’ oil study, to begin to get a feel for the colours.
No lesser a master than John Constable said “every painting should be an experiment”.
I like that.
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I determined this would be a fair sized painting on canvas measuring 76 x 121 cm (30″ x 48″) taking full advantage of the rare opportunity of regular access to the location.
In the beginning …
Notice the very ‘original’ look, with lots of squiggly lines?
Gone squiggily? Don’t panic, its not your eyesight!
Can you guess why?
Château de Saurs, confusion no, change of plan yes.
Where there is a mess, there is potential.
Hélène Ancelet and I liked the initial version, it seemed a pity not to keep its unique qualities; but.
That terrible word ‘but‘, I sometimes think it is the hardest word in the English vocabulary…
The above shows something of the confusion, much change and searching at the risk loosing the qualities of the initial layout.
Which risks to take, which of my ‘visions’ works best, hard decisions…
My philosophy to think on how to find special elements in a subject, to consider the consequences of unconventional risks and as appropriate be willing to risk all, risk disaster.
I always aim for the very best result I am capable of at that time, even if it means sacrificing a promising start and much valuable time, paint and effort, a ‘good enough plus’ result or nothing.
Now can you guess what is happening with this painting?
Château de Saurs beginning to happen, to realise it’s potential.
Now I have to wait while the under painting dries before I start ‘building’ and here methinks I’ll have a lot of ‘gardening’ to do too.
Good paintings take time, better paintings take longer?
Is this true or false?
As is my custom when a painting is made on speculation, not a commission is to fit other paying work in around the project.
This feeds on time.
Overall it’s not the hours that count, it’s the knowledge one has acquired and spirit of the painter that is the real value.
Picasso when asked by a visitor to give him something valuable simply wrote his signature.
The downside is the painting is not completed as quickly as one might like.
The upside is the extra time I have to think about what I am doing
Time that helps with my producing something very exceptional and without rupturing my bank account.
Here you can see that much colour is still to be tinted, many forms to be refined, the sense of ‘light’ to be developed and as usual the fine details, people on the terrace, animals and birds in the garden, the general appearance of the building, all await their turn for attention.
The paintings changes are subtle, among others, slight alterations to colours, lighter, brighter, some new colours added, added for depth, form and light to the trees, shrubs and lawn, given further touches of attention to the tone and colour of the building and generally sharpened up details including I ‘spruced up’ the family and M. Burrus dogs on the terrace.
With my way of painting, it’s always details last; then after last, another 3 % of effort.
As the colours settle I wait impatinetly to ease into more life this painting and I hope, to give it a higher ‘WoW !’ factor.
You have any questions? Don’t hesitate to ask.
To acquire this or commission a similar painting, a pleasure to own, a sound investment, you can purchase in easy stages.
with your credit card here via Paypal, in any currency, including £ for easy bank to bank see the Payments page; or in instalments by arrangement, contact Gordon Frickers.
How much in my currency?
Try this free XE Currency converter.
T : Mobile 00 33 (0) 6 10 66 19 26 or Whatsapp ‘gordonfrickers’
Email: info at frickers.co.uk
Your best value for a sound investment is to buy or commission from a dedicated artist direct from his studio; a reputable, well established artist who has already produced famous paintings, Gordon Frickers.
About The Château de Saurs
The present château was built between 1848 and 1852.
As a visitor you are free to explore and enjoy the beautiful gardens as I did.
To begin your discovery, follow my footsteps into this extraordinary painting.
Château de Saurs has produced many award winning wines, you can freely sample and if you wish, buy these fine wines produced from the surrounding vines.
Wine making has been a family tradition for the Gineste de Saurs family, seated at château de Saurs since the 14th century.
This the most classic château in the region, built as you see here in the Palladium style, encompassed by fine gardens and includes a beautiful modern art gallery.
Château de Saurs is the most classic château and in the heart of the Gaillac region, a dozen kilometres North west of the ancient town of Gaillac, don’t miss visiting de Saurs when nearby.
We, my colleagues in the Mairie de Gaillac and I, thought no Gaillac collection could be complete without the stately Château de Saurs, a Gaillac icon thoroughly worthy of inclusion here as one of the most interesting château and domaine in the Gaillac region, arguably the most famous, certainly the most elegant.
Contact Frickers paintings and prints
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