Diana Neale b. 1949

Works for sale
  • Diana Neale, CHAOS EVERYWHERE
    CHAOS EVERYWHERE£ 950.00
  • Diana Neale, City Above The Lake
    City Above The Lake£ 1,895.00
  • Diana Neale, CITY AT NIGHT 1
    CITY AT NIGHT 1£ 750.00
  • Diana Neale, CITY AT NIGHT 2
    CITY AT NIGHT 2£ 750.00
  • Diana Neale, DARK SUNSET
    DARK SUNSET£ 495.00
  • Diana Neale, FAST FLOWING RIVER
    FAST FLOWING RIVER£ 695.00
  • Diana Neale, FROM THE MOUNTAIN TO THE SEA
    FROM THE MOUNTAIN TO THE SEA£ 850.00
  • Diana Neale, GO WITH THE FLOW II
    GO WITH THE FLOW II£ 595.00
  • Diana Neale, HEAD OF THE RIVER
    HEAD OF THE RIVER£ 695.00
  • Diana Neale, IT WAS A GLORIOUS DAY
    IT WAS A GLORIOUS DAY£ 780.00
  • Diana Neale, MEDITATION
    MEDITATION£ 950.00
  • Diana Neale, ONLY TIME WILL TELL
    ONLY TIME WILL TELL£ 795.00
  • Diana Neale, OVER 4000 YEARS I'VE BEEN HERE
    OVER 4000 YEARS I'VE BEEN HERE£ 595.00
  • Diana Neale, PORTAL
    PORTAL£ 850.00
  • Diana Neale, SEA MIST
    SEA MIST£ 595.00
  • Diana Neale, The Black Barn
    The Black Barn£ 1,895.00
  • Diana Neale, THE VILLAGE IN THE VALLEY
    THE VILLAGE IN THE VALLEY£ 1,050.00
  • Diana Neale, View Across The Bay
    View Across The Bay£ 1,895.00
  • Diana Neale, WEATHER
    WEATHER£ 795.00
  • Diana Neale, WHIRLWIND
    WHIRLWIND£ 795.00
Biography

Diana’s paintings are formed from layers. Layers in the landscape (of time and place), layers of materials  (oil, cold wax, dry pigments, tissue paper collage) and layers of thought. They are deep paintings which recede into the distance into memory and the imaginal. They are not an imitation of nature but an expression of the landscape which in the Romantic tradition becomes an expression of the psyche, connecting both artist and viewer to the landscape.   

 

The paintings often have the sense of looking through a window which encourages the sense of distance – of memory, of looking inward.  They are both physical landscapes and inner, dream landscapes made of part real, part memory, part imagination and part dream. They move between the abstract and expressionism with a touch of the surreal in part. 

 

The smaller paintings are jewel-like with earthy tones and subtle colouring, with striations and contours which attract the light. There is an innate structure and balance within the paintings, so that many when turned upside down retain the sense of proportion and form. It is easy to forget the paintings as landscapes and to see them as pure forms and universal shapes.   

 

The simplified, recognisable natural forms become meditations in landscape form; their subject is the atmosphere, the fading light, the stillness of the day, the reflection of sunset or changing, brooding cloud. Often dictated by colour, the mood reverberates with the subconscious, reflecting and resonating with yearning or historical melancholy perhaps, or peace.   

 

The paintings offer the romance of the remote, the sometimes sparse and the ancient. Diana has always been drawn to archaeology and the sense of time in a landscape. Sometimes she paints within her landscape standing stones which also become gravestones and dream portals to another world; sometimes a ring of stones, which is also a ruined medieval castle, with a small white cottage on the next hill. They are paintings of what Alfred Watkins called the ‘flood of ancestral memory’ in which time collapses and becomes all time as the landscape alters and changes but retains echoes of countless ages – the contours of time.   

Diana’s paintings are formed from layers. Layers in the landscape  (of time and place), layers of materials  (oil, cold wax, dry pigments, tissue paper collage) and layers of thought. They are deep paintings which recede into the distance into memory and the imaginal. They are not an imitation of nature but an expression of the landscape which in the Romantic tradition becomes an expression of the psyche, connecting both artist and viewer to the landscape.   

 

The paintings often have the sense of looking through a window which encourages the sense of distance – of memory, of looking inward. They are both physical landscapes and inner, dream landscapes made of part real, part memory, part imagination and part dream. They move between the abstract and expressionism with a touch of the surreal in part. 

 

The smaller paintings are jewel-like with earthy tones and subtle colouring, with striations and contours which attract the light. There is an innate structure and balance within the paintings, so that many when turned upside down retain the sense of proportion and form. It is easy to forget the paintings as landscapes and to see them as pure forms and universal shapes.   

 

The simplified, recognisable natural forms become meditations in landscape form; their subject is the atmosphere, the fading light, the stillness of the day, the reflection of sunset or changing, brooding cloud. Often dictated by colour, the mood reverberates with the subconscious, reflecting and resonating with yearning or historical melancholy perhaps, or peace.   

 

The paintings offer the romance of the remote, the sometimes sparse and the ancient. Diana has always been drawn to archaeology and the sense of time in a landscape. Sometimes she paints within her landscape standing stones which also become gravestones and dream portals to another world; sometimes a ring of stones, which is also a ruined medieval castle, with a small white cottage on the next hill. They are paintings of what Alfred Watkins called the ‘flood of ancestral memory’ in which time collapses and becomes all time as the landscape alters and changes but retains echoes of countless ages – the contours of time.