WIN a wonderful watercolour original of Matching

VILLAGE CENTRE
Offering some help as to my thoughts regarding how to tackle each and every painting

VILLAGE CENTRE Offering some help as to my thoughts regarding how to tackle each and every painting. Starting with this wonderful view, it was essential for me to see the house and tower, so I omitted some of the trees branches. - Credit: Archant

James Merriott continues his watercolour tour of the county with a visit to Matching, east of Harlow, which provides him with plenty of inspiration

LILY POND COTTAGE
I complete most of my watercolour landscapes with summer greens. For this study I

LILY POND COTTAGE I complete most of my watercolour landscapes with summer greens. For this study I mixed Cobalt Blue to Light Red with varied amounts of water then added minimum colour for a winter look. - Credit: Archant

Of the three Matching villages, I had previously featured Matching Green and Matching Tye some years back for an Essex Life watercolours feature.

MATCHING HALL
The window frames and white clouds in this watercolour are unpainted white paper. I t

MATCHING HALL The window frames and white clouds in this watercolour are unpainted white paper. I then add lots of colour and included the darkest at the bottoms of the trees last. - Credit: Archant

Matching itself I had also visited before for commissioned work, but I returned recently for this collection of work.

ST. MARY THE VIRGIN CHURCH
Noticing the colourful flowers enhancing the graves, I chose this view,

ST. MARY THE VIRGIN CHURCH Noticing the colourful flowers enhancing the graves, I chose this view, adding flower colour only loosely. - Credit: Archant

This whole area east of Harlow and mid-way between the River Thames and the Cambridgeshire border is abundant with picturesque villages and hamlets, but it is Matching which I consider to be the jewel in the crown.

Accessible by way of a lovely country lane from Matching Green, passing ancient roadside trees and lakes, the arrival at the village is stunningly beautiful.

THE BLACK BARN
I never use black but add French Ultramarine Blue and Alizarin Crimson for my darke

THE BLACK BARN I never use black but add French Ultramarine Blue and Alizarin Crimson for my darkest tones. - Credit: Archant

On the green stands a massive oak tree, planted in 1887 commemorating the Silver Jubilee of Queen Victoria, alongside both the church and the quaint Wedding Feast House.

Wonderful subjects in their own right, these three features placed together make for a magnificent composition and I made this my priority to focus on first for this article.

THE OLD STABLES
I added the pony looking out of from the stable which was not there.
I finish by r

THE OLD STABLES I added the pony looking out of from the stable which was not there. I finish by revealing my favourite watercolourist James Fletcher Watson RI, RBA (1914-2004) Thanks James, for all the help you have given me. - Credit: Archant

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The remaining subjects I selected for this issue were a joy to portray and had much variation. All in all, my visit was very worthwhile and exceptionally enjoyable.

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You can contact James at Cottage Corner Art, 9 Byron Road, Hutton, Brentwood CM13 2RU. Call 01277 210728 or visit www.cottagecornerart.co.uk

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