Brita Granström

'Brita beautifully captures in her paintings those intimate and tender moments in everyday life, so often missed or ignored.'
Graham Simper. Thompson's Galleries, Aldeburgh.

'If there were an Alternative Turner Prize, devoted this time to what Turner actually did, which was to work
outdoors in all weathers, Brita Granström would have to be a serious contender for it... Granström's painting is an art of affirmation and an art of healing. Shakespeare would have called it an art of 'largesse'.'

Extract from William Varley; A Language Beyond Words for Brita Granström, New Paintings. University Gallery and Baring Wing, Newcastle, 2007.

'Whether her subject is of people, landscape or a bowl of flowers in front of a window, the underlying purpose is
the same: the energy of nature finds its equivalence in sweeps and scribbles of paint, shapes and colours which together encompass a myriad of feelings.'

Mara-Helen Wood. Director, University Gallery and Baring Wing, Newcastle & Kings Place Gallery, London.

'I was enchanted by the exhilarating sweep of Granström's landscapes and seascapes, the adventurous freshness of the actual painting, and the unsentimental portrayal of very young children in wild natural surroundings!'
Philip Vann. Author and art critic discussing Granstrom's exhibition Life in Landscape. Kings Place Gallery, London 2011.

'Brita's heroes include Winifred Nicholson and Edward Ardizzone, and like them she carries with her that priceless gift; the stubborn, hard-won skill of drawing and painting from life.'
Mick Manning. Author/Illustrator. Course Leader in Illustration 1990-97, Glasgow School of Art.

'Drawing from life is a craft with extreme challenges. From being on stage to battling the elements, Brita has honed this skill over many years with unceasing energy and determination. Her paintings engage the viewer and through her work we feel what it is like to be alive.'
Professor Xavier Pick. Official War Artist.

'Brita's paintings are like memories that don't fade. I love being granted these glimpses into her world. It's so alive, and warm – and frosty! In that wonderful, frosty, sunny winter's day way that I remember. Like looking back into childhood.'
Steven Applebly. Illustrator and Cartoonist.

'More importantly than being a visual record of appearances, these pictures are also a record of relationships.
Each image represents a conversation with its sitter...'

Do Shaw. Extract from Berwick upon Tweed Civic Society's foreword in the exhibition catalogue for Butcher, Baker, Cockle Sweet-Maker, 2012.

' rehabilitating the tradition of documenting scenes of everyday Swedish life as exemplified by the (somewhat kitsch) paintings of the 19th century artist Anders Zorn, Granström records them as they go about their domestic tasks, putting their tights on, dressing and undressing or making coffee... or splashing water over each other as they bathe in a lake, sometimes nude in that surviving Swedish custom.
   This candour, this capturing of life as it happens has far more in common with Degas' unsentimental vignettes of women bathing, or for that matter ironing clothes. There is also an affinity with Bonnard's domestic studies of his companion Marthe; one of the differences, however, being that Marthe defied time, never ageing in over five decades. A more significant difference though is that Granström’s colour and light are much more subdued, closer to Sickert's tonalities than the Mediterranean radiance of Bonnard's flickering surfaces.
   Granström's handling of paint is different, too. Broad areas of tone are knocked in with confident directness. This is 'carpe diem' painting; the moment must be seized before it vanishes, everything is in flux. Nor do these images have a hidden agenda, feminist or otherwise. There is no meditation on the body's 'abject' vulnerability. By contrast, their principal quality is truth, a criterion that cultural relativists seem to have wholly forgotten. It's a characteristic shared with the distinguished American photographer William Eggleston. Urged by a group of French journalists to reveal the theories and influences that underpin his work, he replied, 'I look at life and record it'.'

Extract from William Varley's essay in the exhibition catalogue for Undressed - Paintings from Life. University Gallery and Baring Wing, Newcastle, 2008.

'Brita's paintings are full of light and oxygen. They are wonderfully evocative of direct experience of sea and sky
and land.'

Peter Bailey. Artist/Illustrator

'Brita's paintings always jump start my day, just wonderful.'
Arthur Robins. Artist/Illustrator

All quotes are the copyright of their individual authors and used with kind permission.