LIFE-DRAWING by JESSICA NICHOLLS (2007)

Life-drawing classes took place in Geoffrey Humphries' studio on the Giudecca; the strip that faces the main part of Venice. Surrounded by eccentric objects of an artistic mind, it was a place where inspiration flowed freely and a great time was had by all.

Our first task was to pair off and draw a portrait of each other using techniques of measurement and shading explained to us by the man himself. Despite little resemblance, and references to 'Wanted' posters my drawing apparently showed.."bravado". Sadly my model's portrait of me was more animalistic in its likeness, although it has got to be said that the earrings were spot-on!

Then it was on to life drawing. After a few faintly audible giggles (nude model) we settled down to two separate poses. Geoffrey coolly remarked on a number of them at the end, a process that I think contributed to the diminished numbers at the second session, of people who took the criticism to heart! To the small scale artist he commented on their economical use of paper, and to those who preferred to work with, shall we say, a more 'angular' style, he compared their figures to characters from Schindler's List. He finished in exclamation: "Now I really do need a drink!"

Most lessons began with a cup of tea and many witty tales of Geoffrey's extremely colourful life, and then it was down to work. Over the course of the six weeks, for all of us improvement was noticeable; a point made by the fact that the two drawings chosen by each for the exhibition nearly all came from our final sessions. This was certainly due to a greater sense of line and form, but also a more confident and relaxed approach towards style. However, this was not only a lesson in drawing, but it also contributed to my rather patchy education and appreciation of a variety of musical genres from seedy jazz numbers and soft mellow blues harmonies to collaborations between the likes of Tom Jones and Jools Holland. It seems that everything was covered!

The lesson in oil painting, a first, and possibly last time experience, was for me a complete and utter disaster. I could note excuses such as the particular dynamism of my model or the fact that I knew not how to mix a skin tone out of mustard yellow, emerald green and terracotta but I fear that they would not be enough. Conjure up an image of a young man with a sickly countenance, no eyelids and a flat neck and you might get a vague idea of my finished painting. Not my original conception but perhaps a modern twist on the 'Sick Bacchus'?

Yes, there were times when artistic temperament shone through and the occasional outburst of frustration ensued, which usually ended in the abrupt destruction of 'The Work' (oh, the artistic temperament!) but it was altogether a great form of escapism and a chance to spend a couple of hours in relative tranquillity. It was a really fantastic opportunity, with an unrivalled atmosphere and I fully recommend it!