蒂娜·斯普拉特 (Tina Spratt)，优雅端庄，女人味十足！
“这是我所追求的时刻，转瞬即逝的时刻，但不是凝固的时刻。”
— 安德鲁·怀斯
喜欢人体艺术油画，就来公众号《全球艺术大观》
蒂娜·斯普拉特 (Tina Spratt) 最出名的是她的女性形象画，无论是油彩还是粉彩，她的主题经常陷入内省，或者被无数织物的迷人纹理所包围。
她强调美丽的面料或家庭场景，受到安德鲁·怀斯、伦勃朗和维米尔等艺术家的影响。Spratt 目前居住在英格兰的萨默塞特，并在伍尔弗汉普顿大学学习了插图（荣誉）学士学位。
她曾三度入围著名的国际 ARC 沙龙比赛，并在 2018 年获得“荣誉奖”，今年她将第二次参加 Live Arc Salon 巡回展览。她还是 Pastel Journal Pastel 100 比赛的总冠军，并为被 PoetsArtists 的展览和出版物收录而感到自豪。
她由英国和美国的画廊代理。
我一直着迷于捕捉我的主题的真实性，无论是房间环境中的人物还是被有趣的织物包围。
我不想只是表现它，而是想以某种方式隐藏在它的表皮之下，这样我就能感受到我画的人的纹理和心情。我认为要真正能够表现出我觉得如此迷人的简单日常亲密关系，我需要让自己沉浸在尽可能真实的感觉中，然后我才能真正在绘画中放松自己。
我的影响从伦勃朗和维米尔到安德鲁·怀斯，我很欣赏他们在作品中使用光的方式、他们讲述的故事以及 Helga 系列的亲密关系。我倾向于分层建立我的绘画，除非我试图失去边缘，否则我不会严重依赖混合，而是建立对它们有一点深度的精致油漆层。我也喜欢在我的工作中玩弄光，它能够讲述自己的故事。
我一直被我作品中的女性形象所吸引，我希望重现一种简单的日常亲密关系的美感和完整性。”
— 蒂娜·斯普拉特 (TINA SPRATT)，艺术家
Tina Spratt is best known for her paintings of the female figure, either in oils or pastel, her subjects are often lost in introspection, or surrounded by the fascinating textures of a myriad of fabrics.
With an emphasis on beautiful fabrics or domestic scenes, she is influenced by artists such as Andrew Wyeth, Rembrandt and Vermeer. Spratt currently lives in Somerset, England, and studied BA(Hons ) Illustration at the University of Wolverhampton.
She has three times been a finalist in the prestigious International ARC Salon Competition, and also been awarded 'Honourable Mention’ in 2018, she will be taking part in the Live Arc Salon touring exhibition for a second time this year. She has also been the overall winner of the Pastel Journal Pastel 100 Competition, and is proud to be included in exhibitions and publications by PoetsArtists.
I have always been fascinated with capturing the realness of my subject, whether that’s a figure in a room setting or surrounded by interesting fabrics.
I don’t want to just represent it but somehow get underneath the skin of it, so I can feel the textures and feel the mood of the person I’m painting. I think to truly be able to represent the simple everyday intimacy that I find so fascinating, I need to immerse myself into making it feel as authentic as possible, then I can truly loose myself in a painting.
My influences are varied form Rembrandt and Vermeer, to Andrew Wyeth, I admire the way they use light in their work, the stories they tell and the intimacy of the Helga series. I tend to build up my paintings in layers, I don’t rely heavily on blending unless I’m trying to lose edges, but instead build up delicate layers of paint which have a bit of depth to them. I also love playing with light in my work and it’s ability to tell it’s own story.