Born in Queensland, Marcia Rea commenced painting full-time during 1983. She designed neon signs after leaving school, before working as an architectural model maker. She was very interested in art from early childhood, so the natural decision to undertake academic training in landscape and portraiture work led her into an enjoyable career.
Marcia studied landscapes from 1983 to 1987 with Allan Fitzell; and portraiture from 1983 to 1989 with Joshua Smith and Yve Close.
This lady is now talented in many areas. Her successful works include landscapes, portraits, interiors and figure compositions. She taught art from 1987 to 1997 and presently conducts tutorials and workshops.
She enjoys using many mediums including oils, watercolours, pastels, pen and ink, and charcoal. She is a very versatile artist who favours many subjects including life drawings, seascapes, landscapes, horses, flowers, tall ships and portraits.
Marcia has been inspired by Arthur Streeton’s work.
“He is an artist of not just Australian but international importance,” she says.
The formative stage of her art career was assisted by touring with some of her peers.
“I was really lucky to go on painting trips with a group of established artists back in the early ’80s because it fuelled my passion for art,” she relates.
This may have been where she learned to appreciate working in the natural environment.
This story is from the No 169 edition of Artists Palette.
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This story is from the No 169 edition of Artists Palette.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 8,500+ magazines and newspapers.
Already a subscriber? Sign In
Eye of Observation
Draw, draw, and draw some more; develop your artist’s eye of observation. Sterling advice from a lady who believes that seeing shapes in paintings requires a truly ‘arty’ eye.
Gregory John Brennan: Lost Profession
Looking back on his early career as a bulldozer driver, this rural New South Wales painter laments the days when he was too young to appreciate his outstanding potential as an artist.
Fibre Art
This artist feels that the hardest lesson she had to learn was to believe in herself … and once she did that, everything started to fall into place and her confidence grew.
Water Lily Magic
Instead of paper and paint, this artist uses fabric and threads … and she uses a sewing machine instead of a brush. The textures, colours and prints of fabrics thrown together with threads fascinate her, and often give inspiration for her designs.
Loading Wheat – 1920s
It is rare to see an artist displaying this level of skill and understanding in capturing the activity and atmosphere of bygone days from Australia’s agricultural history.
Blahuta's Ute
Early in the year we ran a feature about ‘Utes in the Paddock’ – a landmark project by several notable artists. In this article, one of those artists shares his story and some of his views … and describes the process of creating his own piece of an amazing collaborative work.
Time Just Seems to Vanish
The end of an interesting Air Force career led eventually to a renewed passion for art for this talented man … who quite often finds himself painting into the late hours of the night.
Paint Forever!
Happiness in creating something she is passionate about is the motivation for this talented painter who would love to become a well-known wildlife artist.
Gang Gang Cockatoos
If you decide to paint birds or animals it always helps to know a little about them … things like their habitat and their eating habits. This knowledge will make your paintings more believable.
The Guardian
This artist finds pastel pencils useful for sketching and adding fine detail to a pastel painting because graphite pencils may leave indentations on pastel paper which cannot be lifted out.
