Last Sunday, I had the pleasure of hosting my very first class on Joan Eardley. I run regular art classes from my studio, each one focused on a different artist for inspiration. This approach allows me to delve deeply into each artist’s work and techniques. I’m finding that the research and exploration involved in preparing each class are enriching both my teaching and my personal art practice.
This month, Joan Eardley’s work has captivated me, especially her use of pastels on sandpaper. Eardley’s technique creates a gritty texture and bold lines, perfectly suited for capturing the vibrant street scenes she loved. I’m finding myself drawn to experimenting with these same materials and textures in my own pieces.
In preparation for the class, I visited the Mitchell Library in Glasgow, which I hadn’t been to since my school days. I was thrilled to find a wealth of reference books on Eardley, covering everything from exhibition catalogues to auction records. For instance, I discovered that some of her pieces sold for as little as £60 in the 1950s. Adjusted for inflation, that would be around £2,500 in today’s money. It’s amazing to think that her work, now celebrated worldwide, once sold for such a modest sum!
I also uncovered fascinating details about her process, including insights from her time at the Glasgow School of Art. Her tutor described her process of planning her lines thoughtfully before making any marks—a technique I decided to incorporate into the class. We watched a short film I’d taken of shops in the Trongate area, allowing ourselves just 45 seconds to observe before quickly capturing the essence of the scene. It was an exercise in speed and spontaneity, mirroring Eardley’s own approach to art.
As I delved deeper into her life, I discovered that I can actually see the street where her first studio was located in 1949 from my own studio window. I’m on the 5th floor of an industrial building that was originally a warehouse and trading office. Eardley’s studio was on the 4th floor of a nearby building, surrounded by other businesses, including a bookbinder, which provided her with scrap paper to draw on and incorporate into her oil paintings.
Last week, on a crisp autumn day, I went to stand outside her former studio, sketchbook in hand. The “Garment Factory” building nearby (now Channel 4’s Glasgow office) and the City Chambers would have been there when Eardley roamed these streets. Inspired by her rapid pastel techniques, I sketched the brickwork and bustling street, letting my strokes mirror the vibrancy of the scene.
For this class, I wanted to give students a feel for urban sketching, so I scouted comfortable spots around the city. I found some secluded spots—a quiet church graveyard and a cozy coffee shop with a window seat—perfect for first-time urban sketchers. Capturing real-life scenes brings a unique spontaneity and energy to artwork, and I always encourage my students to take the leap into sketching from life.
I’m eager to continue exploring Joan Eardley’s legacy and sharing these insights in future classes. Her passion for capturing life’s fleeting moments reminds me of the importance of observing, planning, and then quickly putting pen—or pastel—to paper
