In the decade since she first exhibited at the Grundy, Louise Giovanelli has become one of the most celebrated artists of her generation. David Simper nipped into our local gallery to see how her work has developed.
Blackpool and the Grundy can lay part claim to starting Louise Giovanelli’s career as she first exhibited her From Here to Here show in our gallery in 2016. Ten years on, she is recognised as one of the most celebrated painters of her generation. This is a fine follow on show for 2026.
The exhibition seeks to present an extensive overview of Louise’s work to date. Our gallery was also the first to acquire her work for a public gallery collection.
Early work is hung throughout gallery one and reveals evidence of emerging themes, techniques and ideas. Louise tends to have a focus on a defined area of detail. Her technique includes smooth blending and excellent use of subtle, graded colour, which I personally really like. There is something of a dream like quality. Professed inspiration from old masters is evident.
Giovanelli has undertaken a suite of work referencing the Grundy collection, here presenting Beard III and Beard IV (above) based on a portrait of Dr Cocker, Blackpool’s first mayor from 1876 to 1879.
Gallery two features work that follows a German sojourn for post-graduate studies, following which Louise increased her work’s scale. She also adopted new techniques including scoring to reveal under-painting and using abstract leaf patterns within her work.
In 2023 she co-founded the Apollo Painting School, a new model for artistic training. More on this below.
Gallery three tops off Giovanelli’s show with a further five works. These seek to show artisitc development through a measure of repetition, also references to theatrical practice.
This gallery also contains a complementary range of work by Apollo Painting Alumni (above and below). The training method has been successful; these are fine paintings.
This is an impressive show and well worth the time to view. As someone who struggles to paint himself, I’m in awe of these pieces. The decision to give some back through founding a painting school is so commendable and the results here speak for themselves. I hope that Louise will be back before too long with a new show featuring her latest vision and techniques.
I of course could not pass on the opportunity to view the visiting masterpiece by Claude Monet (1840-1926), The Petit Bras of the Seine at Argenteuil. This hangs in grand isolation with a viewing bench in front of it. Its colours are muted, its degree of detail deceptive – each mark says a lot. As one would expect from a master, the use of perspective, composition and brushwork are all sublime. A splendid contrast with contemporary art, drawing on the old masters, and up and coming talent and an essential viewing.
Louise’s exhibition continues until 28th June 2026. Monet’s, The Petit Bras of the Seine at Argenteuil, will be on view until 13th June 2026.
