Waterhouse Gallery
Aldo Balding 
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 South Coast 21 x 18 Oil $7200
 
 Tale of Poets 18 x 15 Oil $5900
 
 Cefalu Sicilia 20 x 16 Oil $5500
 
Born in Southsea in 1960 and studied for a Diploma in Illustration at Southampton College.
Aldo now lives in the Languedoc-Roussillon region of France.
Beginning his career as a freelance illustrator his work appeared in and on the front covers
of numerous magazines including the Sunday Times Culture Magazine, TV Times and Punch.
Aldo is now a recognized and successful figurative and portrait artist.
  The narrative quality of Aldo Balding's magnificent paintings is usually what initially draws his viewers in. Aldo's works have been referred to as "nostalgic", but he considers them timeless.
Aldo's conveys his love of the more formal time and finds a suited man is much more interesting, narratively speaking, than someone in sneakers and jeans.

He continues the timeless feel of his work into his interior scenes and landscapes.
     
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Secrets of Manderlay
28 x 22 Oil
SOLD

La Serveuse
23 x 18 Oil
SOLD

 
Laying Tables
24x36 Oil
SOLD

Et In Arcadia Ego
36 x 23 Oil
SOLD 



Skinny Dipping
29 x 20 Oil
 SOLD 

Doorway of St. Serin
16 x 13 Oil
SOLD

Enigma
20x16 Oil
SOLD



Revisiting Arcadia
29x24 Oil
SOLD

La Riva degli Schiavoni
30x21 Oil
SOLD

 

Parisien Picnic
13 x 9.5 Oil
SOLD

Cafe Florida
21x25 Oil
SOLD

Moments
28 x20 Oil
SOLD   

Rebecca
16 x 12 Oil
SOLD 

 

 

 

 

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Aldo Balding

Born in Southsea in 1960 and studied for a Diploma in Illustration at Southampton College. Aldo now lives in the Languedoc-Roussillon region of France. Beginning his career as a freelance illustrator his work appeared in and on the front covers of numerous magazines including the Sunday Times Culture Magazine, TV Times and Punch. Aldo is now a recognized and successful figurative and portrait artist.

REVIEW: Tim Green, August 2008 - London
Leonardo DaVinci said: “to be a good painter is to paint two main things: men and the working of man’s mind: the first is the easier of the two.” It’s a quote that has always resonated with Aldo. He admits to being a restless painter, never entirely happy with his work – and always striving to improve his technique.

It’s tempting for us, the viewers, to wonder where these improvements can be made, such is Aldo’s apparent mastery of his art. Every one of his exquisitely mysterious vignettes is masterfully realized. For example, in a recent piece titled “Odessey VI” two figures each at a different angle to the viewer, creased jackets throwing awkward shadows across the early evening town square, is flawless.

We shouldn’t be surprised. For all the modesty of Aldo, this is a painter who has dedicated his adult life to mastering the technical challenges of figurative art. Working as a storyboard illustrator for advertising agencies, he developed a passion for anatomy and honed his craft until he could draw the human form effortlessly from any angle. There was a simple commercial reason for this – if you can draw people convincingly without the need for models, it’s cheaper. But the discipline also appealed to Aldo’s aesthetic curiosity.

Today, as a full time painter choosing his subjects, Aldo remains dedicated to the human form. But he puts his formal virtuosity at the service of human drama. Virtually all of his paintings buzz with narrative possibilities. Who are the three inscrutable men in Conversation III? What are they planning? What have they just done? What are they going to do? And what about the couple in The Early Hours? Are they lovers? If so, is their affair bursting into life or fracturing?

 

Aldo is proud to admit he’s in the storytelling business, even if he lets us fill in the gaps. “I always try to put an element of mystery in my work,” he says. “You can suggest so much in a gesture, in the way someone stands. I like narrative in painting, because it casts the viewer into a voyeuristic role.”   

The pull of suggested narrative explains why so many of the figures in Aldo’s work have their backs to us. “When a person is face-on, it’s a portrait, and the mystique is gone,” explains Aldo. Many of these backs belong, of course, to the be-suited men that appear throughout the artist’s work. The prevalence of so many jackets and ties has promoted some to describe Aldo’s work as nostalgic. This is something he’s keen to move away from. “I prefer to think of the scenes I depict as timeless. They are little dramas that could be from any era.”

But the suits will remain. Simply, Aldo loves the formal challenge posed by all those silken creases. Indeed, he’s recently applied himself to improving the way he renders the kind of sharp and soft edges we see in a painting such as the aforementioned Osyssey VI. It might sound highly pedantic to the rest of us – edges? – but this dedication to detail is what makes Aldo such a terrific craftsman. And this collection of formally superb and profoundly mysterious paintings proves it yet again.

MAGAZINE ARTICLES:
Artist International (Issue 22) - Front Cover. Artist International (Issue 27) - 5 page feature
Artists and Illustrators - June/July 2003
Artist and Illustrator Magazine May 2009

COMMISSIONS AND MAJOR COLLECTIONS:
British Prime Minister, Gordon Brown.
Lady Laura Paul
The Frieder Burda Museum in Baden Baden Germany bought 2 works for their collection

MAGAZINE ARTICLES
Artist International (Issue 22) - Front Cover
. Artist International (Issue 27) - 5 page feature
Artists and Illustrators - June/July 2003
Artist and Illustrator Magazine May 2009

COMMISSIONS AND MAJOR COLLECTIONS
British Prime Minister, Gordon Brown.
Lady Laura Paul
The Frieder Burda Museum in Baden Baden Germany bought 2 works for their collection

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 For more details. Please call 805-962-8885 or email art@waterhousegallery.com