Frequently Asked Questions

Your questions, my answers – a quick guide to commonly asked queries about my art and creative process.

About Linda Winter Artist

Creating any form of art comes from the desire to acknowledge the environment, both internal and external. These are moments when the joy of life spills over and becomes the need to create. There could be many responses; I paint. In general colour drives my inspiration. The passion comes from the constantly changing light in Northern Italy. In a land where the scenery is seldom the same two days running, there is never boredom, only excitement. Moving forward and growing as an artist requires both persistence and reflection; resting on one’s laurels is not a pastime I have ever enjoyed. Everything is about the journey and knowing how far there is to go to realise the Artist I am becoming. For more information see my artist’s statement.

Trees bring forth fruit and inspiration in equal measure. Olive trees and lemons have featured strongly in much of the new work. As the year progressed and the fields filled with sunflowers my ability to deny an old need was lost. In the past sunflowers came from supermarkets, now they fill my world from horizon to horizon. Architecture is still a strong influence driving my creativity.. The presence of ochre coloured buildings with their crisp shadows will always be a motivation for my work. The previous use of line drawing has brought with it an understanding of the structure of italian buildings. They will always be a beautiful and constant source of inspiration for everything I do. Beyond the landscapes, inspiration for my work comes from a broad church. The passion for light draws on the work of the Newlyn School and the Australian Impressionists. Landscapes by Sisley and Cezanne will continue to be strong frames of reference and insight. For more information see my artist’s statement.

The 2024 series of paintings could be said to be a divergence from my previous watercolour and ink drawings. However, if time is taken to examine the techniques used, it is possible to see that the same precision is there. Structure and form still reach out to me, as they have always done. Using a palette knife has brought with it a strength grounded in sharp colours and looser movement. I can now chase the sun as it drifts across my horizons. In terms of subject matter the 2024 series has been very much grounded by my world in Italy. For more information see my artist’s statement.

The psalm says “to everything there is a season” and so it is with both painting and drawing. As the weather warms I venture outside to meet the light and the promise of spring. This is the point at which watercolours and paper are overtaken by oil and canvas. Watercolour is a more thoughtful medium that, for me, encourages attention to detail and structure. As the sun rises in the sky creative needs change; each day brings with it the urgency of new growth. For more information see my artist’s statement.

Art Sales Process

Currently my original art is available from my website https://LindaWinterArtist.it or by appointment from my studio in Baone. To make an appointment use the form or mobile phone number on my contact page. To make contact by mobile please send an SMS or text message by WhatsApp.

Each of my original artworks is displayed on a page of its own on my website. There are several ways to get to an artwork you may be interested in.

  • At the top of each page is a search bar.
  • On my homepage there are links to my ten most recent pieces.
  • All of my artwork (including the 10 most recent) are located in my archive which is broadly organised by subject matter/year of creation.
  • Finally there are links to all pieces currently for sale on my catalogue page.

Having located an artwork that you wish to purchase, scroll to the bottom of the page and click on the link to express your interest in purchasing the work. Complete all of the required fields on the form that appears and any optional items that you think are relevant. Then, after you have ready my Conditions of Sale, check the box, and finally click on the Send button.

The typical timeframe for responding to a purchase enquiry is five working days. The timeframe for dispatching an artwork after receipt of payment by bank to bank transfer is typically two working days.

I use Italian Post (Poste Italiane) to ship my artwork. In general this means that I can ship worldwide. However there may be obscure places that Italian Post will not deliver too. Any such restriction will become apparent during the inquiry process, before an invoice is raised.

To request additional information or images of a specific artwork before making a purchase either use the purchase inquiry form on the specific artwork’s page on my website or use the general inquiry form on the contact page on my website. In either case be sure to include as much detail as possible in your request.

If you are not completely satisfied with your purchase, or for any other reason, you may return it to me for a full refund, plus the cost of return postage under the following conditions. Make the return within 14 days of the sale date or contact me if you wish to return the artwork after 14 days. In most cases I will accept your request but reserve the right not to. Returned artwork must be in new and unused condition and returned in its original packaging to the address given in my returns policy using a method that allows tracking. Use the form on my contact page to inform me of the tracking ID and cost of return postage. On receipt I will inspect and process your return. Allow at least seven days. For the full text see my returns policy.

I use Italian Post (Poste Italiane) to ship my artwork. To determine the postage and packing costs for any shipment, including international, I collect the packing materials and take them along with the artwork to my local post office to get the cost of postage. I then add a small amount to cover the cost of the packing materials.

I sell all of my original artwork without frames. Some, but not all, of my watercolours have mounts which are included in the sale. In the details section on the artwork page of watercolours with mounts the sizes are labelled “Mount width” and “Mount height”. Any artwork for which the sizes are labelled “Width” and “Height” come without mounts.

Yes, I accept commissions for architectural watercolours and line drawings. To make a commission request fill in the form on my commissions page, where you will also find examples of previous commissions I have undertaken.

I accept payment in Euros by bank to bank transfer. If you would like to make payment in any other currency please request this when making your initial purchase inquiry. While I accept payment in a wide range of currencies I do not accept payment in all currencies. If you request to make payment in a currency other than Euros, and payment in such currency is possible, I will include instructions on how to do this on my invoice. Following such instructions exactly is important to avoid additional costs and delays. The conversion rate I use is that given by Wise and covers the conversion, Wise fee and a small additional amount to cover possible fluctuations in exchange rates. The conversion rate I offer should be considerably better than that offered by commercial banks.

I accept payment by bank to bank transfer in Euros, and on request in other currencies. The security measures in place for such transfers are those provided by your financial institution and mine (Wise).

Currently I do not offer instalment or layaway options. However this may change in the future.

You will be responsible for paying any customs duties and/or taxes on sales to destinations outside of the European Union.

Each of my original artworks comes with a certificate of authenticity that is posted with the artwork. If the certificate does not arrive with the artwork use the form on my contact page to request a duplicate which I will endeavour to post within five working days.

General Art and Artworks

Living in Italy drives the creative process. Being surrounded by strong colours, sharply defined shadows and a constantly changing environment creates a need to respond to my experience of my adopted country. The process itself begins with a period of intense thought. I have often described this as a period of haunting or obsession. Thoughts and ideas frequently come to me when I am driving or in the early hours of the sleepless night. They operate as a visualisation process. Ideas are tried out in my mind’s eye. Then there is the small test painting. The final painting is a culmination of this process

Inspiration for my work comes from a broad church. The passion for light draws on the work of the Newlyn School and the Australian Impressionists. Landscapes by Sisley and Cezanne will continue to be strong frames of reference and insight.

View of logia.
My outdoor studio

Painting outside may seem an affectation however it has become an essential requirement of my creative process. Daylight gives an intensity to colour and life to the images. My home is 15th century and as such blessed with small windows and limited internal light meaning that painting has to follow the seasons. On occasions this can and does seem very limiting however necessity has created a rhythm that leaves time for reflection. Each artwork is a reaction to the experience of living in Italy, without contemplation they would become the product of a reproductive process rather than a deeper source of insight to the observer.

The frequency with which I release new artworks depends upon both the season and my full time job as a secondary school teacher of psychology and theory of knowledge. From about April through October when working in my outdoor studio is possible, I complete about one work per week. When I complete a work I post about it on LinkedIn, Instagram and Facebook. Shortly after a page about the work is created on my website.

All of my artworks are originals, those for sale are indicated as such on my website. For a complete list see my catalogue. Currently none of my work is available as a limited edition, but this may change in the future. Prints of many of my artworks are available from my Linda Winter Pixels shop.

Naming a painting carries with it a responsibility similar to the process involved in naming a child. When I finish a painting I am often too close to it to see its true meaning. For many years I have used social media to promote my work. An integral part of this has been the micro stories that have accompanied each image. Often a painting will grow into its name as this is the starting point for discussion with the onlooker so grounding the name with a narrative has often provided a sense of purpose beyond a simple word.

To see details about exhibitions and events that my work will appear in see the Events and Exhibitions category on my blog.

A long time ago I belonged to a group of artists who exhibited in a gallery on the edge of the river Tamar in Devon. One of the artists was a man called Nicholas St. John Ross who painted beach scenes, His palette was dominated by Naples yellow. This was an entirely new colour to me and I fell in love with it. Suddenly I saw how sunshine was added to simple landscapes and family scenes. Since then I have worked through the browns of Italy (Siena to Umbrian) and the many shades of yellow that leap out of the spring countryside. Colour fuels my creativity.

Along with exploring an ever developing colour palette I have to say that new tools come high on my list of challenges. It is only recently that I have started using palette knives. This was inspired by my good friend Alan Cotton who is very much a master of the technique.

In the beginning I trapped myself into the desire to create realistic paintings which was very limiting. Over time I came to realise that it is my response to what I see, not a reproduction of a view, that really matters. Now I can abandon myself to a vibrant and exciting palette.

This is a difficult one. There is always the temptation to add one more line or brush stroke. Over time I have learnt to leave a picture overnight as I can be too close to the intricacies of what I am working on. This can leave me unable to see the bigger picture.There is also a point at which the voice in my head says enough.

There have been times when I have revisited older artworks. On the whole this has happened when my skill set has moved on and I find it painful to look at what seems incomplete. To be honest the best way to deal with this issue has been to revisit the subject matter with a new painting. Old work is generally consigned to the spare room awaiting burial.

Coming from an untutored background has meant that my art has been largely driven by circumstances. I have been free to take inspiration from my close environment. Many years ago, as a young artist I sold my paintings through a gallery on the Barbican in Plymouth England. At that time there was a large fishing fleet based in the harbour, the colours and forms of the boats were fascinating, and a great source of inspiration. After the death of my first husband I used the months to revisit the style and develop what has become known as my happy boat series.

On moving to Italy I felt that there would be little time to paint. This was an error on my part. An old and dear friend introduced me to the hundred days challenge which I fulfilled during the summer of 2019. The discipline had a remarkable effect on my work and skill set.

Buildings in and around the Mediterranean are blessed with exceptional light. They are also the product of a remarkable series of design influences and cultural beliefs. It would be impossible not to be inspired by the colour of the patina and the sweeping curves of the forms.