Bruce Yardley

Works
  • Bruce Yardley, CONTRE-JOUR CYCLIST, PARMA
    Bruce Yardley
    CONTRE-JOUR CYCLIST, PARMA
    Oil on canvas
    16 x 16 in
    40.6 x 40.6 cm
    £ 2,900.00
  • Bruce Yardley, CRIMSON AND GILT, WILTON HOUSE
    Bruce Yardley
    CRIMSON AND GILT, WILTON HOUSE
    Oil on canvas
    30 x 24 in
    76.2 x 61 cm
    £ 6,750.00
  • Bruce Yardley, LIGHTS COMING ON, GRAND CANAL, VENICE
    Bruce Yardley
    LIGHTS COMING ON, GRAND CANAL, VENICE
    Oil on board
    16 x 24 in
    40.6 x 61 cm
    £ 4,250.00
  • Bruce Yardley, PALLADIAN BRIDGE AND RIVER NADDER
    Bruce Yardley
    PALLADIAN BRIDGE AND RIVER NADDER
    Oil on board
    12 x 20 in
    30.5 x 50.8 cm
    £ 2,900.00
  • Bruce Yardley, RED ROSES
    Bruce Yardley
    RED ROSES
    Oil on canvas
    20 x 16 in
    50.8 x 40.6 cm
    £ 3,250.00
  • Bruce Yardley, SALISBURY CATHEDRAL, WINTER SUN
    Bruce Yardley
    SALISBURY CATHEDRAL, WINTER SUN
    Oil on board
    12 x 20 in
    30.5 x 50.8 cm
    £ 2,900.00
  • Bruce Yardley, SALUTE DOMES, AFTERNOON SUN
    Bruce Yardley
    SALUTE DOMES, AFTERNOON SUN
    Oil on canvas
    12 x 16 in
    30.5 x 40.6 cm
    Sold
Biography

Bruce Yardley, born 1962, has been a full-time professional painter for twenty-five years, with over forty one-man shows to his name, mainly at UK galleries, but also at galleries in the US, Canada and New Zealand. He is the son of the well-known watercolourist John Yardley, who was a popular exhibitor here at Wykeham Gallery in the 1980s and 1990s, though in contrast to his father, Bruce paints exclusively in oil.

 

Bruce Yardley’s paintings fall firmly within the English tradition of tonally sensitive Impressionism. His principal concern, like that of the original French Impressionists, is with light, and over the years he has evolved an expressive and painterly style to capture the wonderfully varied effects of light in all its forms, a style that avoids the deadening hand of descriptive detail. The influence of Monet, Sickert and Whistler is readily apparent, and Bruce discusses these men and other inspirations in his recently published book, Painting like the Impressionists.

 

Bruce's subject matter covers a broad theatre: cityscapes of Europe and New York in sunshine and rain, interiors and still life. Unsurprisingly for a disciple of Monet, Sickert and Whistler, Bruce has a special fondness for Venice, where the ‘envelope of light’ (the phrase is Monet’s) is so distinctive.