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The text traces his shift toward specific landscape forms, beginning with pencil studies, then charcoal transcriptions, and later expanding and adapting ideas through smaller and larger paintings. It describes how clouds, light, and shifting sea–land rhythms transformed both format and colour. The catalogue lists dated works and their mediums and dimensions for each numbered piece.",{"@graph":69,"@context":122},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":15,"@type":76,"position":81},"https://docshare.wps.com/document/literature/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/dartmoor-and-tongue-catalogue-exhibition-catalogue-2004/569909/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/dartmoor-and-tongue-catalogue-exhibition-catalogue-2004/569909.png","ImageObject",300,407,{"name":92,"@type":93},"Aria","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-20","2026-10-13",true,{"@type":102,"interactionType":103,"userInteractionCount":8},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"What inspired the exhibition’s two landscape starting points?","Question",{"text":112,"@type":113},"The works began with two far-apart locations: Dartmoor and Tongue’s Kyle (estuary). Each location developed into the other through an almost seamless progression of forms.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"How did John Hubbard develop the paintings over time?",{"text":117,"@type":113},"He created small pencil sketches, then produced larger charcoal transcriptions exploring effects of light. Later, after returning to the sites, the changed light and atmosphere altered both format and colour, leading to further expansion in larger works.",{"name":119,"@type":110,"acceptedAnswer":120},"What information is included in the catalogue entries?",{"text":121,"@type":113},"Each numbered work is signed and dated, with the title, medium (such as oil on paper or charcoal on paper), and size measurements listed in the catalogue.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},569909,1792493324,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":14,"category_name":15,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":8,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":139,"language":140,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":67,"update_tm":144,"read_time":145},2336464648322,"https://ap-avatar.wpscdn.com/avatar/2200025388227c56fec?_k=1778556882303663488","759.  \n092  \nHUB  \nMarlborough  \nJOHN HUBBARD  \nUniversity  \nfor the  \nCreative Arts  \nersity Libr  \nuniversity  \nNew Dover Road  \nCanterbury  \nTel:01227817314  \nKent  \nE-mail:librarycant@uca.ac.uk  \nCT13AN  \n# INSTITUT·&-DES\n\n18 February-20 March 2004  \nJohn Hubbard  \nDartmoor and Tongue  \nSome works are for salePrices on application  \nMarlborough Fine Art (London)Ltd6 Albemarle StreetLondon W1S 4BYTel:+44(0)2076295161Fax:+44(0)2076296338mfa@marlboroughfineart.comwww.marlboroughfineart.com  \nDartmoor and Tongue  \nThe two places which were starting points for the work inthis exhibition are far apart,very different in character andstructure,but one evolved into the other in an almostseamless fashion.The first of these is on Dartmoor,thesecond in the north of Sutherland,at the edge of the sea.The sea,and particularly the interaction of sky,sea andland,have been ongoing subjects for many years but thistime things took an unexpected turn.  \nThe reason for this is that towards the end of 2002 I beganto feel that I should focus on specific forms in landscape.So I began searching for a subject which possesseddistinctive character but was capable of modulations,inother words a theme suggesting variations.The importantthing was that these variations should be triggered by thesubject itself,transforming it in ways that went beyondappearances.  \nIn early February 2003,I went to Dartmoor and almostimmediately found a place near the site of Grimspoundlooking west across rolling moorland,marked at intervalswith dark,caterpillar lines of pine forest,a landscaperepeated many times on Dartmoor.I suppose the reasonfor choosing that spot was its combination of subtly variedforms on a compelling scale,each part speaking to theothers,plus manoeuvring clouds and the pull of thedeclining sun.I made a number of little pencil sketchesover several days and,back in the studio,followed thesewith larger transcriptions in charcoal which exploredvarious effects of light.Returning several weeks later inspring sunshine,I found everything totally different,glowing in softer light under a calm sky,and this alteredboth format and colour.The larger paintings which camefirst used pungent colour which essentially reflected theactual landscape.The much smaller oils on paper beganstretching these colour values in order to hint at latentcharacteristics folded within this huge inland sea of grass,hills and...space.The increasingly free use of colourexcited me and pushed me into more expressionisticareas.At Tongue,in Sutherland,I found the perfect subjectfor developing this.  \n'd first visited Tongue and its Kyle,or estuary,in earlyautumn 2001,making drawings of the tidal movements ofwater and sand.Returning about three months afterworking on Dartmoor,I pushed things on.Rather thanconcentrating solely on tidal patterns,I set them againstthe backdrop of Ben Loyal (moving it about three miles tothe north)so as to achieve a kind of counterpoint.Theskies are often of enhanced or expressionistic colour,themountain range marked by modulations of shade andtexture;both juxtaposed against the rhythms of the water.To convey a vivid,living feeling for landscape is complex,as sometimes those elements which give it distinction arebeyond our vision.One must find a way of suggesting this,of capturing that elusive something.  \nThis time l began with the little paintings and many of theideas which arose while making these were expanded oradapted in the larger ones that followed.Not that thedifferences in size really matter,a painting succeeds orfails on its own terms.  \nJohn Hubbard  \n2004  \nCatalogue  \nAll works are signed and dated  \nDartmoor:  \n1.Red Sun 2003oil on paper22×26 in./55.9×66 cm.  \n2.  Last Light 2003oil on paper22×26 in./55.9×66 cm.  \n3.  Grey Cloud 2003oil on paper22×26 in./55.9×66 cm.  \n4.Brown Cloud 2003oil on paper22×26 in./55.9×66 cm.  \n5.  Blowing 2003oil on paper22×26 in./55.9×66 cm.  \n6.  Mists 2003oil on paper22x26 in./55.9×66 cm.  \n7.  Rain 2003oil on paper22×2","cbCaiikjQ96qpGKr","https://ap.wps.com/l/cbCaiikjQ96qpGKr","pdf",4148029,44,"English","# Dartmoor and Tongue\n## Exhibition statement\n## Catalogue (Dartmoor and Kyle of Tongue)","[{\"question\":\"What inspired the exhibition’s two landscape starting points?\",\"answer\":\"The works began with two far-apart locations: Dartmoor and Tongue’s Kyle (estuary). Each location developed into the other through an almost seamless progression of forms.\"},{\"question\":\"How did John Hubbard develop the paintings over time?\",\"answer\":\"He created small pencil sketches, then produced larger charcoal transcriptions exploring effects of light. Later, after returning to the sites, the changed light and atmosphere altered both format and colour, leading to further expansion in larger works.\"},{\"question\":\"What information is included in the catalogue entries?\",\"answer\":\"Each numbered work is signed and dated, with the title, medium (such as oil on paper or charcoal on paper), and size measurements listed in the catalogue.\"}]","Dartmoor and Tongue - Catalogue - Exhibition catalogue 2004 | PDF",1791878219,68]