Winter Egret by Clarissa James captures the poised elegance of a small white egret, perched delicately on a branch amidst a serene marshland. The composition exudes stillness and refinement, with every element carefully rendered to enhance the quiet beauty of the scene. The egret, its pristine plumage softly illuminated against the muted background, stands as a symbol of resilience and adaptability. Its wings are partially outstretched, suggesting a moment between balance and flight, readiness and rest. The surrounding reeds, golden and brittle from the cold, frame the bird with subtle verticality, while the reflective surface of the frozen marsh below glimmers faintly, adding depth and texture to the landscape.

 

The egret has long been associated with purity, wisdom, and adaptability, qualities that Clarissa seeks to emphasise in this contemplative work. The bird’s solitary stance suggests independence and grace, while the delicate balance of its posture evokes a sense of lightness and precision. The muted palette—soft whites, pale golds, and earthy browns—enhances the wintery atmosphere, conveying both the chill of the season and the quiet warmth of light reflecting off ice and water. This interplay between coolness and luminosity is further heightened by Clarissa’s use of silver leaf, which imbues the painting with a subtle, otherworldly glow, transforming the marsh into a place of quiet magic.

 

Clarissa’s fascination with egrets stems from her travels and her deep connection to the natural world. This painting draws on her observations of egrets in two very different settings: the snowy rivers of Mungyeong in South Korea and the marshy banks of the Thames in Oxford, England.

 

“In Mungyeong we stopped the car because several were stalking the water of a small river for fish. It was lovely to see. On the first day, it was just a cold winter day. Over night it snowed heavily. We were up in this small mountain town to visit the local film studios - a huge area where a small historical town has been built to scale in an end valley to serve as location for many of the historic stories. From palaces to noble houses to paupers huts. It was magical early in the morning with about 40cm of fresh snow on the ground - being the only people there. On the way out, we saw the egrets again. This time with snow. It was so beautiful… The second part of the inspiration was observing a single egret by the Thames on Portmeadow in Oxford. I would see him from time to time just on the riverbank by himself. Water flowing over part submerged reeds. One of my favourite impressions during the lockdown period.” In both cases, the bird’s graceful presence left a lasting impression, inspiring Clarissa to explore its symbolic and visual potential. For Clarissa, the egret represents not only adaptability—thriving in varied environments from urban rivers to secluded marshes—but also light and transcendence, appearing as a kind of personal messenger on her travels.

 

This dual inspiration is reflected in the painting’s delicate balance between specificity and universality. While rooted in real observations, the scene takes on a timeless, almost mythic quality, inviting viewers to reflect on the deeper meanings of stillness, solitude, and resilience.

 

A native Austrian, Clarissa grew up in Munich, Germany where she became involved in film production at an early age. Following a childhood dream, she moved to London after finishing her formal education, to work for the famous puppetry and character workshop “Jim Henson's Creature Shop” based in Camden Town in London. Whilst in London, Clarissa was motivated to pursue painting and drawing and independently studied classical drawing and painting techniques.

 

Clarissa’s love for drawing and painting was first inspired by a visit to the Watts Gallery near Guilford, an artists’ village dedicated to the work of the Victorian era painter and sculptor George Frederic Watts. She followed this initial impulse by researching drawing techniques in the London museums, where she became particularly interested by the the Pre-Raphelites, and pursued an anatomy course at the University College London Medical School.

 

In 1997, Clarissa moved to Florence to train at the prestigious Florence Academy of Art, an art teaching institution renowned for its commitment to the academic tradition. From there she went on to spend several summers at the studio of renowned Norwegian painter Odd Nerdrum and has since taught both Renaissance and nineteenth-century drawing techniques and the highly skilful technique of silverpoint drawing.

 

Clarissa is drawn to silence and contemplation and following a trip to the Far East developed a great interest in the simplicity and clarity of Japanese art and design. This combined with her lifelong passions for fabrics, opulent textures and nineteenth-century aesthetic, results in unique paintings which are rich, meditative and calm.

Clarissa James has earned a distinguished reputation for her ability to merge classical techniques with modern aesthetics. Her works often display an affinity for intricate detailing, particularly in rendering textures that seem almost tangible—be it the softness of feathers, the lustre of metallic leaf, or the velvety darkness of shadows.

Her technique is characterised by controlled yet expressive brushwork that captures both precision and fluidity. James’ palette, rich yet never excessive, finds its full expression in Jewels, where she expertly balances warm and cool tones, allowing each hue to glow against the other.

 

Throughout her career, she has demonstrated a unique ability to create paintings that feel timeless yet strikingly current, often evoking the grandeur of historical decorative arts while maintaining a distinctively personal voice. Specific in her craft as an artist, Clarissa grinds her own paints to achieve a more unusual luminosity and texture. Her immaculate use of gold leaf brings a spiritual nature to her work and often her elaborate depictions of birds’ feathers and fabrics are embellished to create a tapestry or jewel like effect and bring a third-dimension into her oil paintings. Her use of white gold leaf in Winter Egret enhances the luminosity of the background, creating shifting reflections that change with the light. Clarissa’s attention to detail is evident in the soft layering of the egret’s feathers, the subtle shading on the branch, and the delicate textures of the surrounding reeds.

 

Winter Egret is a painting that speaks quietly yet powerfully. It captures a fleeting moment of beauty in the natural world while evoking themes of endurance, light, and transformation. With its luminous execution and meditative atmosphere, it is a piece that will bring both tranquillity and depth to any art collection. Whether acquired for its symbolic resonance, its exquisite technique, or its serene presence, this painting is a timeless expression of grace and adaptability.

Read more about Clarissa James.