These TASIS Students Have Redefined the “Work” in Workshop

Martyn Dukes and Frank Long returned again this year with their art and photography students for their third printmaking workshop with Maureen. After missing the first of four days due to a cancelled flight from Milan and a long trip via Zurich the following day they should have been tired. But no, determined to make up for lost time they marched right into the studio for Maureen’s orientation talk, so they were primed to go the next morning. Another factor that got them off to a running start was the stack of drawings and photos on acetate that they had prepared previously.

So while they worked on new acetates in the studio under Maureen’s supervision, her assistants, Carmen and María José (bottom right in the photo), started exposing and inking solar plates and running them through the two etching presses. The system worked well and permitted the students to achieve a surprising production of prints in just three days working mornings and afternoons. They barely stopped long enough to eat lunch, though on the last day they managed to fit in a stroll around the high spots of Granada.

Congratulations to all of  you. You couldn’t have done it any better. P.S. You will be happy to know that both María José and Carmen remarked how polite and cordial all of the students were–and how saintly patient Martyn and Frank were.

Here’s the pictures:


Would you like to see some of Maureen’s artwork? Here’s a link.
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Puedes conocer este laboratorio de la magia del arte desde hoy hasta el día 6 de enero, visperas de Reyes

Allí te espera una experiencia artística única–convivir con una artista profesional durante unos minutos en el estudio donde ha dedicado muchos años a crear su arte original en varios formatos: obra gráfica, pintura y escultura. No lo pierdas.

Se puede concertar una cita o bien por teléfono o por email:

Teléfono: 605 341 632
Email: maureenluciabooth@gmail.com

He aquí más fotos de la historia del estudio de Maureen, la gente que ha trabajado con ella, sus obras y sus alegrías:


Gracias por seguir, comentar y compartir.



¿Has visitado alguna vez el estudio de un artista? Es el destilado de una vida entera.

Haz la cita para tu visita al estudio de Maureen aquí:

Hasta pronto.

He aquí unos momentos en el estudio de Maureen a través de los años:


Autoretrato Maureen 1982

Maureen, Autoretrato, 1982, colección de Miguel

Hay obras grandes y chiquititas, pinturas, grabados y esculturas, que te van a encantar. Y los precios de las piezas son asequibles, sobre todo los grabados.

Puedes llamarla  or enviarle un email para concertar una visita al estudio a partir del viernes, día 20 de diciembre hasta el 6 de enero, vísperas de Reyes.

Teléfono: 605 341 632
Email: maureenluciabooth@gmail.com


Todas las obras de abajo son grabados estampados sobre papel hecho a mano en ediciones numeradas y firmadas:
Gracias por seguir y compartir.


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Volver a la versión española

You’re Invited to Drop by and Visit the Studio where Maureen Has Created these Sculptures, Paintings and Graphic Work.

And if you find a piece that strikes your fancy, you can even aquire it, either for your own home or as a Christmas gift for someone you love. Maureen will be at home every day starting Friday, December 15 until Monday, January 6th. You can phone her to make an appointment (34 605341632).
Here are a few samples of work that is still available, and there is a lot more in her studio.


P.S. Can’t make it? If you see something you need, drop Maureen an email: maureenluciabooth@gmail.com.

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Go to the English version

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Podéis subir a conocer su obra en el estudio donde se han elaborado los grabados, las pinturas y esculturas

Y si hay una pieza que te capte, hasta puedes adquirirla, o bien para tu propia casa o como regalo de Reyes para un ser querido. Maureen estará a tu disposición todos los días desde el viernes, 15 de diciembre hasta el lunes, séis de enero. Se puede concertar la visita llamándole por teléfono–605341632.
He aquí unas cuantas muestras de la obra disponible, pero hay muchas cosas más en el estudio.


Gracias por seguir y compartir.


Days Full of Printmaking, Seafood, White Wine and Laughs

When Mary was leaving after her first course with Maureen she said, “I want to come back here with my husband, Robert. So I’ll be seeing you again.” That was eight years ago, but Mary kept her word. In the meantime she has set up her own printmaking workshop at home in a small town outside Milan, Italy and she wanted to do a refresher course with her maestra before beginning serious work.

“I’m so glad I came back,” said Mary. “I learned so much making prints with Maureen this time. It was so fun working with gold leaf. I’ve got some at home but I never knew how to use it. This visit served to convinced me that I need to come back a third time and stay longer! And Robert doesn’t object. He had so much fun. He wants to come back to visit the great little seafood bar Mike and Maureen took us to and to eat another of Mike’s paellas on their terrace.”

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Getting into the Third Dimension

I never expected to do any sculpture, but I stopped by my friend, Esperanza Romero’s studio one day and she was working on a piece of clay.  She saw I was fascinated and set me up with a lump of clay and some advice for a beginner. And out came Diva.  I was hooked. I made more figures and have had them cast in bronze. Here they are.


This is Diva, our chihuahua when she was a puppy. I tried to capture some of her puppiness and, yes, her ears were that big. At least the appeared that way to me.


This one is called “Cacolina.” She was our first small dog. When a friend offered her to us as a pup, Mike said, “Thanks but no, we prefer big dogs.” Up until that time we had had mastiffs and great danes. “So the friend said, “Look, just take her home with you. If she doesn’t work out you can bring her back.” That was the end of mastiffs for us. She went on to mother a whole dynasty of little rough-haired terriers we called “Cacolinos.” I did this figure from memory.


I call this one “Siesta.” It’s from memory, too.


This is “The Kiss,” also from my imagination. Cacolina made her way into this one, too.

You Can Purchase One If You Like, Or More Than One

All of these pieces are for sale. I’ve decided to present them in editions of seven each. They will be designated: MLucia, 1/7…7/7, and accompanied by a certificate of authenticity.

If you see a piece you would like to acquire, please email me and we’ll discuss the arrangements. My email is: maureenluciabooth(at)gmail.com.


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Jan Reawakens Her Printmaking Enthusiasm in Granada


Jan Stickland is coming back. After two serious operations in the past year, she decided to try her newly recovered wings with a solo trip to Spain from her home in Australia and an intensive printmaking workshop with Maureen here in Granada. She achieved both with high marks. When she left she was full of ideas, plans and a determination to buy an etching press and set up her own studio at home. “Maureen made me see that it was not only possible but necessary,” says Jan. “The truth is I always feel best when I’m making art.”

Jan is a country girl, raised in a village in the state of Victoria where her mother would pack her a lunch in the morning and she could spend the entire day walking alone in the woods. “I got to know every inch of that forest,” she says nostalgically. Having spent her professional life as a primary school teacher, with what she refers to as a “disjointed relationship with art,” Jan is now retired with her children grown up and independent. “It’s time to get back to art,” she says, adding, “I confess, though, that my principal motive for coming to work with Maureen was not mainly about printmaking. It was to relax and clear my head. But Maureen quickly took me far beyond that. This became a working holiday. We worked hard together and I learned more in a short time than ever before in my life, and not just about printmaking techniques and creative printing, but also studio practice and organization. In her studio Maureen seems always to have the materials she needs–down to an important scrap of grandmother’s lace or a pressed flower–close at hand. She buys most of her materials on Internet and they are delivered to her door.

This was Jan’s second visit to Spain. She was here last year after being chosen to represent Australia in the IMPACT 10 Encuentro, the tenth edition of the International Multidisciplinary Printmaking Conference created by the University of the West of England which was held in the city of Santander, Spain, from September 1 to 9, 2018. Jan had another compelling reason to visit Spain. Her son married a Spanish girl and they live in a hillside village in the province of Alicante just a 15-minute drive from the Mediterranean coast.

In answer to the question, “Why printmaking?” Jan replies, “It’s the serendipity, the magic that happens every time you pull that blanket back off a freshly pressed print.”

While Jan was here she also found time in the afternoons to stroll through the village and try its restaurants. One of those afternoons she coincided with the annual “Fiesta del Agua” and joined in the fun with the village young people. On her last afternoon, she accompanied Maureen on a delightful walk through a pine forest (“ahh, the smell…”) located 1,000 vertical meters above the village, where it’s 6-8ºC cooler on summer afternoons. We wouldn’t be surprised to see Jan coming back one of these years. It’s not just the printmaking. There is also her family down there in Alicante, just a short bus ride away.

Photos by Mike Booth
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Back for Seventh Successive Year

This group of high-school juniors, from Germany, Russia, the USA and Spain all attend Bremen’s  International Baccalaureate school and study art under Brenda Eubank. This is the seventh (eighth?) successive year that Brenda brings her students to Maureen’s studio to do a printmaking workshop. (Note: Brenda notifies us by email that the first workshop Maureen had with the students from Bremen was in 2011, so this year’s visit was the ninth. Time flies.)

This year, under Maureen’s guidance, they made three collective artists’ books. It sounds complicated and it was but the results gratified everybody.

Have a look at the photographs, below.

(Thanks, Brenda, hope to see you next year.)


Photos by Mike Booth and Brenda Eubank
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I just found this in my visitors’ book and was moved by it:

Dear Maureen and Mike,

Thank you so much for the most memorable printmaking experience I have ever had. At the same time I realized that you were a mother to me in so many ways, especially in printmaking. I will always cherish my time with you in the studio working out my complicated project.

You are very creative and have many ideas and I appreciate your mentorship in the business of art. You have taught me what it means to be a working artist.

Mike was a friend to my husband, Rich, and I know he enjoyed the walks and working together on the technical issues such as the wife. Mike is awesome! The paella was excellent and I loved meeting all your friends and family. And, to top it off, the spa treatment every other day did us wonders. You have been a true blessing all around. We will be sending some salmon from Alaska (wild caught) for sure.

Love you and Mike,

Rhonda  & Rich

Thank you, Rhonda. The feeling is mutual. We hope to see you back here whenever you can make it.


Alaskan Artist, Rhonda Horton, Braves 30-Hour Flight to Come to Maureen’s Workshop

Rhonda and her husband, Rich, had been planning this trip, their first to Europe, for more than a year. For Rhonda it was more than a vacation. It was an opportunity to work  intensively–one on one–for two weeks with an Old World master printmaker and to collect some ideas for establishing her own printmaking studio at home. At the end of her time in Granada she hoped to have produced an exquisite artist’s book. And she did.

Rhonda had scrupulously prepared a full set of pencil drawings on paper as the basis to create an artist’s book on Alaskan sea birds. After admiring them Maureen said, “These are drawings are great but to achieve maximum image quality on solarplates they should be re-drawn in India ink on acetates.” She showed Rhonda how it was done and Rhonda spent her few first morning and afternoons preparing beautiful new drawings.

Then they decided on a format, adaptated to some elongated sheets of handmade Indian paper that Maureen had selected for Rhonda’s artist’s book, and burned the images on the plates. Maureen happened to have on hand some beautifully textured handmade paper acquired from the Paperki paper mill in Hondarribia, Spain, 30 years ago for the cover of the book. Rhonda loved some work that Maureen had done with chine collé and decided to incorporate that technique into her book project, as well.

Then it was just a question of printing up the images and assembling them meticulously into three artist’s books. Rhonda called it “Quiet Song” after a poem that occurred to her on awaking one morning in Maureen’s Gallinero artist’s cabin:

Quiet song, show me the morning
A shout before noon, show me the day
Birds of the shore, show me the night.

A special element in creating ambiente throughout the whole process was Rhonda’s husband, Rich, occasionally sitting quietly at the end of the studio playing his guitar and singing. The delicious atmosphere he achieved was like having a Rennaisance troubador providing live-music accompaniment in an artist’s studio.

Maureen attributes the success of their work together to the fact that Rhonda arrived with a clear project in mind with the images already worked out. The finished product is an exquisite piece of work that reflects the input of both Rhonda and Maureen. The effort expended by both over two weeks is evident in the proud, hard-working faces of both in the second and third photographs in the montage below.

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The Shepherd Boy Who Sketched Mountainsides

José Quiros (“Rescoldo”) spent his youth shepherding his family’s sheep and cattle on the slopes of the Sierra Nevada mountain range above the Granada village of Güéjar Sierra in Spain. José had an abiding restlessness. There was something he was destined to do, but he had yet to figure out what it was. In the meantime he would put carefully-folded butcher’s paper and a pencil in his knapsack along with the lunch his mother prepared him for his day on the mountain. There was plenty of time to think up there and for putting his impressions down on paper.

In 1985, when he was 21, a friend advised José that there was a British artist living in the next village down the road and that maybe he could show her some of his work. This is how Maureen met José. After looking at his drawings and paintings she took him  directly to the Granada art school to meet José García Lomas, the etching professor there, the same one who had been her maestro in the Fundación Rodríguez Acosta printmaking studio a few years before. The old master was impressed with José‘s sketches and managed to get him into his etching classes mid term via the back door.

José spent the next four years etching off and on with Pepe Lomas and, after he left the art school, remained a lifetime friend of his etching master. Their favorite times together were scouring the Andalusian countryside for archeological artifacts. When Pepe saw José’s building project finished he said, “This is a work of art, the whole house, not just the wall hangings.”

_DSC6653José’s building project wasn’t a house in the beginning. It was a painting studio. He needed a place to paint. That’s how the building got that south-east looking panoramic window on the second floor overlooking the mountains. Besides offering a stunning view it admits beautiful light for working. “The steep rocky canyon reminded me of my longtime desire to have a house of stone and wood,” says José. “Maybe I was influenced by the stone walls and stations along the old tram line that passed beneath our village on its way up to the Hotel del Duque, and maybe by the grand old hotel itself.” The hotel, which opened as a gambling casino around the turn of the 20th century, remains in excellent condition today, though it has been repurposed by the church as a center for ejercicios espirituales, “spiritual exercises.”

Whatever the inspiration, José decided to do the building project himself, with his own two hands. It took him seven years. His only previous building experience was three months as a hod carrier. Never mind, he would invent solutions as he went along. He was lucky in that his building project coincided with a period in Granada–the late 80s–when many noble houses and public buildings were being demolished to make way for coldly-geometrical Bauhaus-influenced modern apartment blocks. “There were wonderful old bricks, pillars and beams lying around all over Granada,” says José. So he would approach the foremen on the demolition crews, explaining to them that he was building a house and asking if he could haul away some of the vintage materials they were throwing away. “Those were the days when centuries-old pine and oak beams, some of them engraved, were being cut up to fuel bakery ovens in Granada,” says José. “So nobody told me no,” adding reflexively, “It’s curious how life has provided me with what I’ve needed as I went along.”

aguila_realIt wasn’t until the house was nearly finished that José discovered it had unexpected magical qualities. “The big round ojo de buey window was one of the last elements I put in,” he says. “I sat down to amire it–I remember it was late spring–and suddenly I noticed a pair of golden eagles flying back and forth to the rock face opposite, taking food to their chicks.

The house sits in an interesting area surrounded by trees and little family patches of mountain agriculture. The River Genil runs down the bottom of the valley and there are walking and mountain biking paths that will take you up to the source of the river and beyond into the high Sierra Nevada.

Asked what kind of person might buy his house, José replies, “I don’t know. Maybe an artist or musician, or some other sensitive person.”

As for what he intends to do after selling the house, his reply is straightforward: “Do? I’ll do the same thing I do now, enjoy life.” That said, he does confess a long-standing desire to mount a Mongolian pony.


Contact José Quiros at: joserescoldo (at) gmail.com
As José doesn’t speak English, if you don’t speak Spanish you can email me at: mikebooth61 (at) gmail.com.
Text and photos by Mike Booth
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Dear Old Friends Bob and Eunice Stack Throw a Spanish-Style Goodbye Wingding after Their Umpteenth Summer Stay in Güéjar Sierra

Güéjar Sierra, August 20, 2018–Monday lunchtime in the Restaurante La Hacilla and a long table of friends is assembled to eat lunch, laugh together and bid goodbye to old friends and regular summer visitors for the past 45 years, Bob and Eunice Stack, who head back to New York with their family on Wednesday. It’s always great to spend time with Bob and Eunice and enjoy their flawless hospitality. They are the best–and best loved–people we know, real role models for growing old gracefully. Thanks for a lovely lunch dear friends.

Here are the photos. Click on one to enlarge them. Then right click the enlargement to download it.


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Virtually Lost to Art Since Her Art School Days, Sarah Initiates a Welcome Return

Sarah Jarvis studied painting and textiles (Chelsea School of Art) and then lived in the business world all her working life. Though, it’s not as if locating, gutting and renovating, equipping and running an Andalusian farmhouse hotel with her husband, Matt, since 2014 isn’t work. Still, the yearning for art in her life never left her. Her dream was to convert one of the rooms in their country house into a printmaking studio. But there were so many questions pending. It had been a long time. Was she capable of making her plan work?

At this point she discovered Maureen on the web. “I just googled ‘Printmaking Spain’ and there she was,” says Sarah, who showed up at the studio a few days later. After looking over some of Sarah’s sketches, Maureen suggested that Sarah base her first prints on some animal drawings she had done a few years ago and showed her how to prepare the images on acetates in order to create solar-plate prints.

The first print was a sign of things to come. It was crisp, bold and arresting, with a graphic quality that a lot of printmakers strive a long time to achieve. By the time she went home Sarah had a stack of prints. When Maureen said to her, “You’ve got the beginning of an exhibit there,” Sarah’s eyes lit up. She was on her way.

Asked to discuss her experience in the studio with Maureen, Sarah said, “It was amazing, actually. Maureen has allowed me to feel that I could become an artist. She’s given me the necessary confidence. She doesn’t train people to be like her. She looks for the best in each person. Also, the setting here is so inspiring, from the mountains, the grapevines and the flowers, to the Gallinero (henhouse) artists cabin. It’s all so idyllic.”

Sarah’s parting comment says it all: “I’m going to create a studio of my own. Now I’m convinced I can do it.”




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“Three days with Maureen helped me find my former artistic self.”



Kate MacKinnon is one of those unusual people who thrive on learning and never stop. She just spent three days in the studio with Maureen and got stuck into a new challenge: printmaking. As with everything else, she’s serious about it.

Kate graduated with a degree in psychology from Hobart William Smith Colleges, a great little liberal arts school in upstate New York, then hitchhiked around Europe for four months before going to work in 1989 for Chase Manhattan Bank–which later became part of JP Morgan Chase–and stayed there until 2017 when she took an early retirement.

She seemingly came out of that experience unscathed. She’s not the least bit “bankish;” in fact she’s eminently normal. So how did she manage it? “I always worked in technology,” she says, “and I was surrounded by intelligent people. I learned on the job, from them. I had some people skills.” Kate underrates herself. Her people skills are such that she could swim in shark-infested waters if she had to.

Asked what she discovered working with Maureen she replies, “I discovered how much she knows about printmaking and, just as important as that, how willing she is to share her knowledge. Time spent with Maureen in the studio one-on-one not only teaches you printmaking. She also conveys some rich lifestyle wisdom. Some of it’s Spanish, some of it’s of her own creation. She’s living every artist’s dream.”

“One of the great things about working with Maureen is the accommodation. It’s a cabin built into a mountainside with great comfort, workspace, privacy and views. I slept well the first night and on the second day started taking siestas. And there’s an added attraction. It’s just 40 steps–I counted them.–from the studio.”