John McCombs (1943-2024)
John McCombs was a British landscape and figure painter renowned for his evocative depictions of the Pennine region, particularly the village of Delph in Saddleworth, Greater Manchester. His work is celebrated for its expressive brushwork, atmospheric light, and deep connection to the local environment and community.
Born in Manchester, McCombs demonstrated an early aptitude for art, encouraged by his father who introduced him to quality art materials and prints of John Constable's works. His formal art education began at the High School of Art in Manchester, followed by studies at St Martin’s School of Art in London from 1962 to 1967. Under the tutelage of artists such as Leon Kossoff (1926-2019) and Frederick Gore (1913-2009), McCombs achieved the highest final exam marks in twenty-five years, earning the National Diploma of Design (N.D.D.) and the College Prize. He was also awarded the David Murray Scholarship by the Royal Academy.
After completing his studies, McCombs returned to the north of England, settling in Saddleworth. He established a studio and gallery in Delph, where he focused on capturing the local landscape and the social life of the village. His paintings often featured scenes of Delph's streets, moorlands, and community events, rendered in oils with a distinctive style characterized by vigorous brushwork and a keen sense of light and atmosphere. His works reflect a deep engagement with the environment, portraying both its enduring presence and the transient effects of weather and light.
John McCombs, Winter Morning Sunlight Delph (2002), Oil on board (44 x 33cm), framed and glazed (63 x 52cm). Signed.
McCombs was committed to painting directly from life whenever possible. He was a keen observer of the changing qualities of natural light, often working outdoors (en plein air) in and around Saddleworth. He was known to sketch and produce oil studies daily, returning to specific sites repeatedly in order to capture the changes in season, time of day, and mood. He worked predominantly in oils, favouring their richness and flexibility, especially for atmospheric effects like mist, snow, and rain. His process was as much about communing with a place as it was about constructing a composition; it was slow, meditative, and anchored in routine.
His brushwork was loose but purposeful, with a focus on light and movement rather than sharp detail. His style can be described as impressionistic Realism. His earthy and tonal palette reflected the moors, stone buildings, and skies of northern England; muted but evocative. Light and shadow were always preeminent considerations within the composition. He excelled in depicting grey skies, snowy streets, and the soft illumination of early morning or dusk. Though often unpopulated, his landscapes evoke a human presence through pathways, doorways, rooftops, and weathered textures. While McCombs painted figure subjects and interiors as well, it was his landscapes and village scenes that gave clearest expression to his artistic voice; intimate, consistent, and regionally grounded.
In terms of influences, the preoccupation with landscape as emotional and observational art is something that was instilled via his early exposure to John Constable. Stylistically, The Euston Road School (Claude Rogers, Sir Lawrence Gowing, Graham Bell) with whom McCombs was doubtless familiar from his time in London as a student, served as a rich source of inspiration through a shared belief in realism, structure, and painting from life—values also championed by the New English Art Club (NEAC).
McCombs enjoyed a successful career as a painter and was an active member of several prestigious art societies. He was elected a member of the Royal Institute of Oil Painters (R.O.I.) and the Royal Society of British Artists (R.B.A.), and he was a Fellow of the Royal Society of Arts (F.R.S.A.). In 1975, he became a member of the Manchester Academy of Fine Arts (M.A.F.A.), where he later served on its Council and Exhibition Selection and Hanging Committees. In 2009, McCombs was elected President of M.A.F.A., fulfilling a childhood aspiration inspired by his father's encouragement.
His work has been exhibited widely, including at the Mall Galleries in London, the Royal Institute of Oil Painters, and the Royal Society of British Artists. Public collections holding his work include Manchester Art Gallery and Salford Museum and Art Gallery. McCombs' dedication to his craft and his community left a lasting impact on the art world. He was instrumental in fostering local artistic talent, teaching art to adults since 1967 and mentoring numerous students. In recognition of his contributions, a special exhibition was held at Saddleworth Museum in 2017 to celebrate 50 years of his masterclasses. Still popular with collectors and the wider public, his legacy endures through his sought-after paintings, his influence on generations of artists, and his pivotal role in the cultural life of Saddleworth.
John McCombs, Winter Morning Sunlight Delph (2002), Oil on board (44 x 33cm), framed and glazed (63 x 52cm). Signed.
John McCombs, Winter Morning Sunlight Delph (2002), detail.