Horses in the Wetlands: the finished painting

Horses in the Wetlands

This is the finished painting

I changed some of the colouring on some of the horses as I wasn’t pleased with the way that they were turning out.I used some very dilute rose in a glaze over some as well as a very dilute gold over the lead horse, just to see what that did for the effect

I found I quite liked it. That is why I have changed the name to Horses in the Wetlands as they don’t look like Camargue horses any more, although arguably the rose colour could come from a low sun. Anyway, I am quite pleased with the overall effect

I am not going to feature this one on the internet just yet as I am starting to build up a collection for my show in December, and this one I think will work well. Strange to think my first bricks and mortar exhibition of 2020 will be in December, unless cancelled of course. Life is getting restricted again

For the moment we can only plan and hope

Camargue Horses: the Sketch

Horses in the Camargue

As I said in my last post, I am looking for another horse painting, ideally of horses on the move, to replace Horses in the Snow which sold last week

This one should work hopefully. You can’t tell from this sketch but horses are cantering through water, so a lot of splashing going on which will give the idea of movement hopefully to the picture. A good excuse to do a lot of flicking and splashing during the painting as well. One of those defining moments when you throw paint at the picture or spray with an old toothbrush and hope it lands in the right places

I have painted Camargue horses before. We were there a few years ago, and they are magnificent to watch. I don’t trouble much with background for these shots, just paint the horses and sky the same blue/pink/grey combination, and then build up the horses with dark shadow

It worked last time, which is no guarantee of future success of course

Time for another horse painting perhaps

Horses in the Snow

Horses in the Snow, you may remember was the subject of a recent post. It sold extremely quickly from my Artfinder site, which is most gratifying. In fact I don’t remember a painting selling so fast. It is on its way now to its new owner, who I hope will get years of pleasure from it

It leaves me with a happy problem, but a problem no less, of a gap in my collection that I am putting together for my first and only bricks and mortar exhibition this year, which will take place through the Christmas break. This will be at Denbies the winery near Dorking, which has an art gallery, which is let out to groups throughout the year. This will be the first time that I have shown there, and I am very much looking forward to it

Horses on the move are a popular subject, and are fun to do, so I shall be looking through my photo stock for inspiration. There are several to choose from as kind persons have been sending ideas through to me. Mostly excellent screen shots of wild horses galloping through water which do look dramatic, but for the moment I am going for an image I brought back from my visit to the Camargue three years ago, and which I attach

I like the way that the lead horse looks at the camera

Baguettes

Baguettes

I quite like doing these narrative paintings from time to time. This one I have done in a vignette style, again something I do for a change. In some ways this style takes less time, as I don’t have to tape up, and without big expanse of sky or sea, there are no big washes to worry about.

This was not done from one of my reference photos, and my thanks and acknowledgements go to an unknown photographer whom I could not find. This painting is not a copy of but was inspired by a photograph.

This is pure nostalgia in one sense. I don’t know of a visitor to France who didn’t enjoy that early morning trip to the boulangerie for the fresh bread.

In England we don’t have that culture. Our bread is homogenised and comes plastic wrapped, although some of our supermarkets are now baking on site, and producing something worth eating. But we still don’t go for it early morning when it is fresh and still warm

This is Paris obviously. The location was not marked, but looks like Montmartre, with those steep steps. Again a place much visited and much painted.

I changed the background considerably. I have lengthened the perspective so that the Eiffel Tower looks much further away. The buildings are deliberately out of focus, so that we concentrate on the lady in the foreground. We look at her with great compassion as she struggles homeward up that steep slope, heavily laden. I see her almost pushing that basket with her knee, to take some of that strain off her arm.

This painting is smaller than my usual, this time about 30×25 centimetres. I found it a pleasant change to do. At the moment,thanks to lockdown I am sorting and consolidating my reference photographs, so who knows may find more of this type

Erquy in Brittany: the Finished Painting

Erquy in Brittany

The painting is now finished, in that I have started to fiddle, which is a good time to stop

Getting the sand/mud to look waterlogged has been a problem, and I have settled for what I’ve got, rather than end up with a surface which looks dark and unconvincing. I did mask out some tyre tracks which had filled with water, and then touched them in afterwards. They seemed to work well enough.

I have taken the mask off the lighthouse, and painted that in, with its red domed top, that attracts the eye. Two tricolor flags on the boats give another opportunity for small dabs of red too. I tend to use vermilion now rather than cadmium red, which seems to work.

Some of the figures and dinghies have bled into the wet, which I have allowed, as I think that gives a hint of reflection.

I think I have taken it as far as I dare without spoiling, so will leave it now as complete.

I have a new commission arrived, a house portrait, which is highly convenient so will start on that soon

Erquy: the Drawing

Erquy in Brittany

I have done some drawing and also started to paint as you can see. Nothing startling, just the background. The lighthouse has been masked out, so it can stand out stark white with red at the very end

I have also masked out some of the tyre marks in the sand which are full of water, hopefully to recreate that image. The composition itself I have altered slightly, but only slightly, as really not much improvement is necessary. The fishing boats have been beached at low tide, which immediately offers an interesting picture for watercolour. There is light coming from the left, offering shadows as well as possible reflections.Some boats were left out, and one different one added. Otherwise the scene is much the same as it was in 1972

I needed some human activity so added the two figures in the foreground. They are actually copied from the figure in the distance. I had to guess the perspective, so I hope it looks convincing. Both figures are bent over as though hauling on some imaginary chain, so a little bit of narrative

I have added shadow to the boats just to give them form, and to guide me when I go to paint them in. One or two extra dinghies as well. I may well have to add somehting small in the centre, but I am not sure yet.

That is as far as I have got. So far so good I think

Mary Wollstonecraft Exhibition at Chawton House in Hampshire

Chawton House associated with Jane Austen

An exhibition of work by Louisa Albani, not an artist I’m familiar with, opened at Chawton House in Hampshire, yesterday, and goes on into November. Not a large exhibition, held in one of the garret rooms,but powerful none the less, and deals with the period that Mary Wollstonecraft spent in Paris during the French Revolution

Known as a writer and legendary advocate of women’s rights, she was in Paris from December 1792, a month before Louis XVI was guillotined, until April 1795 when she returned to London. The artwork in the exhibition was inspired by what she saw and what she did during her stay, and what she wrote, whilst acting as a war correspondent for the English journal Analytical Review

I was struck by one of her quotations.

People thinking for themselves have more energy in their voice,than any government, which it is possible for human wisdom to invent; and every government not aware of this sacred truth will, at some period, be suddenly overturned

Written during the French Revolution by Mary Wollstenecraft

Hint of a warning there for someone perhaps

Chawton House is a gem in itself. An Elizabethan Manor House. of which there are not too many. It belonged to Edward, Jane Austen’s brother who had inherited from the Knight family. Jane was a frequent visitor to the house which is only a short walking distance from the village. The lovely tea room served teas to visitors back in the c19

Lapsed into disrepair during the c19, for lack of funds, the house was rescued by the North American branch of the Jane Austen Society, and has been splendidly restored whilst retaining the character of a country house of the Elizabethan style

Artwork from the exhibition referring to the quote above:

The caption would have to be her quotation above

A delightful visit

Painting Someone Else’s Photo

With their permission of course

A typical square in the south of France

This was really something of a diversion, while I considered where my priorities lay, for the next painting.

This exercise is really part of a competition, which appealed to me. I don’t usually enter competitions as I never get anywhere, but what intrigued me with this one, was, that it was using ball-point pen with watercolour. Something I had thought of doing but for some reason, not got round to .

This took me back to the days before I retired. I worked for a company that made specialist furniture and fittings for the hotel and restaurant industry. I designed things to customer specification, which is a grand term for drawing out from people what they wanted, and then sketching them during the conversation, until we arrived at a solution. This is very good drawing practice and I can recommend it.

Ball point works well on a hot pressed surface, the motion is fluid and the image is instant. You can’t rub out of course which can be a problem. It doesn’t work very well on cold-pressed watercolour paper which is what I use. The ball clogs and pulls at the paper

Nonetheless it was a useful exercise and interesting to see how it ended up. I sent my entry in after all, very much tongue in cheek. If I never mention it again, you will know that it bombed

Two Paintings worked on simultaneously

Camargue Wild Horses

I was kindly sent images of Camargue horses, which frankly have spoiled me for choice. Many were of the herd charging through the shallow water kicking up spray, and these make for very dramatic paintings of the type I love to do, and which I will do. For the moment I do have one such painting in my collection ready for exhibiting and that is currently on my Artfinder site and also on my own web site.

As I went through the images again, I was drawn to the one shown. Completely different to the others, it is almost pastoral in quality, with that feeling of peace that one gets after a long gallop, when everybody gets their breath back before moving on. I think I will try using this one for inspiration. Drawing will be a challenge as the shapes are so dark but nonetheless will be fun to try.

We watched them when we were there. I took some pictures but the quality just wasn’t there, so I have to look at other images which made a better job of capturing these lovely horses

I have also been asked to provide another Bosham picture similar to ones that I have sold so often. There is only one shot that people want, so I have to scratch my head to think of ways to make each one individual so in this case, I will be changing background colours to something I haven’t tried before

Just as a by the way, I am pleased and relieved to be able to report that my Artfinder sale reached its American buyer safely and promptly. If I have already mentioned this, my apologies and please ignore. I had a very nice text back from a happy buyer, telling me how pleased she was with the painting, so pleased with that

Back to the easel!

Impressionists in London Exhibition at Tate Britain

Charing Cross Bridge by Pissarro

Charing Cross Bridge by Camille Pissarro

I took my grandson to see this fascinating exhibition at Tate Britain, a week or so ago, as he is studying Pointillism as part of his Art GCSE syllabus. The work of Camille Pissarro was much in evidence, so a lot for him to have a look at. This was his first visit to a major gallery, so significant, and as he pointed out, we were looking at originals, so the actual canvases that these painters worked on. I sometimes lose sight of that fact myself.

The exhibition was centred around the work of French painters who fled to Britain in the 1870s to escape the horrors of the Franco-Prussian War. Napoleon III had been captured after the Battle of Sedan, and on his release went into exile with his wife, Eugenie, and their son the Crown Prince, in England, living in Chislehurst. All three are entombed in Farnborough, in the abbey founded by Eugenie. After the fall of the Second Empire the fight went on, culminating in the horrific Siege of Paris in 1871. Civil war followed after a popular uprising by the Paris Commune. Thousands died. Many of the Communards were amongst those who fled to Britain, and who were received without question or restriction.

Many well-known painters arrived and stayed in London. Claude Monet had a suite of rooms in the Savoy Hotel, and painted the Thames and Houses of Parliament in all its moods. He loved the London fog, as did Whistler, credited by Oscar Wilde with the “invention of the fog”

Camille Pissarro, whose house in Louceviennes was commandeered by the Prussians, fled to south London with his mother and other relatives, ruined by the conflict. He lived at Kew, and paintings of his, of the Gardens and Kew Green are on display. He was another fascinated by the Thames and painted similar views to Monet, of the Houses of Parliament through the mist, as well as Charing Cross Bridge in the picture shown.

Not all the arrivals were Impressionists. James Tissot having been introduced by his friend Thomas Bowles, made a name for himself as a painter of High Society. With a great eye for colour and fashion, his paintings of ball gowns and uniforms are magnificent.

Many well-known dealers also followed the painters, and there are many more names that one could mention, but in the final room, is displayed the work of Andre Derain, who was inspired by the London paintings of Monet. He was sent to London in 1906 by the dealer Vollard, and produced thirty canvases from this trip. These were in homage to Monet and covered the same subjects , Charing Cross Bridge, the Thames and the Houses of Parliament. Not to my taste, I think he belonged to a group called the Fauvistes, which believed in the arbitrary use of colour. However, his work is successful, and rounds off this exhibiton nicely

Paintings are on loan from galleries across the world, so a one-off opportunity for most of us to see them. Worth going to, more than once if you can