Notre Dame de Paris finished


The finished painting which has had enough description already probably. An improvement on the first one so I am glad that I did it.

The little girl in the picture, modeled by my granddaughter, Lola, ¬†although she didn’t know it, is struggling to put her hood up, so that she can continue chasing the poor pigeons. She loved to watch them take off as a flock, and then shortly afterwards settle back in more or less the same place again

The rest of my gallant family had gone into the cathedral, as the other grandchildren wanted to climb the tower. Lola didn’t want to, and frankly nor did I, so we stayed below on terra firma. My wife, who hates flying but doesn’t mind tall buildings, went with the others. I don’t mind flying but don’t like going up tall buildings. Curious really.

I prefer looking at cathedrals, studying the architecture, and trying to imagine the history surrounding the building. My first thought was of the wonderful story written by Victor Hugo, “The Hunchback of Notre Dame”, and visually for me, going to see that wonderful film in 1956 of the same name, starring Anthony Quinn and Gina Lollobrigida. Quinn played Quasimodo the hunchbacked bellringer, and as a schoolboy then, I was very impressed as Quasimodo sat astride each bell in turn, urging them on like horses. An exciting story, which has been remade subsequently.

On 18 March 1314, Jacques de Molay, with others was burned at the stake in front of this cathedral. He was the last Grand Master of the Order of Knights Templars, an organisation of warrior monks, formed originally to protect pilgrims visiting the shrine of the Holy Sepulchre in Jerusalem.

Pilgrims no doubt rewarded them, as they became rich, as religious orders so often do. They were astute money managers and became in effect, international bankers, lending enormous sums to crowned heads of Europe.

They became super rich and powerful, and thus attracted enemies, including the then Pope Clement V. It was alleged that the Templars had started to identify with their Moslem counterparts, and accusations of heresy were made. Without doubt Templars learned much from their eastern contacts, especially in the field of architecture. What they learned was kept a secret, always suspect, and laid the foundations to the Masonic Order.

Philip IV of France, taking his cue from the Pope started to arrest Templars. Also please note that he owed fortunes to the Templars who were pressing for payment. Templars were tortured horribly to obtain confessions of heresy. De Molay himself confessed to stop the pain and retracted afterwards. He was ordered to be burned at the stake, and it was so arranged that he was consumed very slowly by the fire. Most died within minutes

De Molay at the stake, cursed those who had colluded in his murder, that they should die within the year, and their descendants¬†meet a violent end likewise. Clement V died the following month, and Philip IV had a stroke whilst hunting shortly afterwards. Philip’s descendants did meet premature deaths, so much so that the Capetian line died out

I snap out of my reverie, Lola is still chasing pigeons, and everything seems normal again


Notre Dame de Paris :Halfway


After another false start which I won’t go into, I decided to paint this subject in a vignette style, which I quite enjoy for a change. When there is a lot of peripheral detail which you just don’t need, this is a good way of getting rid of it and just focusing on the main subject.

I also happen to think they look attractive when they are finished, and certainly they seem popular with everyone

Talking of detail, I had to simplify the facade of the cathedral quite a lot, as even with a small detail brush, there is a limit to what you can include, bearing in mind the perspective.

I have chosen to depict the scene in soft winter sunlight, which is possibly my personal favourite. This is the sort of day that gently warms the stonework, and when the sun leaves long shadows on the ground and along the sides of buildings.

For the base colour of the stonework and of the square in front of the cathedral, I have used my typical mix of raw sienna and Naples yellow. For the shadows on the buildings I used violet ultramarine, and as they became deeper like some of the recesses on the cathedral, I toned the violet down with some Transparent Brown. For really dark corners I went over this again with pure violet straight from the tube.

Blue with a dash of brown to provide the grey slate roofs, and some cadmium red pale for the awnings of the restaurant next to the cathedral, finishes what I have done so far. I will echo the red amongst the figures in the foreground, either bags or jackets, so that the eye gets led into the centre of the picture.

Putting the shadows into the figures will be next. Detailing some of the foreground figures will be a long job, and how I’m looking forward to those pigeons, not. Still every painting is a lesson, so we shall see what I get out of this one

Notre Dame de Paris: back to the drawing board


It is now nearly a month since I last did any painting, and I have missed it. Either because of festivities or through illness, I have not been able to get to my easel. Even last week, I had a relapse and have been given a second course of antibiotics which I have to say, have made me feel much better.

The next item on my to-do list, was to rework the painting that I did last year of Notre Dame de Paris in the Rain, except leave out the rain and inject some sunshine. I showed this painting a couple of times last year, without any interest being shown. Although to paint a scene in rain is skilled in its way, nevertheless the subject matter in itself is quite depressing . The colours become muted and everything looks dark. Would you want to buy a painting that lowered your mood? Probably not, so I am going to try to paint the same subject on a bright day, with colours more vibrant. Still could be autumn or winter time, but one of those bright days with long shadows.

What I have done more or less immediately, is to remove that unsightly marquee from the left of the picture. You may remember it, or you can scroll back in the gallery and find the original. I managed to find on the net, the buildings to the left of the cathedral, distant apartments and shops possibly, and these have been substituted

I have also rearranged the figures in front of the cathedral. By removing some, I have taken out the queue that was filing towards the entrance to get in. Looking back on this, it seemed quite mournful, like figures queuing for the dole. I have given the crowd, I hope, a more random look, so that hopefully they do now look like tourists, and consequently looking more interesting.

To the right of the cathedral, and out of sight, is the wonderful statue of Charlemagne. I considered moving it into the picture, but decided not too. Too much of a statement, which would have competed for attention with the cathedral itself

So, a start has been made which is always the hard part. I’ll get on with some painting and come back when I have something more to say