This was the last painting of Wisley, which I did about two years or more ago. I was pleased with this one, especially the long shadows. It sold at a local exhibition fairly soon after I painted it.
Wisley is the main national garden of the Royal Horticultural Society. I forget the acreage but is big. This particular shot is of the canal and the laboratory, a fine modern but Tudor styled building, which works well with the plants.
Unlike previous lockdowns, gardens including Wisley are open, but with strict control of numbers. We went in December, one of those fine winter days that makes walking around pleasant. I thought I would try another painting, something like this one but with changes
This is the main composition. I am further away from the main building with some figures in the foreground. I am being more selective in the way I paint this one, just for a change. Usually I wash straight across and wait for that to dry, and then paint onto a coloured background. Just for the moment I have put the shadows in before painting, although they may need reinforcing later
It will be interesting working out the sequence. Sky first or bushes first?
We haven’t been able to visit the RHS gardens at Wisley ever since lockdown began. It was a favourite place and we miss going there. Hopefully as things ease they may reopen, although how social distancing will be organised, remains to be seen
Doing this painting reminded me of happier times. We have stood here enough times in the loggia if that is the term, looking through the wisteria along the canal to the laboratory, which is an uninspiring name for the splendid mock-Tudor building in the background
Flowers and foliage are not my strong point. I had to look up how to paint wisteria. I used ultramarine violet, and then dark mauve for the deeper colours. I also dropped some quinacradone gold in here and there for the tips of the flowers. That has a name which botanists will know
The leaves were built up with a succession of colours. Sunlight streamed through in places and cadmium yellow suited that. I used Sap Green mixed with Lemon and finally Olive green for the leaves in shadow
Anyway I think it came close to the photograph, but as always I will leave others to judge
Just to finish off, I have been having a remarkable number of sales, all online obviously. I think this must be the lockdown factor
Ferry across the Bosphorus sold this week and was shipped today in fact, bringing my total to four since January. Chicken feed to many artists I know but significant for me.
Wisley Gardens, the headquarters of the Royal Horticultural Society is fairly near us, and we go there frequently. Since lockdown the place has been closed, like so many other gardens. We’ve missed it enormously especially at this time of year
This photograph appeared in Garden magazine this month, showing the view through the wisteria along the canal towards the laboratory which is the elegant building in the background. I have painted it many times
As I can’t go there I shall paint this view with everyone’s permission, as the next best thing. We look forward to going back when things return to normal.
I have in fact made a start, and I will let you know how I get on
Despite lockdown , I am still selling a few pictures. I sold the painting of the Scottish castle, Eilean Donan a few days, and the buyer collected from my door. We observed social distancing of course
Well, this painting is finally finished. Towards the end, although commissioned, it was starting to become a labour of love, no pun intended.
I found myself wondering whether I would finish or fall at the last hurdle. I feel pleased with it, which is dangerous to say, as the image for approval has only just gone to the client, and if it doesn’t match what he had in mind, then I shall be in difficulties. Worst case scenario, it will be rejected, but even then I would find this one useful for the web-site
In terms of technique, there isn’t much to add to the last post. The jets of water were achieved by flicking white gouache onto a blanked off section of the painting. Always a bit hit and miss, but mostly they have worked, and in some cases provided a realistic white mist
Unless I have to make any last-minute adjustments, I should be free to think of something else, for which I have built up a long list. I am at least at the end of my commissioned work ( for which I am truly grateful), and can now think of my next exhibition which is March/ April as I remember. I have paintings ready but will need more, and so we go on.
This was the first of the two paintings which I was hoping to plan together. But it was not to be. As the poet said, or something like, the best laid plans of mice and men go oft awry.
They certainly do. I have done a few sketches of the horse picture, but last Thursday the phone rang and a regular client phoned with a commission for an extremely ornate fountain called the Fountain of Love which is in the grounds of a mansion called Cliveden House in Buckinghamshire
I went to look at it, at the week end and took some reference shots and append one for your interest
I have just had to arrange a professional copy so that all the detailing is picked out clearly. This will be a test of drawing skill and no mistake. Too late however, as I have said yes.
Cliveden House is now an hotel. It is c18 I believe and is associated over the years with a succession of powerful women. The latest was Nancy Astor, the American heiress who became a Westminster MP, the first woman MP I think, and certainly a forceful lady.
The house is remembered for being the scene of the scandal involving Christine Keeler a model, and John Profumo the then Minister of Defence during the 1960s. She was also having an affair with a Russian diplomat, so the whole thing was considered a threat to national security. Profumo lied to Parliament and the whole thing nearly brought down the MacMillan government
The same day i received another commission to paint a boat in St Katherine’s Dock which might be postponed and give me a breather. Today I received a request to do yet another view of beloved Bosham Harbour and Church
That will teach me to boast about doing two paintings simultaneously. The gods have a habit of looking down and teaching you a lesson if you appear over-confident. They have, and it serves me right.
The lights and darks helped this painting enormously, which was why I was so grateful for the sun shining just long enough for me to get a shot telling me where they were
The chimneys were hexagonal so each side had a different tonal value. They were fiddly and not sure now whether they were completely accurate, but from the point of view of giving an illusion of their shape, they seemed to work
I used raw sienna mixed with Naples yellow for the sunlit building and also for the path, which is my favourite mix for giving the appearance of sun on stone. The path was a gift for the composition, that bright open gateway surrounded by dark shadow.
Another problem was the plethora of green in the foreground. I used three different mixes which seemed to work, as well as some different plant shapes. The violet flower clump broke some of it up, and that good old favourite, red spots dotted here and there helped to take the eye
I have started to use the odd bit of pastel to get myself out of trouble where I might need a bright light colour over a dark background. I find that is a useful device and a nice change from gouache which isn’t always successful anyway
Will I have to call myself a mixed media artist? I don’t think so