During the very dark days of lockdown, when restrictions were very tight and you couldn’t go out, we had various zoom meetings. One was within the family including family members living in Spain, one of the advantages of zoom, and centred round art, with one person giving the others a specific task and nominating an artist as their influence
I chose a well-known local artist who produces lovely work verging on Cubism, which is post-Impressionism I know. I produced the above, which is a feeble attempt to emulate her style, which I tried to remember from attending one of her demos once. As for the famous artist, the finished work reminded me of, I could only think of Picasso or even Braque when they did those cubist still lives
As the image emerged I could see how Cubism developed. Not that I would have developed Cubism, I’m not clever enough, but I could see how others did
The local artist I mentioned whose name is Liz Seward, I don’t imagine she would mind being mentioned, I remember started with broad bands of vertical colours over the original drawing. From there it was a case of painting the negative shapes, and that’s all I remember. A finished image seemed to emerge, and I seem to remember being struck by wonderful colours being produced. The result of so many glazes I imagine
I have posted about my still life here, only because some people seemed to like it. These same people recommended I include it in my very recently redesigned web site which I have done and we’ll judge the response if any. Do I like it? Sometimes and sometimes not. Easy to be drawn by the colours
My grandchildren, incidentally, produced some stunning work, and I may well post about them at a later date. I think I should but that is for the future
This is the completed painting of Padstow Harbour in Cornwall, a very well known and popular place. It is a fishing port and consequently well known for good sea food restaurants. The well known Rick Stein comes from Padstow and has his own restaurants here, not to mention a very good fish and chip shop, and I believe he also had his own cookery school where he trained people in the fine art of good cuisine. Some years though since I have been here, and my information may be a little old.
The reference shots for this painting go back a few years, and I may have mentioned already that I have painted this view before but some years ago. I sold it so can’t compare and in those days was a bit careless about photographing my work. As I remember though this painting is very different to that one
I used a different palette for one thing. Not long ago I bought a new paintbox called Graphitint by Derwent, and I rather like them. I am not here to advertise and I haven’t been asked to, but I used some of these colours on the buildings around the quayside. What these paints do, and there are a dozen of them, different shades, is to granulate, so in other words, the pigment doesn’t dissolve completely but hangs in the water. When the water dries the pigment stays on the paper, usually in the tooth of the surface, and provides a sort of gritty effect. That may not sound attractive the way I’ve described it, but it works very well for stonework on buildings. The colours are a little muted but I don’t mind that. Other people can judge for themselves.
Otherwise quite a time consuming painting, working on the boats, which is quite enjoyable for a while, and then I need to rest. The reflections took a long time building up the depth of colour, and eventually I needed some coloured chalk for the very deep shades
Anyway the painting is finished. It will be in time for my redesigned web site, which I am looking forward to seeing one day
Now perhaps a short break from painting whilst I consider my next subject
This is the stage that I have reached so far, namely the under painting on which hopefully to build
I have chosen a different colourway to anything I have used before, mainly as an experiment and perhaps hopefully to learn something. If it doesn’t work then I may have wasted a painting. I did this painting between 15 and 20 years ago, and just used the local colours. This time I wanted to inject some sunshine and maybe some mood into the painting. The photographs if you remember my last post, were taken in flat light, so no shadows and frankly rather dull
I used a base coat involving a mix of phthalo blue and viridian for a green/blue which I used for the sky and also for the sea in the foreground. I moved from sky colour to a peach for which I mixed orange and yellow and added rose. I quite liked that colour for a change. The sky moved to peach for buildings and boats and then back to sky colour for foreground sea. Remember I haven’t done this before, so could turn out badly
I have started to work on some of the buildings using blue with burnt sienna plus a dab of raw sienna to look like lichen on the roof. I have also drawn in some masts which I missed when I did the initial drawing
That is as far as I am so far. Other things demanding my attention as usual, but I quite like doing a little at a time. I may have said that I am completely overhauling my website which is time consuming but I think will be good when it is done. More of that another time
Some years ago we were in South Africa on a game reserve, and met these birds walking unhurriedly along the track. They stayed on the track just in front of our vehicle for quite a long time and refused to budge. I think the female was holding us back so that we didn’t mow down her chicks!
We didn’t mind as this was a splendid photo opportunity, and we took full advantage.
I said that I would paint them one day and now finally I have. The subject seemed simple enough and yet I found this painting to be one of the trickiest i have done for a long time. I think the colours may have had something to do with it. There was such a lot of green, and not very exciting green either. There was no other colour to give relief
Ostrich are magnificent birds, and interesting to draw. When it comes to painting them, then it is a different matter, especially when painting the female. I consulted references about the right colour to use for the female’s plumage, and the consensus was taupe. Taupe you will know, is beige running into grey. Not exciting but not something I could change
Added to that the light was flat and no shadows to speak of. Still not to worry, the painting is complete, and I have done what I set out to do. But an object lesson learned, which is to avoid subjects with little colour interest as they will disappoint
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
This was by way of an exercise. I’ve used someone else’s photograph as a basis for this painting, so unlikely to use the finished result, unless I can get permission
I wanted to try and achieve this foggy sort of image. The mosque in the background is hardly visible. Until you get to the figure in the foreground, shapes are almost unrecognisable. The clever bit would be to get the feeling that the mist is moving towards you. Whether that has been achieved I will let others judge
The painting did not photograph well. There are some brush marks showing in the foreground which you don’t get with the original
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
This has been an enjoyable journey to use that expression, which does seem appropriate, as I did feel I went back there. I took photographs with a view to paint, but never found the time. One thing about lockdown is that I don’t feel guilty about making more time to paint. There is always something to do in the house but generally house and garden are tidy and the allotment is up-to-date, which is unheard of
Also I am managing to paint in natural light which is a plus. So often painting time comes in the evening and artificial light is a handicap
Colours were enjoyable with the mix of phthalo blue and cobalt for sky and cathedral. Just a tad of grey in the blue for accuracy and to stand against the sky. For all the old houses, different shades of Burnt Sienna and orange, with some blue in the steps to balance the colour scheme
There is a competition coming up for 70+ year olds in lockdown so might put this one in. There will be thousands of entries from across the country, so no hope of winning, but as we say, it’s the taking part that counts
I have made a start on the actual painting. Quite a lot of drawing work to be done as one might imagine, and working from three photographs, the perspective drawing was interesting to say the least
I do a small amount most days and look at what I have done when the paint has properly dried. The cathedral is virtually finished although I may still go back in with a sharp brush and reinforce some of the finer details.
For some reason the colours in the photograph are more red than in the original painting.