Firstly I am indebted to Wendy Hodgkins Corniquet for her excellent reference photograph
I find it hard to resist Camargue horses and when I saw this picture, I felt that it would work well as a painting
The only thing I changed was the background. The photograph had a background more like a sunset, which I have changed to something plainer. I felt that concentrated more on the horses.
Camargue horses as you know, run wild in the wetlands in the Rhone estuary. They are always white, which adds to their impact as a herd, especially galloping through water.
I have painted them many times, as featured on my web site davidharmerwatercolour.co.uk
I am grateful to Vicky Stovell of Smiley Sunshine Photography for the use of her amazing photograph as a reference
I was intrigued by the photograph, not just for the composition bu also for the effects of the colours, which I hope that I have done some justice to. Yet another superb sunrise over the sea photograph to work to, yet challenging whilst exhilarating
The colours seemed to go in bands. Deep yellows and pinks in the lower sky beneath the blue, which are then repeated in reverse order through the horizon and into the sea, finishing with blue around the swans as we get into shadow.
The pebbles were time consuming. There were a variety of colours amongst the stones, blues and browns which I have tried to pick out, whilst at the same time, subduing the effect slightly so as not to compete with the detail of the birds. Something of a balancing act. Have I been successful. I will let others judge
I have trieed a different image and with it a different style
I was intrigued by this image, having decided in my mind to give horses a rest for a while. I was struck by the simplicity of the subject, and wanted to capture that. Detail has been kept to a minimum. Despite the activity, the horses seem calm. The water is churned up, yet the painting gives a feeling of peace
I think this is a painting that you can look at for quite a long time.
I would first like to acknowledge with thanks Rebecca Photography on Pixabay who kindly allowed me to use her reference photograph, when preparing this watercolour painting
I like, as many will know, painting horses and horses in water. This image intrigued me and presented problems from the start. Horse and rider were a complete silhouette. So? Well, there were no details to help me with the drawing or very few at least. It was difficult, if nigh impossible to check my measurements as I proceeded with the drawing. Likewise the rider, which I don’t normally include but they were the same image. They could not be separated. If you have ridden horses, and I have a little when I was younger, you will know that you have to adopt certain attitudes or body shapes, otherwise you will just fall off. Legs must be in the right place for example. You can’t see the legs in this image so what to do?
I ended up doing a separate drawing of the horse with rider showing her legs and stirrups. I had to match the correct leg position with the rest of her body. That took me some time. It was quite a long time of experimentation, before I was ready to paint. Sky and water were comparatively straightforward in comparison. I had to give horse and rider two coats of burnt umber before I had a perfect silhouette.
I must have done something right. The painting sold on its first announcement
I would have liked her for my current show at Denbies Wine Estate but you can’t have everything, and anyway you can only sell a painting once
Our grandson went up to Oxford about a year ago. He sent us a postcard during his first term. The view was of the dreaming spires which was an ideal picture for painting. All those old favourites, Tom Tower and the Ratcliffe Camera plus a few that I’ve forgotten
A tremendous amount of national history took place in Oxford. The university is one of the four oldest in Europe, and I believe that Merton is the oldest college, although happy to be corrected on that score. I haven’t been there for years, unfortunately. I remember in the cathedral, there is the notch in the wall which supported the dais on which Cranmer sat during his trial.There was only one outcome to this trial. He was going to burn. Queen Mary had already decided. She hated him for the way that he had treated her mother, Catherine of Aragon in the past. And, of course, burn he did, and the spot is still marked.
During the Civil War that followed about a century later, Oxford was the seat of the King and the Royalist Party. London had declared for Parliament.
In this painting, I struggled to capture the soft light on the honey-coloured stone, and hopefully a quiet peaceful atmosphere. Others may judge me on that score
I haven’t shown this painting publicly yet. My first opportunity is at the end of this month, when I show with the Village Artist at Denbies Wine Estate near Dorking, Surrey. They have been kind in the past, so we shall have to see what the reaction is.
I painted Autumn Swans about ten years ago. A breeding pair nest most years on the Basingstoke Canal, which runs through our village,and bring up their family. I have painted them often, sometimes with their brood of cygnets and sometimes before they are hatched. This pair are foraging on the leaves that have fallen on the canal water. Their beaks are tricky to draw and get right. They are shovel shaped for sifting through mud. So often it is easy to draw them pointed which is wrong
The canal water at this time of year is brown, as their is no reflection. You just look through and see the muddy bottom. Deads leaves float on the surface, gradually sinking. The white of the swans is the plain paper, with some blue shadow and also a little raw sienna, as these birds are not pristine
I have another swan picture ion my website, which shows the cygnets as well as mother swan
This painting finally found its new owner a few days ago. Paintings can sometimes wait a long time for the right person. The new owner is delighted and so am I. At the same time, I shall miss these swans, part of my life for a long time, but it is right for them to go, and fly the nest
This is one of our local churches in the village of Pirbright, Surrey. In the grave yard is buried Henry Morton Stanley, the explorer who found Livingstone, and uttered the immortal phrase “Doctor Livingstone I presume”
I have painted this church a few times in all seasons and these have always proven popular locally. What to do, to do something differently? Always a problem, especially heading for a local exhibition, as I am in December. I have chosen an early morning light which sometimes bathes everything with a red light. I have been cautious with the colour , perhaps too much. \i could have used a dilute wash of Permanent Rose over the tree trunks which would have made them pop, as the word seems to be.
I used four colours in this painting. Quinacradone Gold with a slight Vermillion tinge to it for background, Burnt Sienna with vermillion mix and for the very dark shades , Transparent Brown again with a tinge of the red.
The painting is on display at the moment. The art club have taken over the old post office in the centre of the village which will be very helpful as a permanent exhibition
We shall see. We shall get opinions if nothing else
I never tire of looking back to our visit to the Camargue, where tributaries of the Rhone flow into the Mediterranean sea. This wetland area is famous for its wildlife, flamingos which breed here in possibly their only breeding ground in Europe, bulls which are bred for fighting, and, of course, the famous white horses which run wild throughout the area. They are magnificent to watch
I have painted them before. Always a delight. I hope you enjoy looking at this painting. As far as I remember I have only used two watercolours, Cobalt Blue and Vermillion which work well together as a sunset effect.
I love Istanbul, although we haven’t been there for some years, and maybe won’t get back . We have made three or four separate visits to Turkey, and most included Istanbul. Many wonderful things to see there of course, but one of the most enjoyable, was our trip along the Bosphorus. There are so many sights on this stretch of water, and the ferries crisscrossing the water are certainly one of them. I should remember the name of the mosque in the background. I think it was the one devoted to Suleiman the Magnificent Let’s hope I’m right
For this painting, I used a simple palette of blues and orange reds. I made the city background hazy and put more detail into the boats. As usual the photograph does no justice to the painting.
I mixed Cobalt and Phthalo Blue for the sky and for the water. I used various reddish colours for the buildings ranging from Burnt Sienna to Orange to Cadmium Red. Blue works well for the shadows on the buildings. I kept the buildings including the mosque hazy and soft.The boats I painted in sharper detail.I used watercolour pencils for the underdrawing and then went over the whole thing with clean water and let the picture dry hard. The result was a soft outline ready to paint but avoiding pencil lines. The result looks as though I have painted with a brush, which I am not good at.
This will go on show at Denbies Wine Estate in September
A favourite place from my childhood. We were taken there and allowed to play on the gaming machines, which were not very sophisticated in those days. I remember putting in one old penny which was the pre-decimal currency, so value today, one half of a new penny. The aim was to flick a ball bearing round at speed and see where it landed, hopefully in a slot which gave you a payback. As I say, extremely unsophisticated
This painting relates to the reference photograph which I posted last time, which I was kindly allowed to use by Vicky Stovell of Smiley Sunshine Photography.
I used few colours. Cadmium Orange, Ultramarine Violet, Dark Mauve and Cobalt Blue. I combined the blue and the violet for the sky as well as the wet sand at the bottom of the picture. The uprights for the pier were in deep, deep shadow so i used the dark mauve, instead of black which I avoid where possible.
In order to get the bright sun image, I held a tissue in place with one finger, and then applied the first wash. There are probably better ways of getting that result, but that was the best I could think pf at the time
This painting will be going in my September exhibition at Denbies Wine Estate, so hopefully will freshen up the collection
I have another Istanbul painting in preparation so will post that at a later date
offtoafineart 