Rooftops over Ragusa: the finished painting

Rooftops over Ragusa Finished

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

Rooftops over Ragusa: the painting in early stages

Partway through the painting

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.

Still a long way to go yet

A Street in Florence–the finished painting

A Street in Florence–latest version

So here it is, the recent version, which I had attempted in a different style, but despite which turned out much the same as my version of four years ago.

As a group we were trying to produce something in the style of Tom Haugamat, the illustrator. Not someone I knew but impressed with his work when I looked him up. Most of our group were working on ipads and produced some very credible if not impressive work.

Mine veered off course as my own style crept back in. I still kept the painting simpler, that is less detailed, than my norm, and I fancied started to have a cubist feel. I thought that maybe that is how cubism started to evolve. Not that I would have been clever enough to develop a major movement like cubism, but I might recognise it happening

Anyway, this is how it turned out, and others can judge, as always

The streets are deserted today in our local neighbourhood despite the warm weather. We are becoming more disciplined in our efforts to check this pandemic. I took a short walk this afternoon, which we are still allowed to do, for exercise, just one walk.

It was very eerie out there. I took some pictures for a possible painting. I don’t usually do social commentary, but maybe something as a record would be of interest one day. I have lived for nearly eighty years, and never experienced anything like this. I wonder how many people are thinking the same

There was something very like this happening in 1665, when the bubonic plague travelled from London to a village in Derbyshire called Eyam, in a bolt of cloth which had been ordered by a cloth finisher in the village

When the cloth was unrolled the infection spread to the cloth finisher and he died within three days. The infection spread quickly, people died and survivors buried them, in gardens and in fields. The village elders closed the road in and out of the village, total lockdown. People left food and supplies outside of the village

Gradually the plague burned itself out. Not everyone died because they never do in an epidemic, hence this dreadful expression herd immunity. One woman, a farmer’s wife buried her husband and three sons in a field. She survived and went to live afterwards with her sister in Sheffield.

Today Eyam is known as The Plague Village and is a tourist attraction.

A Street in Florence-Revisited

A Street in Florence– first version

This was the painting that I did some years ago from one of my own photographs. We had toured Tuscany by rail, and went to Florence of course as one of the most important destinations. I took a photograph looking down this street, and painted it when we got back. I gave it to a friend as a leaving present

I thought I would like to do it again, using different colourways, and that is what I am setting out to do

So far. and I haven’t photographed a stage painting yet, I have put in less detail. The images are very simple blocks of colour, almost cubist in effect. I didn’t think I would like doing it this way, but having let my work dry out. the result is starting to grow on me. But I have a long way to go yet

For now I will just publish the stage I’ve reached. It is working out differently to the first version. I’ve used a different colour for the distant buildings, which somehow I prefer. We’ll have to see how it finishes

Part Finished

Photograph was taken quickly and is poor but will give us an idea

Ponte Vecchio, Florence : the finished painting

Ponte Vecchio by Evening Light

Well, I prefer this version to the previous one. I have removed the grass bank, and the need to introduce a different colour. Also I prefer opening out the riverscape too.

The quayside with boats, of course, is fanciful, I know, but the picture needed something else coming towards the foreground. Even now I wonder whether this was enough. A large boat heading towards the bridge would have worked but too late now. the painting will have to stand as it is

In common with so many, I am in self isolation. Art exhibitions cancelled. Holidays cancelled. History groups cancelled and so on. It is the same for everyone I know

My wife and I are just grateful that we were able to celebrate our golden wedding on March 7th, just before restrictions started to bite.

Anyway, a good time to paint and get ready for end of year exhibitions. I am also updating my web site, something I get round to about once a year

Keep well, wherever you are

Ponte Vecchio Bridge, Florence: the second version

Second Version Drawing

I wasn’t overly happy with the first painting of the Ponte Vecchio, as I may have said. I didn’t like the grass bank, which although attractive in real life, meant that I had to introduce another colour which I didn’t want to do. Also it cut out a large section of river, which I think was a pity

Instead of the grass bank, I have constructed a wharf with boats. Fictitious I know and offensive to some. The bridge however remains intact, and is still the subject of the painting.

I much prefer this composition. Not only do I keep my limited palette, but also brings something into the foreground, which is useful

Plenty of time for things to go wrong though. With the gentler colours that I’m using, this is more sunrise than sunset, but I still have to make up long shadows which I find tricky. Where exactly will they fall, and will they look convincing?

Time will tell

I was asked to quote for a commission yesterday, so there is some life in the market, which is of comfort, with all the bad news at the moment

Drawing the Ponte Vecchio, Florence

Reference photo with grid

I have used the grid method of transferring an image before, but was reminded of it when I went to the Hockney exhibition at the Lightbox in Woking recently. It is very useful especially when you want to enlarge a picture as I do with this one. This is how my drawing has turned out

Drawing of Ponte Vecchio from the photo

I have now doubled the image size so that it is about the usual size that I paint, ie 30×40 centimetres. I have traced the drawing now and am about to transfer this image to watercolour paper

The nice thing about using this method is that once the grid is in place on both images, then there is very little, if any, measuring to be done. Drawing or copying within each small square is relatively simple, and gives you a check on perspective so very useful for anything architectural

There is no restriction on size so if you wanted to paint a mural and make it ten times or twenty times the photograph, then you could. You can work the other way, of course, and reduce the size of an image too.

I shall paint this when ready and probably use a completely different colourway than shown in the photograph. Not sure what yet, possibly an evening colour, and may even do two different colour ways from the same drawing, which will save me some time

We’ll see how it turns out

Venice:Grand Canal the finished painting

Grand Canal, Venice

This has taken a long time to complete. We were away in Romania over the New Year Break, came home and were ill, and seemed to take weeks to recover.Funeral preparations had to be attended to throughout all this for my father’s burial.

However, on a more upbeat note, working on this painting has been a great support, as painting always is. There has been so much detail to attend to, especially with the buildings on the left. The architecture is very Gothic, so intricate, and the variety of colours was exciting. Trying to colour match the photograph was amusing, especially when it came to the flags.

I may have said that I altered the composition from the original photograph. I have shifted the buildings on the left away from the buildings on the right. This has cured some of the congestion, and has also given a view to the Customs House and beyond to the open sea. We now have depth where before we didn’t

I ended up quite liking the painting, despite the jumble of different colours. Sunny and bright at this grey time of the year, which cannot be bad

What shall I look at next? Staying in Italy, but moving from Venice to Florence, I am going to have a crack at the famous Ponte Vecchio , and see what sort of fist I can make of that

Venice: The Old Fish Market finished and framed

The Old Fish Market, Venice

Finally completed and framed! It seems to have been a long time coming. I have shown it framed as because of its size and shape, I can only offer this painting in a framed condition. That will be fine for a local exhibition, but not sure about sending it, although the shipper I use is very good and is used to packing antiques, so will just have to investigate the cost side of things.

I used one of my own photographs as a reference for this painting. Looking down from one of the old palaces opposite, this view was nicely framed by Gothic windows which I have obviously not included. That could be an entirely different painting at another time.

For now, I will rest this painting in anticipation of the next show, of which there are various coming up

I now have to think of my next subject. The Basilica of the Sagrada Familia is in my mind to do, but also is the local church in Shere Village. I will have to think

Venice: Watercolour Painting of Old Fish Market Completed

Detail from Old Fish Market Completed

The painting is finished. All in watercolour, my usual medium. This picture is just a detail, as the complete painting is long, about 50 centimetres , and as the height is only 20 centimetres, is consequently too long for the camera.

I have frames purely for these long panoramics, as I call them. They work well and are popular, and when I have framed this one , will photograph it again, which will show it off to better advantage.

As always, as I finish a painting, I have to start thinking about the next, and trying to decide in my mind what it will be. I think, and especially as I have been there recently, I might well paint something from Barcelona. The obvious candidate is the Basilica of the Sacred Family, which is breath taking. I did bring back some good photographic references, so should be able to do something worthwhile with that subject. I should make a start on that and get it at least part underway, before we undertake our next journey, which will be Rome, and goodness knows what I will bring back from there. Trevi Fountain, St.Peter’s, Spanish Steps, the list goes on and on.

To be thought about.