‘Les Genets Fleuris’
Oil on Canvas
12 Figure ( 61 x50 cm – 24″ x 19,7″)
© The Artist.
A VENDRE – contactez moi pour le prix

Les Genets Fleuris = Broom in Flower.

Plantagenets in southwest France

Maybe you know the the story of the name of the Plantagenet (Plantagenêt) dynasty? They were named after the broom plant, la plante genet.
The Plantagenets were the Dukes & Duchesses of Aquitaine (here, in south-west France). Eleanor (Aliénor in Occitain, Eleonore in French, Eleanor in English) married the King of France, divorced him & then married the King of England, thus founding the Plantagenet dynasty (Richard the Lionheart was her son). Thus began The Hundred Years War (which actually must be seen in context of the Capetian ambition to subjugate all provinces of France to direct Parisian domination, starting with the Albigenian ‘Crusuade’ aka the first Inquisition in Europe & the annexation of Provence). Most of the towns & fortified castles around here date from this period.

Even in the woods the human history of the area speaks.

Broom grows well on sandy soil. The orange red earth on the left-hand bottom is ‘la terre rouge’, which I spoke about in http://adamcope.blogspot.com/2007/04/terre-rouge.html

A path through the woods is a subject I greatly enjoy. The symbolism of a path speaks to me. Wildwood, tanglewood, fangorn, findhorn, deep forests . A place where there is still space for nature… for the time being.

‘Le Chemin sur La Causse’
Oil on Canvas
12 Figure ( 61 x50 cm – 24″ x 19,7″)
© The Artist.

Lou Plantou – etude

‘Lou Plantou – étude’
Oil on Canvas paper
8 Figure (36 x 48 cm)
© The Artist

study = étude

yellow vines


Over the Hills

‘Over the Hills’
Oil on Panel
41 x 33 cm
copyright – the Artist

over the hills…… and far away.

alla prima , a cool paintingafter the hear, passion & gutsy fight of the yesterday’s paint

Last Autumn Leaves – vines in autumn

‘Last Autumn Leaves
oil on panel
6 figure (french format) 41 x 33 cm
© The Artist.
200 euros

Why do some pockets of vines hold onto their leaves longer than others? Here in the Cahors, the whte stone reflects the heat back up, also the south facing slope. Spoke to ‘la vinticultiste’ who reckoned it was because these particular vines have their roots well nourished by a rich water current, rich in nutrients.
Blue skies, sun shine through the vines, the last saturated glow of this autumn, one of the sunniest that I’ve known.

2 Rangs de Malbec – UNFINISHED STATE

‘2 Rangs de Malbec’ -UNFINISHED STATE
oil on canvas
36 x 48 cm (8F)
Unfinished state – I could say that about myself… ‘work in progress’; hummm.

my fauvist desires

Actually I did this one a week ago. But since then I’ve been too busy with other obligations & not had the time to consider finishing this plein-air oil. In the studio. Since then the leaves have fallen off & browned off to a raw sienna rich bronze. I post a photo of the red leaves as proof. Yes I have fauvist leanings towards to heightened colour. The leaves did exist. Often people don’t believe bright colours but often this is because they have not looked enough at nature.
Yes, there’s also the plein-airist dilema of how to make light into paint….hmmm, thoughts on the back boiler as I’m to busy to paint but I’LL be back!
Off to Cahors to paint this afternoon, in the land of the malbec vine.

Blé en Dordogne

‘Blé & Chemin, Boisse’
33 x 41 cm. Oil on Panel.© The Artist.
path through the corn in the sunny dordogne
didn’t walk along the tractor tracks, no wish to damage the farmer’s crop
an invitation

L’Orge en Dordogne, sud ouest France

33 x 41 cm. Oil on Panel.© The Artist.
Click on image to enlarge (& see without the blur).


Fields of colour, not quite colour field painting.
“When we walked in fields of gold” – Sting

72 x 34 cm. Oil on Panel.© The Artist.

Constable’s ‘Cornfield’

While now a fresher gale, sweeping with shadowy gust the fields of corn –
Text used by John Constable in exhibition catalogue, for his ‘The Cornfield’ in The National Gallery, London


John Constable, “The Cornfield”, painted 1826. Size: 56 by 48 inches (143 by 122 cm).

National Gallery, London (UK).

It was a friend of mine that remarked on the similarity of my painting above to Constable’s famous painting. Constable’s ‘Cornfield’ is so well known & such an English national icon, that it’s become something of a cliché, and so is difficult to see and admire without a strong feeling of going backwards in time…

Of Chocolate Box Paintings?

…. to an England & a countryside that no longer exists, other than on lids of chocolate boxes…. though sometimes you can still find snippets & glimpses of Constable’s subject matter, feeling abit like Keat’s nightingale song, briefly present for a moment only…. Is this what we mean when we say a landscape is “unspoilt”? That it resembles a pastoral painting?…. An expression of painful yearning for a lost arcadia, an unreal place that never was?… I remember going to the National Gallery to admire this painting with my Granny around the impressionable age of twelve. I guess I’m the type of expat Englishman who was taught to be skeptical of nationalist feelings, to love gardens… and to like chocolates! ….

The English countryside has changed greatly since 1826, as has the French countryside here in the Dordogne, the principal change being ‘remembrement’ (literally ‘dismemberment’), the reorganisation of smaller fields into larger fields, which involves the grubbing out of hedgerows and any tree-lined path, such the one that leads us into Constable’s painting. Other changes are the use of pesticides & modern seed grain, which give the beautiful expanses of (mono-culture) wheat, which to my eye, still remain an incredibly beautiful sight.

It was partly because the association with such a nostaligic & traditional (outdated?) icon that the next day I painted the same type of subject mattter ‘à la contemporaine’ ,

Blé & Chene (fr) = wheat & oak (en)

“Blé & Chene” Oil on Canvas, 12 F, Sold.
© The Artist

Fields of colour, not quite colour field painting.

Each year ‘en plein-air’ , following the yearly crop cycles, still asking some of the same questions, still paint…here’s another painting, from ten years ago, of corn & the ‘vibrating emptiness’ of huge fields of mono-culture, sun, summer & colour. Fields of colour, not quite colour field painting.

“42 ° Centigrade, Corn” Oil on panel. 1997. Sold
© The Artist.

No space for nature in the countryside?

What I still hold to be of great interest in Constable’s work, other than his love for nature & weather & plein-air, is his intense interest & knowledge of the countryside & it’s economy. The rural economy here in the Dordogne remains principally agriculture but… in certain areas, tourism has now the principal economic activity. This can lead to a clash of ideas & financial interests of what & how the countryside should look like. And if there should be any space for nature in the countryside… hedgerows with trees, nightingales & wildflowers or remembrement? (literally the cutting off of members…the grubbing out of hedgerows to make larger fields).

Must everything be destroyed by a mechanical, pesticided, subsided agriculture? Isn’t nature part of the countryside? Aren’t we part of nature? The trees and the other parts of the eco-system, what about them? Don’t they too have the right to be part of the countryside?

It breaks my heart & makes me despair.

Read more artists & ecology in this blog:
Artists & Ecology #1 – Festival Flore Faune
Artists and Ecology #2 – Robert HAINARD – how to ‘blind contour draw’ Artists & Ecology #3 – Constable, Corn & the Destruction of Hedgerows Artists & Ecology # 4 – Paintings of Potatoes, Semances & Homage à José Bové Artists & Ecology # 5 -Le Dropt, Castillonnés , a green corridor? Artists & Ecology # 6 – No Space for Nature in the Countryside? Wendell Berry

Elvis & Gang

‘Elvis & Gang’
36 x 48 cm (8F).
Oil on Canvas.
© The Artist.

Say you’re a codfish! – Peter Pan



Mr Jingling & Friends

‘Mr Jingling & Friends’
33 x 41 cm.
Oil on Panel
.© The Artist.
Click on image to enlarge (& see without the blur).

What you leave behind is not what is engraved in stone monuments, but what is woven into the lives of others. –Pericles


Doubt if it was actually Pericles but i do like it. Internet quotes aren’t too reliable.

We all woven into the web of each other’s lives. My little family … we ride together. Mr Jiggling bring us much joy.