Painting Holidays in Chateaux in South West France & Provence 2019The green Dordogne in sunny spring time
Posted on June 10, 2011
130 x 84cm (approx 52 x 33 inches).
© ADAM COPE
SOLD
Partly because the place is just so amazing:
Partly because it was great to do a large oil painting ‘en plein-air’ .. it took many days to complete :
& partly because the person was a real pleasure to work with.
The painting itself presented some challenges that I don’t usually undertake in my personal selection of what /how to paint. But flexibility is good for me, I feel. All in all , highly enjoyable.
see the initial compositional sketch
….. to give you an idea of the size (note that the roof is now back on the studio but I haven’t wired up the spot lights yet).
plein-air painting – Le Cingle de Limeuil, Dordogne
Posted on May 23, 2011
‘Le Cingle de Limeuil’
Cingle = meander in the river Dordogne at Limeuil.
‘Le Cingle de Limeuil’
plein air painting
WIP : Le Cingle de Limeuil, Dordogne
Posted on May 17, 2011
‘Le Cingle de Limeuil, Dordogne’
ETAPE …. En Progres …
Oil on Canvas
65 x 54cm (approx 25,5 x 21,5 inches).
© The Artist.
Le cingle = the meander of the dordogne at Limeuil
FINISHED STATE
ETAPE FINALE
HOMAGE À CÉZANNE
Too much like Cézanne? Ahh maitre Cézanne, you who have given me so much? It sometimes seems to me that even the farmers plough their fields as if by your hand,. Your vision has helped shape the vision of many artists, including myself, who followed on behind you. It was by looking at some your many ‘half-finished’ paintings – works in progress – that I partly leant to oil paint.
Work in progress by Cézanne
painting of cahors A.O.C.
Posted on February 18, 2008
150 €
painting of cahors A.O.C.
Vines in winter/early spring in Quercy. The appelation is Cahors A.O.C., which is sometimes known as ‘the blood of France’. This appelation has two distinct geographical types, that tend to give two slightly differnet wine types. That of the ‘cotes’ (slopes) & that of ‘la vallee’. This high point overlooks the valley, with its bluey haze of evening valley mist/descending frost.
I thought this painting of the red ground would look good alongside this one, of the white ground
© The Artist.
Monflanquin – Tournon d’Agenais – les villages perchées du Lot & Garonne
Posted on January 8, 2008
30 x 40 cm (11,8 x 15,7 inches)
Oil on Panel
© The Artist.
150 € – possibily of taking in sterling GBP & US dollars via Paypal.
les villages perchées du Lot & Garonne
2006
12 Figure (61 x 50 cm)
Oil on Canvas
SOLD
‘Tournon d’Agenais’
2007
huile sur carton-toilé
30 X 40 cm
© The Artist.
sold
Over the Hills
Posted on November 11, 2007
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
Tuque Lagarde – Vignes
Posted on November 11, 2007
oil on panel
20 x 50 cm
150 euros
‘Tuque Lagarde – sunset’
2007
Oil on Panel
38 x 19 cm
sold
Raincloud over Monbazillac
Posted on October 26, 2007
Watercolour.
33 x 24cm
© The Artist.
City in the West -1996/2004
Posted on October 19, 2007
Oil on Board
122 x 61 cm
Oil on board
122 x 62 cm (ex frame)
1996-2004
Slower Paintings
Both are large paintings that were slow to realise. Eight years doesn’t get me noticed in the ‘painting a day’ blog-roll of fame.
What I was saying about fast..slow..fast. They aren’t alla-prima plein-air small formats, nor are they spontaneous one-take watercolours done from direct observation. Rather they were made in the studio from imagination & memory & the odd sketch. They both needed a long ferment & much looking at before I could see what they needed. They are also products of doubt. I was engaged in much thought about the landscape & the functioning of an image in the viewer’s imagination. Lots of stuff which I forget now. Anyway, here they are together, documented, together as I meant them to be.
Last night I was referring back to a biography of Turner, where Turner himself is quoted :
larger and more liberal idea of nature from the comparatively narrow and
confined; namely that which addresses itself to the imagination from that
which is solely addressed to the Eye. “
Ahh me, these ideal landscapes, do they ever exist outside of our own personal mental maps of where Heaven & where Hell is found?
Anyway, the opposite is easily found on teh internet. Great numbers of “comparatively narrow and
confined” landscape paintings, where it is thought that just simply copying appearances is all taht is needed to make a good painting. Wrong view, IMO.
my visionary mode
BTW, I’m getting back into my visionary mode as I’m going to take part in a project to celebrate William Blake’s birthday. When the roof is fixed & the studio & office sorted out….
Albas, point de vue surplombant Le Lot
Posted on September 23, 2007
28 x 38 cm. Quarter ‘imperial’ sheet Arches rough 300 gms.
© The Artist.
Click on image to enlarge (& see without the blur).
Looking down over a meander in a river
Sunny evening point from a rock outcrop overlooking a meander in the river Lot, the next large east-west river southwards from the river Dordogne.
Painting demands a certain type of concentration. And plein-air painting still yet another type of concentration. The french word ‘éveil’ comes to mind, which translated means awakening or wakefulness or alertness. Painting does require alot of concentration… and wakefulness. Yet at the highest state ( I hope I’ve not yet reached it, as I adhere to the principal of the necessity of ‘over-reaching’, of always pushing further for quality) of éveil, it feels more like dreaming, than being totally awake. When I talk to other watercolourists, they too report a feeling of ‘it all sort of coming together’ in a state of ‘éveil’. It’s only after the painting session that I realise just how tired I get after painting & day dreaming!
The Hudson River School of Painting
I was out surfing “The Hudson River School of Painting” & stumbled across these jpegs, which I can’t yet attribute, so whoops, copyright. I post them here not because the red idian with the umbrella on the rocky outcrop was probably off on a day dream éveil but because they are wonderful images of meanders.
Is it a cheesy cliché to paint THE VIEW?
Always a nagging feeling inside me, that hasn’t gone away, that it’s too cliché… but , on the other hand…. neither has my desire to paint these amazing views & meanders. They move me deeply.
far from the world of plein-air watercolours but belonging in spirit with the red indians & the Hudson River painters, is my old cheese ‘Le Cingle de Tremolat’
