The green Dordogne in sunny spring time

dorgdogne, tableau, peinture plein-air



Commissioned painting
130 x 84cm (approx 52 x 33 inches).

Finished this large oil, which was a commission. I really enjoyed doing this commission.

Partly because the place is just so amazing:
….the view looking behind the other way

Partly because it was great to do a large oil painting ‘en plein-air’ .. it took many days to complete :

…don’t fall off the cliff edge! large canvas blow over in the wind….

& 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).

  ‘Le Cingle de Limeuil’

Cingle = meander in the river Dordogne at Limeuil.

‘Le Cingle de Limeuil’

Oil on canvas 65 x 54cm (approx 26 x 22 inches).
© The Artist.
The above painting is plein-air, painted on location, on the spot


looking down from the steep scape slope, buzzards flying up on the thermals…

Limeuil is the name of the town build on the hill at the confluence of the Dordogne & Vezérè.
I was ‘artist in residence’ in the beautiful parc panoramorique during
summer 2005. Here’s few of the images of that lovely long hot blue summer 🙂

plein air painting

plein air painting in the heat & light, i loved every minute of it, the sky was white blue wih heat – just great!
painting on location, on the spot, watercolours or oils
looking down  the valley , up the river
river of hope
oil painting
©adam cope

WIP : Le Cingle de Limeuil, Dordogne

‘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




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.


Cezanne - WIP

Work in progress by Cézanne


painting of cahors A.O.C.

‘Vines – Terre Rouge’
30 x 40 cm
oil on panel
© The Artist.
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.

Cahors A.O.C. also has two different soil types, which I have talked about before. That of white stoney chalk & that of iron red haemitite rich reddy orange clayey clod.

I thought this painting of the red ground would look good alongside this one, of the white ground

‘Vignoble dans le Quercy Blanc’
30 x 40 cm.
Oil on Panel.
© The Artist.
150 euros
A passer-by on internet might well assume the white in this painting to be snow. But is not. It is something far more surprising…in fact, it’s white chalk, which gives the name to the region in the Lot called ‘Quercy Blanc’. A field of vines growing out of pure white stoney chalk. These things surprise me..

‘Monflanquin – Hiver’
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.
Wet misty January sunset.

les villages perchées du Lot & Garonne

Monflanquin est une village perchée du Lot & Garonne = Monflanquin is a villege ‘perched’ on top of a hill in the Lot & Garonne department (county). It used to have alot more defensive towers & walls but Richelieu knocked them down in his campaign to subjugate the south west of France.
Here’s another oil of Monflanquin.

‘Monflanquin sous la Pluie’
12 Figure (61 x 50 cm)
Oil on Canvas
And here is an 30 x 40 cm alla prima blog etude from last Feburary, of the next fortified hill top town Tournon d’Agenais.

‘Tournon d’Agenais’
huile sur carton-toilé
30 X 40 cm
© The Artist.


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

Tuque Lagarde – Vignes

‘Tuque Lagarde – Vignes’
oil on panel
20 x 50 cm
150 euros
painted this little hill in the Cahors many times, lost count, and so have stopped numbering them (though I would like to – about thirty times I reckon). here’s one from last summer – a sunset. like the blue twinkle in it.

‘Tuque Lagarde – sunset’
Oil on Panel
38 x 19 cm


Raincloud over Monbazillac

Raincloud over Monbazillac
33 x 24cm
© The Artist.
Stripping out old fames & replacing with new watercolours for next year’s shows. Here’s an oldie. Have I progressed since 1999? Well I feel more at ease with wet & spontaneous & alla prima watercolours, though I do like the rigour in this one.

City in the West -1996/2004

‘City in the West’
Oil on Board
122 x 61 cm
Started in 1996 & finished in 2004
I’m currently trying to fix a seriously leaking roof & so am moving stuff around the house as I get to DIY in various rooms… These pesky portfolios of paperworks from under the spare bed, and now, the studio is being moved about & the larger format oil painting are coming out of deep hibernation. I’ve never photographed this one & in fact only ever exhibited once.
It was meant as a partner to ‘Glovers Island’, which is the same size. A duo, sort of urban vs. pastoral idyll.

‘Glover’s Island’
Oil on board
122 x 62 cm (ex frame)

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 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 :

“…it is necessary to mark the greater from the lesser truth: namely the
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

‘Albas 1’

‘Albas 2’
‘ Albas 3’
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’