Posted on June 2, 2007
Same painting as previous post, second time on location. In the rain, with exciting silver lighting effects. Probably in need of a session in the studio to tie it together. The water was broken up, with no reflection, which is OK as I perceive the Dordogne to have a black, dark aspect to it. Beautiful river! (difficult to paint).
Here’s a detail of the architecture. It’s an old grain warehouse. The quai that you see was an important place of trade on the river, with wine , wood and grain being exported down river. Not much of that now, only the tourist boats, fisher men, car parking, adoleescents & the occassional lovers.
Posted on May 27, 2007
Quai Salvetat vu de La Pelouse. Tableau en état de progres.
Great storms & torrential rains here in the Dordogne for the last few days. I painted this the morning before the storm, with passing clouds & intermittent sunlight, hence the bluish cast to the light.
Posted on May 10, 2007
Posted on May 4, 2007
Another painting from my ‘cuvée vendanges 2006’. Needing to finish off my larger paintings for this year’s exhibitions, which are fast approaching. All the teaching to be done as well… tempus fuigit.
repainting an oil painting – finishing an oil painting
This is a slow painting, which takes its time to be finished. I think of those stories of Bonnard, who could never ‘finish’ a painting, of how even when bed-ridden before his death, was asking his newphew to repaint certain patches. ‘A brush in one hand, a cloth in the other’. He would have had a complete horror of fast-shooting ‘a painting a day’ minatures.
For myself however, I feel there’s still mileage for me in plein air small size works & want to continue on with this project. I’m priming up another batch of panels, so ‘aux pinceaux Adam’. I’m happy with a balance between large, slower paintings & small, quick paintings.
Posted on April 18, 2007
30 x 40 cm. Oil on panel.
small-sized ‘alla prima’ paintings
Finished after a session in the studio. Making paintings ‘en plein air’ is a complicated process & it differs from painting to painting. No two happen in the same way. Each have their own specific way of unfolding. Some seem to just pop out, others are more problematic (…but often these bring more learning & sometimes more satisfaction, maybe even more ‘depth’ & less risk of slick facility). Some like this one need retouching in the studio. One of the things I hope to work on in this, my new project of painting regular small-sized paintings ‘alla prima'( or at least alot quicker than before), is to avoid over-working, or effectively painting two paintings…one on top of another.
Well, ‘aux pinceaux’ Adam (grab your brushes!). Off on a ‘paint-away’trip tomorrow for a few days.
Posted on April 16, 2007
30 x 40cm. Oil on panel.
First leaves of oak, with a bronzey tinge – ‘bronzage’ (presumably not bronzed from the sunshine). The sun is now getting hot, the land expiring alot of moisture, a mist hanging over the meadows, the grass knee high. I had to break off painting this because a flock of cumulus congestus ganged up & broke, rained, thundered & spat lightening. This often happens in spring with the hot sun driving off the steam from the wet land & this always gives me a throbbing headache.
So this painting is in an unfinished state.
‘Alla prima’ means painted in one session, first take. At it’s best, an ‘alla prima’ painting will have freshness. What it doesn’t have in formal perfection, it gains in vigour. Well, here I go teaching again. I think I’ll have to sleep on this painting & look at it again with fresh eyes, maybe tomorrow & maybe do some tweeking in the studio.
Posted on April 3, 2007
12 Figure (format Français) 50 x 61 cm. Oil on Canvas. Unfinished state.
I had an interesting conversation with my neighbour, Monsuier Verdier whose plum orchard I’ve painted here, about ‘la lune rousse’. If the night sky is clear, the april moon will shine with a red tinge & there will be a risk of frost, which can burn or redden (‘roussir’) the fragile buds & baby fruits. If however the night sky is covered, then no red moon & thus no frosts.
Please note that is in unfinished… & still in danger of being nipped in the bud. Not always evident to finish a painting. Can take years. Slow painting indeed. One painting took ten years before I saw what it needed. But of course at this stage it was more like grafting on another painting onto a previous stock. Which is how most fruit trees are raised as well.
As I post this, the evening sky has clouded over.