AN AUTUMN MORNING IN AINSDALE WOODS – WATERCOLOUR PAINTING

P1070369

One more in a series of woodland paintings. I have found that woodland scenes do not sell very well. Perhaps its the way I paint them and I just need more practice. In the past I did them on half imperial sheets 52cmx36cm approx. I decided to make these latest paintings smaller and so they are on quarter imperial sheets. You can but try and as Ron Ransom used to say (is he still alive?) its just a sheet of paper.

Other woodland and landscape paintings can be found on my website: grahammcquadefineart.com

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6 thoughts on “AN AUTUMN MORNING IN AINSDALE WOODS – WATERCOLOUR PAINTING

    • That’s the sixtyfour thousand dollar question. Who knows? For me if I like a painting size is unimportant, though cost could come into it if got towards a thousand pounds.
      People have said to me that they don’t have any more room for a painting, but I think it is more a cop out and they don’t like it enough.
      What I was talking about was sustaining the authenticity of loose washes/splatterings etc to suggest foliage and bushes on a larger area. It is easier to manage on a smaller scale and more effective. I personally find amorphous shapes difficult to handle believably on the bigger scale – I guess I need more practice.

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      • Interesting. Yes, that’s probably true that if one really appreciates, money is rather insignificant. And I guess people’s style are changing with the times, as well as their home decor.

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  1. I am going to give my opinion on the woodland scenes. First, I do not think it has anything to do with size or the way you paint, I think that is absolutely fine. I think the problem could be down to geographic location (stick with me). I think people buy scenes for something that either relates to them personally or is something they want in the future as part of their persona. When I lived in the UK and worked in Liverpool I was the “odd” person who would be off to the Lakes or North Wales hiking on the weekends; most people’s weekends were footie, telly, shopping and the pub. Nature wasn’t part of the deal. Here in Canada nature paintings are very well received; we have a lot of true and wanna-be outdoorsmen. I think people buy what they know or want………explaining the popularity of seascapes…..everyone wants a beach house.

    There is a blog called something like “three generation watercolorists”, here is a link from a recent post of their’s so you can find the site; http://threegenerationwatercolourists.wordpress.com/2014/11/01/courage-peace-and-quiet-strength/
    One of the painters paints landscape of northern Alberta (Canada). Your woodland painting reminds me of some of their work.

    I just wanted to share my thoughts as my husband and I had a discussion really recently about how one reacts to certain styles of art depending on the environment they live in. The discussion also went into how it is difficult to get into shows when it is outside of the panel’s experience. The thing that prompted the discussion was the latest pieces I am working on which are skulls you find on farms done in lino cuts and printed on eco-printed fabric. We decided it was going to be interesting to see how urbanites respond to skulls nailed to fence posts (which are every where on the back roads!). Gut feeling, they won’t respond well.

    I hope at least my thought process was of interest.

    Deb

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    • As I replied to tealstone it is more about portraying amorphous forms believably on a bigger scale. It can quickly get messy.
      However I do agree with you on the emotional response on a place you know. That is why I always put place names in my landscape titles. If the person isn’t hooked by the image they may be engaged if they recall the location. It has worked many times.
      I think your comments on the interests around here are very pertinent. Even in a life drawing group I went to yesterday in Liverpool, the conversation was football. As Shankley (an ex Liverpool manager) said: football is not a matter of life and death – its more important than that. When you understand that you start understanding the ethos here.
      As for juried shows. If they are juried by experienced artists I think they are fairly open to ideas. I have had stuff rejected ( haven’t we all) and later, upon reflection you think, yeah, maybe that wasn’t such a good idea.
      The most difficult thing to get in this game is criticism. It is always good because it makes you look at something differently – even if you don’t agree with it, it forces a different view.
      I mentioned Ron Ransom in the piece. He was a man who didn’t pull punches and helped me enormously. He said to me he had six hundred entries for an exhibition with space for three hundred and he selected on design only, disregarding technique. That was his criterion and he stuck by it in an effort to get a coherent exhibition. Other people will have different methods, but in the end they are only trying to get a decent show.
      Best of luck with the skulls.

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      • I definitely understand your mention of Shankley, not only did my husband have the saying on a shirt………but our youngest son has the middle name “Anfield”. First time my husband took me out was to a Liverpool match. Even here Liverpool FC invades our life, our older boys get up at the crack of dawn to watch the matches. It is the one thing that is really missed from when we were in the UK.

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