Another from my early morning ramblings. It was around here later that my tyre got punctured and I was faced with a 3 mile walk home when I found out that my repair outfit wasn’t complete and I didn’t have a spare tube. I suppose that’s what can happens on your first outing of the year. I think I’m more organised now – even had the bike serviced.
I often cycle through these woods and the light on a sunny day gives great contrasts. I’ve painted it before but felt the result was a bit stilted. So I was suckered in the other day and decided to have another go.
Still not sure. Perhaps I could get the darks a bit darker. I’ll ponder on it for a few days.
The other evening I went out painting and on my way back, as the sun was setting, I took this shot. The light coming in low, lit up the grasses and vegetation. I’ve tried to paint something like this before, but when you’ve got a nose-diving sun, the only way is a photo.
These little lanes cross the fertile reclaimed marshlands, travelling inland. This one is particularly narrow and lorries have slipped off the verges and rolled into the fields before now – probably in the act of following their sat-navs.
Whilst out painting one morning I cycled back home through the coastal pine forest which runs between the railway track to Liverpool and the local airfield on one side and the sandy beach on the other. There aren’t people around at that time and the forest is still, warming under the first rays of the morning sun.
Last week as I was cycling up and down Segars Lane taking some photos of the moss for the painting I put on my blog the last time, my eyes caught a flash of light as I went past a drab collection of farm buildings at White Otter Farm. The buildings close to the road were in shadow, but the farm yard bisected the cluster of buildings and the low light, from the far side, illuminated the yard, bouncing off the puddles and sending open doorways into deep shadow. I had to stop down the lane, wait for a tractor to come by and return to check it out. The tangle of shapes and tones were fascinating and I took a load of shots.
I thought that it would be a complex painting to do, but it almost painted itself. I did most of it in a morning and finished it off the next day. I suppose it is the interplay of the complementary colours in the foreground with the dash of another set of complementaries at the far end as well as the interlocking shapes.
I didn’t realise a muddy farmyard could be this beautiful.
In November I posted a couple of paintings of New Cut Lane. This lane, in the painting above, runs parallel with it across the moss, inland, to higher ground. The land is fertile and has shrunk below the road leaving a big drop for those who miss their way. Segars lane is narrower than New Cut Lane and there are passing places along it. One is visible in the mid ground in the painting.
The pictures of New Cut Lane were contre jour which bestowed mystery and dynamism. Here the day is a little older and the light is coming from the right, burning off the morning mists and bestowing a calmness.
Other landscape paintings and those of the Southport moss can be found on my website:
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.