Those who read the text in my last blog may recall I had little hope regarding sales at our latest exhibition, which is now running. Well, the very day I put out the blog this painting sold. I must admit I was pleased with it when I put it out on the blog in October last year, and am still pleased with it. Certainly, enough to give it a second airing.
Here it was, by the chair, but no longer.
I had put it in a solo exhibition around Christmas, but no one seemed interested – despite other sales – and the painting followed me home. I thought that perhaps muddy puddles and broken roads were not what other people wanted, but they certainly interest me, and obviously, someone else.
I took the opportunity to play around with colour on this painting of a country lane close to Little Crosby. Blocks of discrete colour arranged according to tone. In the shadows it allowed some quite diverse and strange selections which added punch and when completed, surprisingly, looked quite natural.
I was also pleased with the feeling of light I achieved which reflected the the bright summer’s evening with the wheat ripening in the field beyond.
The process is quite time consuming. Normally I can cover big areas with quick brushstokes – but not on this one. The methodology slowed me down and made me consider the placement of colour more analytically.
I added the dogwalker at the end as an afterthought, subsuming them into the landscape as I had been that day, painting in the evening light.
This is the third painting from a recent local walk. The two others I posted were watercolours, but I decided to do this in a stylised way with acrylics. I was taken by the illumination of the ivy on the tree trunks and thought that the potency of the saturation of the acrylic paint would better show this off and the bright reflections off the leaves had the feeling of a mosaic. The ivy clad trunks were in conflict with the bare winter branches which added more incongruity. So here it is – on our way back to the car.
The other two were the Boatyard at Banks and Afternoon Stroll. So in the end it proved a fruitful afternoon`s stroll.
I did this a couple of weeks ago, but it got forgotten in the pile. I was after the smoky blues you get in the still early mornings and did resort to a glaze of blue tinted gouache. Perhaps more foliage detail in the foreground might add to the depth, but there is an understated calm about it which is what I was after.
You may have picked up a certain dissatisfaction with my previous post and I did manage to find the gesso – so here is another version. I wanted colour and it is needed on this, our shortest day. A blast of summer.
The flattening of the perspective gets the viewer closer to the action of the switchback road that can even make the sedate cyclist queasy. It also clears space for a rush of colour for the sheer sake of it. Even if it isnt the finished article, I am closing in.
Back at the end of August I set out on my bike one morning to do some painting. The light was sublime and I settled in a field to paint this cottage. I love the way the tree hangs over the lane and the jumble of cable posts stand around like lonely drunks at the end of a party. I posted the sketch I did at the beginning of September and I’ve put it below.
When I came to move on in search of another subject I noticed the row of puddles in the broken road surface. I love puddles and their reflective quality as well as the textures of the broken road surface and the mud and stones stirred up by passing tractors. So I took a few photos.
A village on the north of Liverpool, Lunt seems to be just a small ribbon of modernish houses on the main road, but if you detour and slip up Lunt lane you come upon what is presumably part of the old main road with a scattering of old houses, now being gentrified, and a view of the nearby Sefton Church in the background. The lane doesnt go far, if you follow it, and deposits you further up the main road giving you but a taste of what it was like.
Lots of splattering and flicking of painbrushes, along with a few dabs of masking fluid on this 52x35cm painting.