A couple more sketches taken from photos, but painted in one sitting, quickly as if I was on site. This is a path I’ve been along many times, cycling to work. The photo was taken a few weeks ago when good weather coaxed me back on the bike. I am a sucker for puddles and here they are in bucket loads. It was painted in three main washes. Sky and puddles, then land and the blocks of trees and finally all the left hand trees, house details, shadows and fiddly bits. I feel I went in too dark with the muddy track and that limited my options for building up texture there.
This is an image from late summer and it started to get a bit overworked trying to get the tufts of seeding rosebay willowherb ( I think) in shadow. This one probably needed masking fluid, but as I dont use it in the field I resorted to scratching back with a scalpel to get the delicate fronds of decaying flowers.
If nothing else it was a good exercise should I want to paint a bigger or more finished painting.
I posted a version of this painting in early January. At the time someone commented on the bottom portion of the painting; that it needed reducing. I had to agree with this useful suggestion and decide to extend and expand the narrative of the passing places down the canvas.
In the end I reworked two thirds of it, making it look like a collection of snapshots along this single track lane close to where I live – a record of a journey perhaps. The passing places, emblematic of how we have to compromise and defer on our journey through life – well, most of us anyway.
I certainly like the idea behind this painting and how the greys characterise the place and the vibrancy generated by this colour against the oranges and yellows in the sky and fields.
As practise for future plein air work I did this quickly on the back of an old painting, so I may not have got the proportions of the hill correct. I had an old photo and pretended that I was sat in a field getting it down with the minimum of washes. I also took the opportunity to jazz up the light at the same time. I was pleased with the result and I think the sky helps; along with ignoring a lot of the detail in the landscape. Its something I need to do more out in the field, putting in just enough detail to capture attention, but not getting bogged down.
Last summer I climbed Parbold Hill which is close to the M6, south of Preston. It looks out west over the Lancashire plain towards the Irish sea, amongst other places. This was the view I saw as I made my way back to my car. Earlier I had sat and painted a number of sketches which I posted at the time.
Here is the first one of the day, on the way up the hill.
The trees, in a line in the mid ground, on the top painting, I think are hawthorn trees, though I have never gone to investigate. This line of trees in the centre of the field have always interested me. In 2015 I was painting on the hill in the evening and took some images of the trees and did a pastel from it. Same trees, different angle – again I posted this one at the time. I loved the shadows cast by the trees from the setting sun and so did someone else as the painting was purchased soon after.
I have struggled with this painting and have decided to stop and have a rest. Publishing it will allow me to create some distance and ponder. I need the space: of late I have found my painting getting slower and slower and decisions taking longer and longer to make.
This painting comes from an old photo of a country lane near to where I live. I love the incongruous angles of the posts. The photo is below along with marks and water stains made by me.
I wanted to break the image up and decided to do this in a landscape format, like the photo. I did some thumbnail sketches.
And off I popped on a 75x50cm canvas. Before too long doubts crept in and out crept the gesso. Well the gesso came out after I had completed a new acrylic sketch over an old painting, which retained a lot of its original colours.
I thought that this format might be better so then the gesso did come out and I completed the painting at the top of the page. I thought that the notion of the painting being in three parts, with each part slipping past the other, echoed cars on this track having to negotiate past one another. I was reminded of that piece of performance art – Imponderabilia” Marina Abramovic where visitors had to squeeze between the naked artists stood at the only entrance to the exhibition. I apologise that this piece isnt as unnerving or erotic – but then that’s what you get on a Monday morning.
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.
There has been much uncertainty and quite a few false starts of late with my painting. I have been wanting to produce some stylised landscapes in acrylic alongside developing the ink and wash paintings I have shown recently. Not much progress has been made.
With the landscape, I couldnt settle on a subject. Then I recalled a wonderful morning I had spent on Cleives’ Hills this summer, with my watercolours, painting some cottages on the edge of the hill. I put the painting I did that day on the blog some time ago and I enclose it below.
I thought I might try this scene both in watercolour and acrylics. So here is the first one, in acrylics, with the cottages and the view of Liverpool in the morning haze in the distance. Fresh off the easel. There may be some more changes to be made, though I think I ‘ve got the punchiness I was after.
A slightly less edgy landscape than my previous serving. I originally sat down and painted this scene, in watercolour, with my back to the Leeds and Liverpool Canal, early last year. I was reminded of it when I walked past the view last weekend and noticed that the tractor track is still visible in the field about 18 months later – I dont know what was on its tyres. Maybe it was driven by Richard Long or Andy Goldsworthy…
I’ve used this motif before as part of other paintings, but decided to make it a painting in it’s own right. I roughly covered over an old painting to inject some energy and mystery to the final piece and then let both the underpaintings come through all over the image.
I love this half shadowed cluster of farm buildings at the foot of Clieve’s Hills, near Ormskirk in Lancashire, and this was mainly from photos I took when I painted the same scene outdoors in May this year. Like some other landscapes I have done recently, I have distorted the colour range and heightened saturations. Though I hope to have imparted a bit more edginess into this one with the underpainting and rough handling of the foreground.