There isnt much across the moss – drained marshland behind the coastal dunes. Even less when the lowland is blanketed with mist and all you can see is a ghostly tree and a row of staggering poles. This was done with loose washes and then a bit of drybrush in the foreground.
Inklings of summer are seeping over the hedge and with it, the promise of yellow roses which sit at the back of the bed close to my decking. I wanted to increase my stock of floral paintings and decided to start with the roses, which I struggled with. Not as loose as I had imagined and wanted but in the end there are some reasons to be cheerful. There may be more flowers in the coming installments.
Another corner of a field and another repeat. In my last post it was a restrained approach to a similar subject. This was more about pouring and spraying and trying to make something of it after the deluge.
I certainly liked my last version of this, but it stayed on the shelf after many outings. So it was back to the easel and this time I have removed some of the darks and put in more foreground colour. I have emphasised the light through the trees and introduced a fence post to redress the compositional balance – anything for a sale.
Continuing the series of repeats. I have exhibited the first version of this many times but it never sold . I liked the tight range of hues which I hoped emphasised calm and quiet. This time I have increased the lights in the wooded area and darkened the field shadows. I have also ensured that the yarrow flower heads contrast against the shadow areas in the field. We’ll see how this goes.
The coastal path from Southport to Crosby takes you along sandy beaches, through Pinewoods and skirts an army rifle range before depositing you in front of Anthony Gormley’s Another Place. Here, in the painting, the path leaves Formby as the morning sun breaks the scrubby, wind sculpted trees and dances over the long grass.
This is another repeat of a painting I have posted before. I hope I have got the light in the grasses better and improved both the contrasts on the pathway and the textures in the bracken and brush.
Another one in the series of paintings I’m not happy with since I first did them. In this version I hope I adequately captured the chill mist you get in autumn on the low lying reclaimed marshlands. The switchback road, the tilting poles and the scrubby verge which falls away into a deep ditch, all contribute to a feeling of other worldliness where some bring the ghosts in their heads and give them free rein.
Rushing around looking at replacement paintings for the exhibition after the sudden sales, I considered a number of local landscapes for display. Some I had affinity for but was reluctant to put on show. So when the dust settled last week I thought that I should see whether I could get them to a stage where I would put them in a frame to exhibit.
This is the first one – the beach at Southport in the evening. The first version was quite large – a half imperial sheet. I realised I could get the essence by compressing it, with the sand, grasses and reflections on the water constained by a narrow format. I also kept a tight reign on the hue, reflecting the beach in the sky.