Hooray! Just heard this painting won the "Purchase Prize" in the Oexmann Painting Competition /Exhibition which is a biennial event, held at Devizes Museum. The exhibition will be hung in the Museum Gallery and runs from 28th October....
(it is encouraging to get one's work officially noticed from time to time._
This painting below that was done first, over two consecutive days. In fact I laboured a bit over this, all those random stacks, getting them roughly in the right position, (missing out some as well) - painting in the dense Copper Beech was a bonus, I love those trees but it's not easy to find a good position to paint them as being rather ornamental they are usually on private land. I had to put the Pylon in, these march everywhere across the landscape in Wiltshire.
The farm owner lady came by to say hello, and complimented me, saying she thought it looked 'Beautiful'. I didn't want to tell her of my doubts on that. Then feeling slightly buoyed up by her positive words, as I was about to pack up but I though I ought do a fast one of a stack, so got stuck in painting the one above very freely and fluidly, and it was soon done.
I wish It was always that quick and easy.
Corn stooks, copper beech under pylons
Below - Another painting with characteristic pylon - entered in the same exhibition 2 years ago. It was painted at the end of February, there was a morning frost, but as the weak sun penetrated the thinning cloud, the light was beautifully delicate, and it felt like a hint of Spring, after a long unusually cold winter..
The paintnigs below were made specifically and entered for the Bristol Art Prize 2013
The light was often so interesting, but changeable I therefore decided to do two frame together and show them as a Diptych.
quickly blocked in the basics sitting at the harbour ......
.... and nearly got blown into the
water, and all the equipment too during the second sitting the
These received a "Highly Commended" tag, but sadly that doesn't come with a useful ££Prize.
However congratulations to the winners, there were some worthy paintings.
Bristol Dock, with Princes Bridge in the distance, my designated place in the Bristol Art Prize 2013 competition. This is quite large for a plein air painting - 34" x 18" (86cmx46cm). I spent three good sessions there
There a re still bits to improve though it has just been uploaded, submitted to the competition . Competitions are a weird process. Still, worth a try....
This 180deg scenic view is comprised of five photographs stitched together - taken from the escarpment of Salisbury plain, from Redhorn Hill above Urchfont. It was a slow moving scene, so I tried to paint it but at the same timeI realized my puny 14" x 10" painting board would not capture the grandure. I'd only just managed to get a little of the scene downbefore being driven to shelter by a stormy downpour. .
The result is I've bought more 3mm ply and have cut much longer format boards for future works i.e 30" x 10", Hoping I can capture something worthwhile on them .......
I am planning a series of plein air paintng days with and aim to help people who would like to try painting directly in the landscape.
It is a very challenging way of working, out in the elements, but the results can be so rewarding bringing fresh surprises and paintings with a sense of fresh vigour, studies of landscape which one could hardly dream up in the studio. The resulting work also is great material for developing larger paintings in the studio.
At the moment the plan is to organize the days to record the changing seasons in the outlying farm estate surrounding the National trust property at Great Chalfield.
Spent a good couple of hours with Tom Hughes painting the Gorge from near Clifton Suspension Bridge.
The second work from that vantage point. The light had been good but went a bit flat in the late afternoon.
Done last 2011, the Shard not yet finished. Both times it was extremely windy, wind gusting up the river and very hard work. These feel like they need a lot more practise. (Top 14" x 10" - Lower 12" x 10" Oil on panel)
'Evening with Mayflower and Rapeseed' field atop
Lavington Hill, edging Salisbury Plain. There could be a lot more white
may blossom on that bush but the light went suddenly, perhaps I'll
still add some more. Oil
on card (10.5" x 8")
The painting below had a tricky
beginning. I'd forgotten my double-dipper so had to paint with pure white
spirit and no oil medium - the cold and fine snow seemed to affect the texture
of the paint so it felt quite dry despite liberally using the wet spirits.
Cows at the
watertank in snow, and Willow Trees
The following day, going back to do a little more to
the above, the cows proved a problem. They came right up to the
two-strand electric fence, gazing curiously at me and bellowing frequently. A
bull with a ring in his nose and steaming nostrils joined them and when he
bellowed he had a destinct tenor tembre to his, whereas the cows and full blown
bass voices. Odd that!
All this was unerving and I couldn't really
concentrate standing two feet from the fence, with 20 ton of cattle steaming so
close to my elbow, so I did the painting above, moving off about 20 ft (observing the 1ft per 1ton, safety rule:) and standing with my back to them - still unerving
and checking behind me every now and then!! This time mislaid my rigger, an essential brush, for lines and detail, so the painting hasn't reached a successful conclusion.
Then I was facinated, watching a small flock of starlings
flying back and forth, like they weren't sure where best to settle. It looked a
primal landscape, more like from a Bruegel painting, hardly like England.