RESUSCITATED

With experience you can tell when your painting is dying and heading towards a disappointing conclusion. There are several ways to revive it. Part of the solution this time was to take a few days off and look at it with fresh eyes. Its curious but once you can start opening up the painting you go from a position of not knowing what to change to wanting to change almost everything, and more importantly knowing how to do it. This painting is jumping again.

Simonside Hills seen from Cartington. Day 4

A WAY TO START

I have found that the easiest way to get back into a painting is to find the easiest part to improve that will require the minimum amount of effort. So this is what I did. Once you can see the improvement so the enthusiasm returns. And this is how the afternoon went. Long way to go still, parts of the painting are still quite crude but its a definite step forward from yesterday.

Simonside Hills seen from Cartington. Day 3

ABSTRACT PATCHWORK

That is the effect at the moment and as its only day 2 I am liking it. I do believe however the viewer is only fully engaged when they start to recognise objects. This gives them a point of reference with the real world, space is much more clearly defined through the scale and relationship of objects and also the subject is self evident. Otherwise you are dealing with vague feelings which for me are far less compelling.

Simonside Hills seen from Cartington. Day 2

QUOTE OF THE DAY

This may seem a bit random and meaningless, but for anyone who knows of Francis Bacon this quote will ring true: ‘Artists are never satisfied with their work, though I believe Henry Moore is’.

SIMONSIDE HILLS, SEEN FROM CARTINGTON

I have titled this painting in the Cezanne tradition, (see below). A useful reference point as there are several locations to view the hills from, but a little too long? Besides, I take such liberties with the composition that even a local would struggle to recognise any of my views. I think these paintings will follow a meandering path in terms of style as I focus on different elements in the landscape, but for me this is where the interest lies. There cannot be anything as uninspiring as certainty?

Simonside Hills seen from Cartington. Day 1.

PAINTING FINISHED

That final push to finish a painting can be quite mentally exhausting. I really don’t know how such a small area of canvas can take so much time to get right. Those tiny nuances of colour can be quite crucial in how they are pitched. At least it is with my sort of painting. Anyway, I am not expecting any more changes. Another painting that for me raises a lot of questions in how much to abstract and how much specific information to include, these will be answered over time.

Cartington, Northumberland.

A PROBLEM WITH TITLES?

My last 2 paintings and my next one have been taken from standing in exactly the same location and simply turning my head a few degrees. A ‘problem’ with this is how do you differentiate each painting if they carry the same title? This is my ‘Montagne Sainte-Victoire’, so I looked at Cezanne. The majority of paintings, drawings and watercolours carry the title ‘Montagne Sainte-Victoire seen from Les Lauves’. I will title my paintings accordingly, it appeals to my sense of humour and pragmatic character.

AN OBVIOUS SOLUTION

Yesterday evening I went back to Cartington to take more photos. It was stormy with dramatic lighting, impressive and usable but not what I needed. Went again this morning at 6.30am determined to get some more usable photos. Got exactly what I needed. The painting has progressed but I don’t think it is quite finished. This area is one of my favourites and I think any painter could spend a lifetime within a 5 mile radius of here.

Cartington, Northumberland. Day 6.

PAINTERS NO PROGRESS

A fitting title for this afternoons attempt at painting. One of those rare days when you run through countless variations on a theme and non of them seem to work. I could have kept going till midnight and the result would have been the same. Anyway, I am sure it can be rescued, divine intervention would be welcome.

Cartington, Northumberland. Day 5.

STUDIO: FINAL PUSH

I have spent the last 2 days on the final stage of completing the studio, getting the shelving finished. I wanted to get this out of the way so I could get properly organised. The sign, ‘The Studio’ with an arrow is a humorous nod to the painter Frank Auerbach who painted many views of going to the studio, leaving the studio and inside the studio over several decades.

A VOYAGE OF DISCOVERY

Sounds a bit cliched but wouldn’t it be dull if it was any other way?. There is taking risks and then there is going too far. This painting is just the right side of a 60’s pyschedelic album cover. I will have to proceed carefully. One thing I think is holding me back is my reliance on photographs, this is quite unforgiveable given my proximity to my subject matter. I may have to leave the comforts of my newly built studio and venture into the countryside. The horror.

Cartington, Northumberland. Day 4.

TAKING RISKS

It always amuses me to hear painters talking about taking risks (myself included). Its just a painting, you are not putting your life on the line. At the end of yesterdays session I felt the painting was dying on me. This morning I through a metaphorical grenade at it and decided to deal with the debris. The strongest and lightest tone in the picture is the centre yellow field, so I mixed a high contrast tone with the intention of not modifying it but bringing up the rest of the picture with it. Well it worked, I also had a great deal of fun with it and am happy to say the painting is back on track. Only slightly annoying issue is I had intended to paint in the bright green band of bare paint. I shall target that next time.

Cartington, Northumberland. Day 3.

MOMENTUM GATHERING

Like with anything else, just getting started is the hardest part. I know that consistency and hard work will be rewarded, we all know that, so why don’t I commit to it? I suppose you have to define what kind of reward would make it all worthwhile? I think I will just to continue and let fate take care of that. This painting is starting to get interesting. It has a fluid quality, almost like a water colour.

Cartington, Northumberland. Day 2.

WHAT KIND OF PAINTER ARE YOU?

An odd question to ask if you left art college over 30 years ago? But I can see that as a landscape painter I am still evolving. I am starting to use place names and its important to me to capture the specific characteristics of the landscape. That doesn’t mean my intention is just to make a faithful rendition of the view. For me its a balance between what can be seen and how that can be translated through the language of painting, space, colour, rhythm and the relationship of objects. My stamina is improving, a much better effort than last time, happy with the start.

Cartington, Norhtumberland. Day 1.

PAINTING FINISHED

Or as close as makes no difference. I had only planned to do an hour today, but I was starting with my nemesis, trees, which is a bit of an issue if your a landscape painter. They always end up how I want them to but getting there always takes a lot out of me. I am quite surprised, but I actually regard this, in technical terms and poetic? terms as a step forward on my painting of last year. This is surprising given my 11 month absence, but it is a nice surprise to have. I am excited about the future and the kind of painting I could make. I have no shortage of subject matter on my doorstep, all that is required is to continue.

Coquetdale Valley, Northumberland.

GLIDING LIKE A PRO

Another benefit I have just discovered with the new studio is with a combination of a hard vinyl floor and a chair with wheels it means I am very mobile. I can glide between palette and easel with ease and glide back away from the painting to view it. I had Straus Waltzes playing today, I’m sure I was in time with the music. This painting is nearly finished, there is a lot going on and a lot to think about. I am pleased with the outcome. Because my style is quite graphic and saturated it reminds me of those early 20th century travel posters. I am still deciding whether this is a good thing or not?

Coquetdale Valley, Northumberland. Day 5.

Antidote to lethargy

Kicking off another painting session with Beethoven’s symphony number 3. You immediately feel energised and motivated. I would recommend it to anyone who is feeling lethargic, if I was a GP I would prescribe it. At first glance the painting doesn’t seemed to have changed a great deal, but it’s gaining refinement and it’s becoming more clear what I need to do.

Coquetdale valley, Northumberland. Day 4.

A SMALL INTERLUDE

Moving to a ‘new’ house (260 year old stone cottage) has enabled me to complete a purpose built studio. One thing that was quickly apparent was how much better the 3 LED ceiling lights are compared to a single bulb I used to use in my previous studio (dining room). This has been very important in faithfully reproducing my paintings when photographed.

Today I was repainting a few areas of a painting I did in 2020 and I could never get an accurate photo of it. The two are below, the one titled ‘Robin’ was photographed today and it records the painting fairly accurately.

Robin

Bird in a tree 16

OBSERVATION, NOT MAGIC

When I sit down in front of a painting in progress the first feeling I have is disappointment. The next, a lack of enthusiasm to continue. Then I put on my objective head and ask, ok, what’s not working. The truth is, most of the time you haven’t put enough time and thought into it. That’s where painting still trumps the Instagram generation. Its the passage of time, craft and thought that goes into painting that makes it much more powerful on many different levels. Progressed well today, Beethoven symphonies 3 and 4 on repeat all afternoon.

Coquetdale Valley, Northumberland. Day 3.

Where's the magic?

Although this is no banal translation of the subject there hopefully comes a moment in most paintings where the focus moves away from your original source material to how the painting is actually operating, in terms of colour, space, rhythm and forms. I am looking at this painting to see if this is happening, not quite yet but I hope that next time it will start talking to me. Happy with where it is at for now.

Coquetdale Valley, Northumberland. Day 2.