Tuesday, 22 November 2011

Painting from outdoor sketches

Painting from Outdoor Sketches

Landscape is not my metier.  It has taken sometime to get my sketches and paintings into some kind of order as a consequence, probably because I am reluctant to dip my toe into the water.

Sketches from different times of day and different subjects and mediums: pastel, oil pastel and charcoal.

The paintings worked up from partial memory are sown below with the relevant sketch:

The above painting for me is an example of representational art at its least inspirational, yet I found myself doing it, the only thing to commend it (possibly) is that it captures light. On painting from memory I found I put more of the oak tree in possibly because the sketch seemed a bit off to the right.  But the painting now has the cottage plumb centre.  Chocolate box painting at its worst.
Despite all this I did enjoy introducing various colours into the earth which had only recently been ploughed
In an attempt to redeem myself I produced this rectilinear abstract (from the Cubist root as opposed to curvilinear abstraction from an Expressionist root). Although it is clear to see the composition of the cottage, this small painting throws up some interesting spatial elements.  The medium of watercolour is probably the wrong medium as it is not quite strong enough.  I have tried to incorporate elements of colour theory in the painting which as a consequence could probably have benefited with more blue to offset the yellow.


I quite liked this charcoal sketch but it did not transfer its spontaneity and sharpness to the painting.  This is one of the reasons why I rarely produce sketches I prefer alla prima or working a painting up in the studio.

The painting is in watercolour but did not please me as the sketch did, in fact it got stamped on at one stage and was lucky to survive.

For the following sketch, I returned to a small brook where I have painted before, it is the brook which runs under the Goldbrook Bridge where St Edmund was discovered because allegedly his gold spurs sparkled in the sun, giving his whereabouts away.

The next picture was developed from what might have seemed an unpromising sketch, but I liked the way the trees and buildings from the left had a recessional quality leading to the centre of the picture.  I also liked the bend in the road, echoed in the ploughed field.
After completing the barns and trees on the left I felt the painting had something of a late Vlaminck about it, so I exploited this idea and included a piece in the foreground from his “Village” painting which I admire very much.  The fluidity of the paint and free brushstrokes are something I aspire to.  I have also tried to use a slightly more Fauvist palette.


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