Rob Adams a Painter's Blog painter's progress

July 17, 2015

France the Oils and Vivre La Revolution

Filed under: Dorset,France,Painting,Surrey,Uncategorized — Tags: , , , , , , , , , , — Rob Adams @ 10:37 am

I was watching an excellent documentary about Bohemians by Victoria Coren recently. It was full many of the usual slightly sad cases with an overweening egotism undermined by the worm of insecurity. As I watched a very odd thought crossed my mind, these tear up the rules, live my life without reference to others types were all rather similar. They were all different and mold-breaking in much the same way, they all seemed to cleave to the same view: that individuality was all. Indeed none of them seemed capable of uttering any sentence that did not focus around the words “Me” or “I”. All these claims of special individuality were undermined I felt by the odd way they mostly seemed very conformist to their self advertised type. They all wanted to break rules but even more importantly to be seen by others to break them.

How awful I realised to be born of a generation where all available rules have already been torn up and discarded. We are not shocked by boys dressed as girls, or any conceivable sexual permutation. You might offend with overt sexism or racism, but no one is really going to be shocked or surprised. It must be like being a school child who having realised an ambition to be sent to stand on the naughty step finds that the rest of the school including the teachers are already there. I was especially touched by a set of art students studying painting. They spouted the usual guff about their art being oh so important, how they expressed their inner selves and broke all the rules, all the time not realising that they were actually being conformists. That is how we expect and require artists to be nowadays. One young lad spreading red paint over a canvas in a desultory manner plainly felt he was being daring by referring to genitalia and dressing like a watered down recently weaned version of Francis Bacon. He was however just regurgitating the guff he had been taught, he had plainly not thought about the ideas he was espousing, he had just accepted unquestioningly what he had been taught.

Art and the idea of being an artist ran like a thread through the program. Because if you are breaking rules and and making society face up to its own hypocrisy then that is what you are? Right? Well if the number one rule is not to respect rules then you are in a bit of a dilemma. No one cares a fig if you break bygone rules. If you declare all rules are made to be broken then once they are all torn up where do you look next? Why is it that artists in particular should be required to do all this rule breaking? Well as with fashion I suppose at least they are fairly harmless rules, easily discarded without much effort mental or otherwise. A brain surgeon who declared he or she would break all the rules would be distinctly worrying, a painter less so.

It is hard not to come to the conclusion that none of the so called taboos broken by the art revolution were much to write home about. The artist cries out, “I abhor figuration, I shall work in pure colour and form.” It must have been nice to live in an age where such a cry would be met with horror, but even when such poses were first struck it was not exactly a major apple cart that was being over set. So you are going to put some paint on a canvas a bit differently… hardly seismic in the larger scheme of things is it? Painting is actually quite a humble trade. It is difficult as are many things, but not as important as plumbing or dentistry. If you paint a picture in what ever style that gives others a small moment of pleasure then the job is well done. If you want to shock and scare a few horses then perhaps you have chosen the wrong activity.

The whole business is made more complex for the poor souls studying art in that art is no longer what they study. They strive instead to become shamanic figures who are expected to produce supposedly talismanic objects. Artists have been pressed into service as a make-do replacements for druids and priests. We no longer believe that a bit of mumbling and a sprinkle of H2O gives an object any healing properties and thus, more to the point, increased retail value, but we do seem to believe that a random object backed up by impenetrable art-mumbling adds cachet and investment potential. Both are to my mind superstitions founded on the imaginary “special” qualities of certain individuals in society. It is nice of course to say, “I am an Artist” and immediately get a status upgrade from shabby middle age bloke to interesting aesthete. It is very pleasant for collectors, curators and assorted oracular types to be able to gaze at a clumsy daub and pretend to discern imaginary philosophical depths and spiritual qualities. Which is of course why the whole circus will stay on the road.

For the artist today it is perhaps a relief that all the sacred cows are now slaughtered, and their entrails theatrically and well and truly trodden into the ground. I don’t have to look for any assumptions to challenge, or taboos to threaten. There is no need to seek out the new just for the sake of it, so fashion and style can be ignored. All I need to apply myself to is the simple task of doing a difficult and hard to learn thing well. Also striving to each and every time to do it just that little bit better. Artists who just paint pictures should realise a few hard facts. Nobody needs what you do. What you do is entertainment. You are not advancing human thought in any important way by choosing to carry out this activity. If no one likes what you do it is not the fault of the audience but of the performer. There is never again going to be an age where you can claim to be misunderstood, “The world is just not ready for me.” etc, those times are past and will not be returning for the foreseeable future.

Well now I have that off my chest a few paintings of elsewhere then France…

Richmond, plein air, painting, art

 

Firstly Richmond. I got this all blocked in and almost done on site but messed up the road overstating the relative brightness. It is so easy to see ground surfaces almost as bright if not brighter than the sky. In actual fact this is almost never so except when there is the direct reflection of the sun in a wet surface, or when black storm clouds crowd the horizon. In all other cases the sky will be brighter than any ground or wall surface. I check this as I have said before by making a small ring with finger and thumb and looking through it flick quickly between different areas. This will immediately tell you what is lighter or darker and roughly by how much. In the studio I scanned my too light road and repainted it 3 tones darker which improved the whole picture hugely. 10in by 12in oils.

 

Stour, river, dorset, plein air, landscape, painting

An unresolved one here. I find this sort of picture very hard. I have painted everything adequately, but it is at the end of the day boring. I considered adding a canoeist, but whenever you have such thoughts it is probably a sign that the painting should be consigned to the bin! The story of this picture was the reflection, but that was upstaged in reality by the field, a problem which will not be resolved by adding watercraft or hippos to drag the eye back to the river. 12in by 20in oils.

 

Le Croisic, nocturne, oil painting, France, plein air

France at last! This is the harbour in Le Croisic. On previous visits I have struggled with oils and the first I attempted this time did not bode well and was wiped off. This one I painted after eating and drinking so I was relaxed and bashed the whole thing in in 25min or so. I was very pleased that I had got the coloration mostly right, just a little strong in hue. 10in by 14in.

 

Le Croisic, salt pans, oil painting, France, plein air

Le Croisic again. I wanted to paint the salt pans which are one of the main features of the area. My problem was I could not get a backdrop I liked. On the way to the salt pans I saw a great view of Guerande and I had the idea I might combine the two… so foreground and background are about 1Km apart! Only a very slight sketch but I enjoyed painting it. 6in by 10in oils.

 

Le Croisic, France, boat yard, plein air oil painting

I walked back to the town along the shore as the tide was out. This brought me into the local boat yard. I was very taken by this “into the light” subject and also delighted that there was the shade of a huge mobile boat lift to paint from. All very quick to do I actually mixed all my tones before starting which is something I often forget to do but I always find makes life a lot easier. It probably took me as long to mix the tones as it did to paint the picture! It was only as I left the yard by the road that I saw the sign forbidding entry to the general public… 8in by 10in oils.

 

Le Croisic, France, oil painting, plein air

More Le Croisic. I rather over tidied this later, but was pleased that I got resolved an issue that had been plaguing me in this bright light that seemed to bounce around everywhere. I wiped my first painting of the town because all the shadowed buildings went muddy and dirty. In this one I found a solution by mixing Quinacridone Magenta with various earth colours. This allowed me to get the feel of shadowing, contrast and age of the surfaces without the end result being grubby. 10in by 12in Oils.

 

Honfleur, France, Plein air, oil painting, church

This is Honfleur. I was really starting to enjoy the oils now. This tremendously bright morning scene was such fun to paint. I was in an awkward spot with shopkeepers setting up around me so I splashed it in as quickly as possible. I won’t mess with it as I love the feel and immediacy of it. I decided against people as it seemed to suit the, early morning before many folk were about, feel. 10in by 10in Oils.

 

Honfleur, France, plein air, oil painting

Honfleur again. A complex scene for a small painting. I really wanted to catch the intensity of the light on the square. I had to be very quick, no longer than 45min as the sun was coming round on to the facades which changed the whole scene beyond recognition. 7in by 10in Oils.

That’s it just the Watercolours to come…

May 27, 2015

Art and Science

The rise of science roughly mirrors the downfall of the arts in society’s estimation. Art had been very much in the camp of belief as to put it baldly: that was where the work was. Art and artists have always adapted to the needs of whoever was at the top of the heap. This new master of reason and experimentally tested knowledge had no real need of paintings. The futurists, Bauhaus and constuctivists all made hopeful offerings, but neither science, industry nor the general public were much interested. The artists let’s be honest didn’t find much inspiring in it either, there were a few portraits of worthy enquirers next to their instruments and Rembrandt’s autopsy, also that one of the dove dying in a glass sphere by Joseph Wright. Hook’s wonderful drawings of what he saw through the microscope deserve an honourable mention too.

Religion faced much the same problem. The religious establishment at first welcomed scientific enquiry, confident it would inevitably confirm their beliefs. However once the discoveries of science began to squeeze the Deity into a smaller and smaller corner they lost their enthusiasm and started to lock the scientists up and threaten to burn them if they didn’t deny their findings. Painting in a similar way as religion was a lens through which the world might be seen in a new perspective, but science had an ace… it was demonstrably true. Religion might say that miracles occurred and heavy objects might fly through the air, but they couldn’t come up with the goods to order like science could. A jumbo jet would have been given a miraculous cause if seen by our forbears. Indeed that is exactly what happened when isolated tribes saw American planes landing on strips cut into their jungles. Aha, they thought, if we cut a strip of our own then planes carrying treasure will be drawn to land. Poignantly they even carved the radio equipment out of wood. Cargo cults are a fascinating window into religious logic.

Now we might think how foolish those islanders were, but given the state of their inherited knowledge I think it was a pretty good call. What is more uncomfortable is that the current thinking underpinning the worth and purpose of Art is several degrees worse. How this occurs in the first place is worthy of consideration. Roger Scruton has talked interestingly on this and introduces the idea of the “liar” and the “fake”. The liar is aware of his or her own dishonesty, but the fake intentionally chooses for whatever reason to believe in or espouse something untrue. Or as I myself think, think they carefully don’t examine certain underlying concepts as that might bring the whole intellectual house down. Certainly art theorists and critics often seem to elevate weak suppositions into axioms to bolster their view of things.

Is it really possible that our whole current art thinking is just a fantasy? Well, looking back in history you would have to say yes. At some point in history some probably perfectly intelligent persons thought that killing children might improve the crops… or carving huge stone heads secure the future. The idea that an object becomes imbued with an extra iconic quality merely because an artist says so is just as silly. There must have been people who thought and even said that sacrificing children was not the way, but public and establishment opinion was plainly not on their side. So it is today, I might rant and rail, I can attempt to make sure my arguments are coherent and well founded, but almost certainly to no avail.

The art lie is a very profitable lie. It is the same with quackery. Once upon a time you merely said that this or that object was blessed by some saint or other and would heal you. Now they make up sciencey sounding nonsense about energies, realignments, detoxes and infinite dilutions. Art has stepped neatly in the footsteps of quackery, artists now explore, investigate, experiment and question. It grieves me I have to say that my chosen activity in life seems to require hawking the results in a somewhat dishonest manner. I know that my paintings have no special extra quality. There is no spiritual energy in them, they cannot really reach out but only offer the possibility of aesthetic reward if the viewer reaches in. They are what they are: board, paper and paint arranged in a pattern, there is no magic quality. That does not however mean that they cannot be interesting or gauged to attract attention and give pleasure.

Now that is an idea that is out of vogue… visual pleasure, a fair few contemporary painters would recoil in horror at the thought. However if there is one thing that I have found by painting out of doors is that people get pleasure from paintings. Perhaps one in fifty walking by will stop and exclaim that your painting is beautiful and there must be more that are intrigued but too shy to say. Now 2% is a lot of people, so all hope is not lost! The problem is that that 2% have very few places to see current painting, and even if they do we have an art establishment and media assuring them that they are backward looking and irrelevant in any case. As with the child sacrificers and the heretic burners most people will just accept it if the powers that be say it must be so.

The real magic, if it can be so called, is the astonishing luck of being embodied as a conscious thinking being who is capable of appreciating paintings and all the other wonderful things that surround us..

I have been enjoying the oils now that I have my new studio up and running. having a sky light is wonderful and makes it so much easier to judge tones. Clear days give a rather blue cast which has to be taken into consideration, but painting in there is a real pleasure. It is also lovely sitting with the doors wide open and the sound of the birds, bees, tractors, screaming children, lawn mowers and chainsaws drifting in.

 

Gold Hill, Shaftesbury, Dorset, oil painting

This is the famous “Hovis” view of Gold Hill in Shaftesbury in Dorset. It took a couple of goes as by the time I had finished drawing it out the light had moved on to the fronts of the houses which wasn’t the picture I wanted to paint. Next day the light was better though, softer with a delicious haze into the distance. Chocolate box I know, but it is not the sort of subject that lends itself to a painting with any street cred. Maybe I should add a skip and a burnt out car or two… 10in by 12in Oils.

 

Gold Hill, Shaftesbury, Dorset, Nocturne, Oil Painting

A week later I washed up in Shaftesbury again, but late in the evening to attend a friend’s private view. After eating a curry, I had a mad urge to paint a nocturne… this is not it really as I don’t think any of the first session is left! The atmosphere and general tones survive though. 12in by 16in Oils.

 

Battersea, Thames, London, plein air, oil painting, barge

A quick trip up to town to paint with the Brass Monkeys. This is Battersea, I don’t paint many barges but this one took my fancy due to the angle at which it was moored. 8in by 10in Oils.

 

Blandford Forum, Wet day, street, Dorset, oil painting

This was an experiment in that I did a grisaille to establish the tones. I was working in part from a pen drawing done on the spot and also from a rather blurry phone snap. Here it is in its first stages about half an hour in.

 

Blandford Forum, Dorset, Oil Painting

The subject is Blandford Forum in Dorset again. As rebuilt in early Georgian times by the Bastard Brothers after the old town was destroyed by a great fire. Doing the monochrome layer underneath gives a great unity of tone which is important in a picture like this where many of the tones are quite close. Dull days are especially interesting to paint for this reason. 12in by 16in Oils.

 

Wells, St Cuthberts, oil painting, Somerset

This is Wells in Somerset. Not the cathedral but St Cuthberts. It was a fantastic day with tremendous light but I didn’t have my oils with me so this is a studio picture. Lots to paint in Wells and it is only 40 min away. I really am spoilt for choice where I am now. 12in by 16in Oils.

 

Baker Arms, Child Okeford, Dorset, watercolour

I quick dash with the watercolours. this is Child Okeford and my local pub The Baker Arms. Would love to paint this angle en plein air, but a 4 by 4 would run you over, so this is studio. Watercolour. 7in by 12in

 

Thames, London, Tower Bridge, pen and ink, drawing

To town again to meet with the Wapping Group. I travelled light so stuck to the pen and ink.

 

Southwark, London, pen and ink, Drawing

This busy corner took my eye and I crouched under my brolly to do this.

 

Southwark, London, Pen and Ink, cathedral

Last one of the day. This is Southwark Cathedral.

 

Child Okeford, St Nicholas, Dorset, pen and Ink

This is St Nicholas in Child Okeford, I was very taken with the splashes of afternoon light across the road. I sometimes get chastised for putting in vans and such… but who could leave out a magnificent example of a 2014 Mercedes Sprinter? I shall ignore them, philistines all…

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