Rob Adams a Painter's Blog painter's progress

July 19, 2018

The Il de Re

Well off to France with a bus load of other painters. You try not to imagine how it will be or the paintings you might paint, but it is hard not to. I have been to St Martin on the Il de Re several times before so I knew what the possibilities were. My first visit was an oil disaster finding me able to catch the mood and light in watercolour but failing utterly to do so with the oils. My second visit a few years later was an improvement so I hoped to manage a few decent pictures this time. Also this time I took my folding bike so I could get further afield. What order… I suppose as I did them.

First up St Malo.

St Malo, France, pen and ink, drawing

We usually begin our trip in St Malo. We arrive quite early slightly ferry lagged before the town has properly awakened. I sauntered up near the church and drew this tiny chapel. I have drawn it before but the light was rather nice this time with unexpected shadows. The chapel is actually in the shadow of a large building behind it.

St Malo, France, pen and ink, drawing

We did not have much time so after a restorative coffee I sat and drew the goings on in the main square. Didn’t give much thought to the composition but the tree cutting the bike sort of works OK.

The next morning I painted a truly execrable scene looking down the road by the hotel which I duly scrubbed off. I decided to cycle off and look at the nearby town of Noix in the salt marshes. I just took my watercolours.

Il de Re, marshes, watercolour

I soon ran into a problem. Plenty of subjects but the sun was merciless so finding any shade to paint them from was impossible. In the end I found a bench under a tree and just painted what I could see. Too hot for watercolour really the paint was drying instantly on both paper and palette. 7in by 4in Watercolour.

Noix, Il de Re, France, watercolour, plein air

This is the church at Noix, once again the shady painting spot decided the subject. I had had a couple of very cold and rather potent beers before I did this so was not quite as considered as I might have been! I could do no more that day my cycle ride back was like crossing the Sahara but hotter. Still I had reminded myself how the light here is so fierce and this caught a bit of that. 10in by 8in Watercolour.

Il de Re, France, oil painting, plein air

Next morning I tottered off early to the beach… rather hung over from the previous night. The light was gorgeous with some very unusual contrasts. I had to get in the dazzle part immediately after drawing out because I could see it was going to change very fast. I actually painted a little vignette of the reflections before blocking anything else in. Plein air is so often driven by conditions and you have to adjust your methods on the fly. Oils 12in by 7in.

The next watercolour was OK but very pedestrian… lost somehow, I think still in the hotel room, I am guessing it fell of the ledge and went behind the sofa… probably the best place for it!

St Martin, Oil painting, Il de Re, France, plein air

In the late afternoon I did this view in the town of St Martin. I have done this in watercolour and oils before. Had to be careful not to over do the section left and right to keep the focus on the tower.

St Martin, il de Re, France, Oil painting

This is the afternoon next day, I had a morning off painting. I had spotted this the day before and noted the time. The weather was unrelentingly hot and clear which I find hard to paint so the shadows and contrasts here were fun to do. 12in by 7in Oils.

Watercolour, painting, plein air, St Martin, Il de Re

I had a real battle with this one. I was initially taken by the contrast of the nearby shadowed area against the bright backdrop. I then proceeded to mess it up by washing in the sky too dark! In the end I washed the sky back with white and reinforced the shadows with pen. 10in by 5in Watercolour.

St martin, France, nocturne, oil painting

Here is this year’s obligatory nocturne. Such a race so no time for finesse. The pings of light could be cleaned up a bit maybe, but such fun to paint. 10in by 14in Oils.

Plein air, oil painting, St Martin, il de Re

I had a fight with this one. Good bits but doesn’t quite gel into a picture. A very good exercise though. Looking at the photos after I could see that there wasn’t really a painting there. It was however a view that could be painted from a delicious bit of shade with cold beers nearby… 16in by 10in Oils.

Cafe, St Martin, pen and Ink, drawing

I had intended to do some cafe paintings but got distracted somehow. At the last minute I set about drawing this after I noticed how the light was falling across the people and awnings.

Port en Bessin, france, plein air, Oils, painting

Our next stop was the fishing port of Port en Bessin. I should have waited a little longer before doing this, the light had improved a lot during the time I was working. 14in by 6in Oils.

Normandy, cliffs, pen and ink, drawing

This was along the cliffs North of the town. The light was flat but it was very pleasant sitting and drawing this.

port en Bessin, France, pen and ink, drawing

Next day was more bright, I had intended to do fishing boats but got distracted by this view, was right in the sun so a beer was needed after…

Port en Bessin, harbour, oil painting, plein air

I planned to do a view I had done before looking over the town. I arrived a bit too early for the light so I did this to pass the time. I became so engrossed that I went on too long and missed the light on my intended subject! Never mind this was at that moment probably the better picture. 12in by 7in Oils.

Bayeux, cathedral, Normandy, France, pen and ink, drawing

Last one, this is Bayeux cathedral. One of our party said there was a good view over the river and he wasn’t wrong! I wish I had not packed my oils away, but as I had a drawing was the only possibility.

That’s it, not as much work as I usually do on these trips but there was so much eating drinking and chatting to get done that I rather fell behind…

 

April 16, 2018

Venice

Venice. Like all artists I went there knowing it already. I wondered what I would make of it and if I could add anything worthwhile to the morass of artwork that takes it as a subject. Would I find the “real” Venice? The answer of course is no. There is no real Venice, Venice is a fantasy. Venice is a theme park and all the life that goes on there is devoted to the commercial maintenance and operation of the dream.

Venice is a city wide tourist trap, a veritable sea girt Alcatraz for visitors to do their time in. A Venice street goes: mask shop, fake Murano glass shop, taverna, mask shop, restaurant, mask shop, fake Murano glass shop etc ad infinitum. After Napoleon conquered the city it slowly died until finally we are left crawling over it like flies admiring its beautiful corpse.

There are legions of immigrant workers slaving in its kitchens reheating dishes shipped in each day from the factory kitchens on the mainland. In China they labour to make the masks, glass, paintings and other tourist trash. There is an imaginary transport system that never takes anyone anywhere but on circular tours… no one brings their shopping home by gondola!

If I had been by myself I would have quickly done the rounds and been out of there pronto. Fortunately I was there with other artists and their company made all of the difference. The plethora of mask shops could be laughed at and the madness admired. I could rise early immerse myself in painting and join in with the fantasy.

So how is Venice as a subject for an artist to paint? Firstly there are subjects everywhere, if you came across any of them in a town in the UK you would set up your easel in a flash and set to. In Venice though every aspect and all directions are paintable. As Einstein said, everything is relative. You almost immediately start to rank the possible scenes and try vainly pick out the best of the best. Venice is also all very similar, endless repetitions and rearrangements of the same few ingredients.

Anyone who looks at my work will know my fondness for architecture and old buildings in general. In theory Venice is a cornucopia of perfect Rob Adams subjects, gothic palaces, mad baroque churches, cool classical facades and rustic mouldering buildings, roofs crowned snaggle toothed by random chimneys. Mostly though I painted legs. Visually the buildings reach down from the sky and are carried on the backs of the dark serried ranks of the innumerable visitors who obscure the join of buildings to street.

I am told that it was quite empty by Venice’s standards, I shudder at how in must be in high season. On the other hand I love watching people and enjoy seeing how they group, linger and go about their day. I enjoyed the contrast between drifting tourists and workers on missions trying to weave between them. Oddly I did not really notice the absence of cars. I did warm to the place after a while, there is nothing intrinsically wrong with it just being a playground. The place reminded me of a computer game where you wander a city built by a long dead civilisation looking for clues and prizes while avoiding the ghouls hidden in dark passages.

So to the paintings, I will try and do them in the order they were painted.

 

Venice, Rialto, market, oils, plein air

Up early on the first day and off to the Rialto fish market. I was sharing the apartment with Ian Layton who is an old Venice hand who knew all the best spots! Quite a tricky subject, the light burning in from the outside is what struck me so I tried to paint that. I can see now that the effect needed to be exaggerated more with the interior darker and the outside almost completely burnt out. 12in by 7.5 in oils.

Venice, Rialto, plein air, oil painting

On the way back from the Rialto we were taken by this scene where the sun was slowly coming across on to our side of the Grand Canal. I had primed my boards a sort of Venetian red which mostly just right, but I should have done a few a more ochre colour. Like so much of Venice the fringe of people ran in a strip all the way across. I quite liked the more determined folk leaving the vaporetto on the right contrasting with the moochers on the left. 15in by 7.5in Oils.

Venice, plein air, oil painting

Here is a very trad early morning Venice view. We were all painting away in a line getting spots on our retinas! Once the key was decided and the tones established a straight forward subject to paint. The main pitfall people tumble into is getting everything initially too light. If the painting is too high a key is is impossible to describe the sparkle on the water unless you have neon paint! 12in by 7.5in Oils.

Gate to the Arsenal, Venice, pen and Ink

In the afternoon I went to the Arsenal, no not to watch the football, the Arsenal in Venice was the manufacturing powerhouse that maintained its naval dominance of the Mediterranean. In celebration of this they gave it grand gates flanked by comedy lions. Like so much of Venice it is hard to get exactly the vantage point you would like without falling into a canal and getting wet. I should have done more drawing, the only reason I might return to Venice is to concentrate on the wonderful architecture. Pen and Ink.

Venice, mist, plein air, oil painting

Mist! We got up early and the sea mist had come in transforming the city. I was focused on the painting I imagined I would do after this one as the sun burnt through. A mistake as I abandoned this one early and it was better than the subject I was eagerly anticipating. Still I had more than enough down and only had to finesse the figures and drag pale blue over the distance to finish. Once again control of tone was the key. 12in by 7.5in Oils.

Venice, Plein air, oil painting

This is what appeared out of thew mist! I should have been in a different place about a mile away but I just had to set to and paint what I had in front of me. I never quite finished as the light moved on so rapidly. This one is no more as I painted a different one on top due to running out of boards! 12in by 7.5in Oils.

Venice, pen and ink, drawing

I drew this as I waited for my expensive and badly cooked supper in a restaurant. As it turned out the passing mosquitos had a better meal than I did for no charge at all… Pen and Ink.

Venice, canal, plein air, oil painting

My first canal painting. There are endless versions of the narrow canal with the thin vertical strip of light and reflection, but this was more open and attractive as a subject. I placed the bright vertical strip of the canal edge first as I felt it was the key to the composition. In the bright light I found myself quite frequently putting in all the lights first allowing the prime colour to stand in initially for the buildings etc. I found myself using a lot of black in the mixes as it seemed just right for the character of the greys the city is steeped in. 12in by 7.5in Oils.

St Marks square, Venice, cathedral, plein air, oil painting

Later that day I painted in that famous stage set St Marks Square. The afternoon light was flat on the facades reducing them to cutouts. I was sitting on the arcade steps and painted hand held. I was lucky not to get moved on by the gestapo who strut about the square. I tried not to get too involved in the architecture as getting the tones right was the challenge. In the event I had to very slightly lighten the cathedral later in order for the whole thing to gel. 16in by 7.5in Oils.

Venice, pen and ink, drawing

I decided the next day was a wandering about drawing and watercolour day. This is the Campo San Rocco… how could I resist the light slanting across this mad baroque confection. The school to the left is just as barmy but only plays a supporting role here. These wonderful buildings seem to almost never appear in paintings done by recent visitors. I suspect people find them just too much to take on. In actuality they are just divided rectangles, the complexity is not structural but an overlay on a simple grid. The trick is to firmly establish the underlying grid within which the decorative elements sit. Once that is done the mad stone salad of detail can be suggested rather than over defined. Pen and Ink.

Venice, watercolour, plein air

My first watercolour of the trip. Though the stalls are full of the worst tourist tat they make good compositional punctuation marks. Watercolour easily captures the luminous quality of the light. 7in by 5in Watercolour.

Campo Formosa, Venice, plein air, oil painting

This is an early morning Campo Formosa, the light was a real challenge and I nearly abandoned it. As so often I found in Venice the people are the key to a satisfying composition. In each painting I found myself more and more considering the makeup and grouping of the figures. 12in by 10 in Oils.

Campo San Giovanni, Venice, plein air, oil painting

Next Campo! This is St Giovanni, one of the most interesting to paint. Odd how the old Venetians were not in the slightest bit embarrassed about putting up huge statues of themselves. Getting the horse in the right relationship to the rest and not over detailing were the biggest challenges here. Once again many of the greys were made using black. 12in by 10in oils.

Gondola repair, Venice canal, plein air, oil painting

Another day another canal. Here is where they service the gondolas. In my jaundiced opinion they look better upside down! The thrown together industrial sheds make an interesting contrast with the grand edifices behind. Not far from here the mask shops dry up and the grass grows between the stones. There are run down tenements and washing hung between the buildings. This is where some of the workers live, though it is only the briefest fringe before the industrial port. 12in by 7.5in Oils.

Campo Santo Stephano, Venice, pen and ink, drawing

On the way back to the apartment I saw there two girls hanging out and doing phone stuff. They are students in the college on Campo Santo Stephano, a little glimpse of ordinary existence. Pen and Ink.

St marks Square, Venice, plein air, oil painting, nocturne

After supper it was nocturne time in St Marks. The wet paving made it a great subject. I rubbed violet blue over my board before leaving base which made a great ground, indeed most of the paving is just the resulting prime colour. Very quick hardly more than 20 min. 12in by 7.5in Oils.

Rialto Market, pen and ink, Venice, drawing

Another day where I just took my drawing stuff and travelled light. We all met at the Rialto fish market in the morning.  It is very nice to have other painters about to chat and laugh with. I found myself a little corner to sit and draw out of the way. The light was moving very fast so the first thing after setting out the drawing was to get in the paving, shadows and key figures. I also painted in the white first rather than at the end as I usually do. This was a real help in getting the darks the right value. Pen and Ink.

St Stae, Venice, pen and ink. drawing

Deep breath before I started this one of St Stae. I am sitting as far away from the building as possible without tumbling into the Grand Canal… but still too close for comfort. To get what I wanted in I used spherical perspective so that few of the perspective lines vertical or horizontal are straight. This sort of construction is very tricky to do en plein air especially as I don’t like it if the distortion is too obvious. I spent quite a lot of time getting the facade laid out, deciding what should be warped and what kept straight. A very satisfying puzzle though and I enjoyed trying to suggest the bonkers architecture. Pen and Ink.

Santa Maria del Giglio, Venice, plein air, oil painting

Santa Maria del Giglio and rain at last! I had been dying to paint the wet streets. Also it sweeps many of the visitors away and those that are there are rushing to avoid the wet. I was in a discrete dead end corner so I could paint away at my leisure. A bit of a relief as most of the paintings so far had been a bit of a rush to catch the light. 12in by 7.5in Oils.

La Salute, St Marks, Venice, plein air, oil painting

Later I went to St Marks to look across to La Salute. I was hoping for more rain, when it came it was very brief so I got brollies but not the wet paving. I was forced to make the reflections up at the apartment after. Some of this was painted hand held as the gestapo made me fold up and put away my tripod. The highest leg count so far I think. 16in by 7.5in Oils

St Giovanni, Venice, watercolour, plein air

Last one of the trip! This is Campo Santo Giovanni again. I loved the angled shadow but it moved very rapidly. Had to be watercolour as my oil boards had run out! I then proceeded to do another that went completely pear shaped and had to be torn up… 5in by 5in Watercolour.

So there is my Venice. I might return to draw some of the buildings and I am glad I went and saw it all in the excellent company of my fellow daubers. Venice itself I found sad and defaced by the lazy, cynical, rapacious hand of greedy tourism. The mask and trinket vendors have done far more to besmirch this beautiful relic than any of the many graffiti artists have.

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