Rob Adams a Painter's Blog painter's progress

January 16, 2018

More Musings and Recent Oils

Filed under: Dorset,Painting,Uncategorized — Tags: , , , , , , , , , , — Rob Adams @ 2:53 pm

Many things in the world are lovely or fascinating to look at. When in the West of Ireland, as I often am at this time of year, I will often stop to admire the growth of a lichen or some other wonder. Many of us admire the textures of rocks or a rusting gate. The paint flaking off an old door, the patina on an old workshop floor. You can transfer these objects directly into a gallery and the public will look and enjoy. Why wouldn’t they? The things are intrinsically interesting and if separating them from their context makes them more accessible to appreciation then all the better. It does not however in my opinion really make them art. Too much that is really just interesting in an old fashioned cabinet of mysteries way is hailed as art. Richard Long’s famed rock circles in galleries are just rocks, anyone could have arranged them in a circle in the gallery and the result would have been the same. The same with bisected sharks, it does not require a specific artist to present them.

This is of course why the much discussed urinal of Duchamp fame is art historically pivotal. How much or little intervention on an object is required to make it art? The urinal is an art historical comment and thus of interest, but not an aesthetic product of Duchamp’s hand and so the art content was supplied by the craftsman or designer who made the item. However the art world took it to mean that anything touched by the hand of the artist and declared to be art was henceforth thus sanctified. So how do we decide what is a sufficient input into a work to call it art and sit an object next to a Degas or a Rembrandt? The question is also relevant to objects made by accidental splashing or indeed painting flat areas of colour such as in a Barnett Newman. For me a hint is that a decorator with basic painting skills could do a pretty good painting in the manner of Newman, but very few people in the world, if any, could do a decent work in the manner of Rembrandt. I say “in the manner of” because we all know people can copy any painting, but that is not what I am considering here.

There are I think a few different things going on here. It is plain we have different degrees of interaction with the stuff or materials any work is made of. We also have different degrees of difficulty in the actions carried out. So how are we to link our Barnett Newman with our Rembrandt? They are both flat, both made to go on a wall, both paint applied to a surface, made for the same reason, to be looked at. We have to note however that Barnett in all likelihood could not have painted a Rembrandt, but Rembrandt could easily have painted a Barnett if he had so chosen. I think there is a clue in the difficulty of the task faced by each. Rembrandt had to balance and resolve all the things that Mr Newman had to deal with, colour, composition, structure and surface. then he had to deal with a whole other set of problems on top such as, subject, representation, space, narrative and content.

I am not saying that things that are difficult to achieve are intrinsically better. Only that the ambition is smaller with an abstract expressionist work. It is painted for an aesthetic elite. A Rembrandt may be commissioned for a wealthy individual, but it is intended to speak to all who see it. One is narrowcasting the other broadcasting. With art the wider the target is the harder it is to successfully hit it. What might please an intellectual might put off a simpler soul. To speak to each at their own level without condescension or false sophistry is an achievement indeed.

Rather a mish- mash of work this time as these oils are done over a month, I’ll add another post soon with the drawings and watercolours.

Bridport, market, plein air, oil painting, Dorset

This is the excellent Saturday market that takes place in Bridport. Very lucky both with the light and being able to squeeze myself into a gap that didn’t annoy too many people. Still I only had a little while as those lovely shadows were not going to sit there and wait for me. I very briefly sketched in both the lit pavement shapes and the sky shapes. Once I had blocked those areas in the drawing was really done as the in between prime colour stated the buildings. When I first started wit oils I used to paint tree branches over the top of my under painting. The result was never satisfactory so now I paint in the negative shapes instead. It takes longer but the result is more integrated and gives the feel of light coming between the branches. I took off 2 inches from the left when I framed it as it improved the composition. Oils 14in by 10in.

Bridport, market, plein air, oil painting, Dorset

Bridport again even quicker this one as it was time to move on. I blocked in very broadly and then scattered accents in more or less the right places! It is amazing how much you can get in with 20min of slapping the paint on. 10in by 7.5in Oils.

West Bay, plein air, oil painting, Dorset, beach

Then to the nearby West Bay. Only a colour note really as the light was going. I do find these looking down the beach paintings tricky. It is something about how the sea just runs off the painting edge. 10in by 5in oils.

Cann, melbury, Dorset, plein air, oil painting

This is looking towards Cann with Melbury Hill on the left. The weather was looking chancy but I love this scene with its winding undulating roads. It is nearby to me so I will give this another go in different light. 10in by 8in Oils.

satans square, Dorset, plein air, oil painting

Talking of returning to old scenes, this the track to the threateningly named Satan’s Square. I have painted this 4 or 5 times now and it never fails to engross me. Here the light was going fast producing some wonderful hues in the landscape. I put the reflections on the track in very first thing and then built the picture out from there. 10in by 7.5in Oils.

Kingston Lacey, Badbury, Beeches, road, Dorset, Plein air, Oil painting

This is the wonderful beech avenue that leads to Kingston Lacey past Badbury Rings. I have painted it 3 or 4 time but this is nearest I’ve got to catching the feel of the place. Quite by chance I passed by with a friend on the way to Wimborne and thought that this was a perfect time of day light wise. So I returned at the same time a few days later. Initially it did not go well as the negative shapes between the branches took forever and the result didn’t look great. Once the tree tones were in I could see my way better and after messing with the tone of the sky and road several more times it more or less came together. 16in by 8in Oils.

Wareham, road, plein air, oil painting Dorset

This the road to Wareham where the road crosses some marshy moorland. The day was gorgeous with fantastic atmospheric perspective. A bit of nothing really but I was pleased with the mood as it caught a little of the magic of the day. I had to be pretty quick though as the sun was evaporating the magic in double quick time! 10in by 7.5in Oils.

Kimmeridge Bay, Dorset, plein air, oil painting, sea

This is the famous Kimmeridge bay which has dramatic strata on show when the tide is out… This you may well notice is with the tide in! I must get a set of tide tables… Still a great view with the Clavel tower on the headland. Most of the work was in the sea which seemed to have every tone and colour present in some part or other. It is very easy to fall into the lazy paint the sea all blue habit, but when you really look it is endlessly subtle and surprising. I suppressed everything else really and made the sea the star. 14in by 10in Oils.

Christchurch, Dorset, plein air, oil painting

This is Christchurch, the forecast was rain but in the event it was lovely. It just goes to show, never be put off by the weather forecast! Besides if you only paint on bright sunny days you will miss many of the best pictures. The sun came out halfway through doing this but I was too far on to change horses. I might well do a studio one of this as I have the sunlit photos. It is rarely a good idea to chase the light, making the facades brightly sunlit would have meant adjusting the underlying tone of every single area in order to be able to express the contrasts. 10in by 7.5in Oils.

Next up drawings and watercolours.

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