Rob Adams a Painter's Blog painter's progress

July 31, 2015

Landscape Art

In my newspaper today there was a review of Richard Long the land artist. When I was a student he and Andy Goldsworthy were first making their mark. I, as almost everyone else, quite liked what they did, indeed who wouldn’t. The work is engaging pleasant and made of nice stuff often in a beautiful setting, hard indeed to find anything about it all that is not pleasant. They make what is called “interventions” on the landscape. The defining factor seems to be that it should not be a practical intervention such as a useful one like a drystone wall for keeping animals in. Oh and also it shouldn’t be a folly either like the great estate owners were fond of… now I think of it garden design has to be omitted too… whoops, some ancient monuments have to be excluded as well. So really it has to be made by a person who defines themselves as an artist. You could have four identical drystone objects one crafted by an artist one by an architect and one by a landscape designer and one by a drystone waller and it seems that the art cognoscenti say only the artist made one would be art. If they were placed side by side of course it would be impossible to tell one from another. So did the “artiness” come from the object being made or you being told it was by an artist? I seems to me plain that the “art” ingredient was added by you being informed of the fact not the object vein made nor you perusing it. So by my way of thinking the art act was the labelling of it. So group of friends hiking might come across an intriguing drystone construction and one of them might pipe up, “Oh that is a Richard Long” all the group would then have an “art” moment. The piper might be wrong, but regardless of that the art experience was had. Was the hiker actually the artist? Well it’s a thought.

long

A few different land art sort of items, can you spot the art?

Now you may think I am going to deny the artiness of the monkish Mr Long and fey Mr Goldsworthy, but no I want to say that they are all made with craft and therefore capable of being looked at as art. My argument would be that they are not a particularly high individual achievement. We ascribe special status to folk like Rembrandt because very very few human beings through history are going to be able to do what he did as well and with as deep long term appeal, depth of expression  and subtle nuances. Perhaps one or two in a generation. However anyone with a bit of patience could make a Richard Long you would not have to wait half a century for another person good enough at arranging rocks! So an object made by man might be lovely to look at, it might be instructive, it might be moving. But it is not that which we celebrate. We celebrate the high points of human achievement. Most of us write, but very few of us write War and Peace. So we value Mr Tolstoy and his works. So the land artists could be safely placed in “pleasant essay” territory rather than “towering achievement”.

With high jumpers we celebrate the person who leaps over the highest bar. We may clap if a portly person makes an impressive attempt at a much lower bar but the record books won’t be adjusted. So to my mind the difficulty of achieving a result and the amount of life that has had to be expended to be able to do that thing is a large factor in the art value of a made thing. With the difficulty of attainment comes rarity and in most cases with rarity comes value. All of the objects both rare and common may well provoke a pleasant and meaningful visual experience. But the rare one is an example of high human achievement and it is that event that we should celebrate.

This edition I am offering a bit of landscape art rather than land art. I am at last getting to grips with painting different subjects now that I am finally full time in pastoral surroundings. Not that it is easy, I am being fairly experimental in my approach so a good few failures will result.

 

Honfleur, France,  Notre Dame de Grace, pen and ink drawing

A few orphans from France that needed finishing later due to a high shrubbery content! I added a raw sienna wash to my media on the last day just to add another element. Very nice for adding bulk to trees and differentiating areas. This is Notre Dame de Grace high above Honfleur. I would like to have painted but I found it on the last day and didn’t get the chance.

 

Le Croisic, France, drawing, pen and ink

This is Le Croisic, I added the wash after and am pleased with the result I found a subtle mix of the sienna and the white I use made a lovely warm white which contrasts nicely with the cooler version used in the clouds.

 

Swanage, Dorset, pen and ink, wellington clock tower

This is the Wellington clock tower in Swanage which rather oddly originally once stood at the southern end of London Bridge in London. It was moved to the seaside in 1854 at a cost of £700 as it did not keep good time and with increasing traffic it had became something of an obstruction. The faulty clock never came. I am told it used to possess a spire but that became unsafe and was removed in 1904. A very quick sketch, I was out on a pier and in the way of fishing folk.

 

Corfe, Dorset, pen and wash, drawing

On my way back from Swanage I couldn’t resist this view of Corfe castle with the train. It is on a reproduction of paper as used by David Cox in the 18th century which is a pleasant oatmeal colour. Fab view which I shall come back to. Although it looks arcadian you have to imagine lorries belting past a couple of feet behind me!

 

Hambledon hill, drawing, dorset, pen and ink

A bit of pen and ink madness, I started this last winter on site, but having done Hambledon hill I decided on a wild circular hatch for the sky… slow work so I had to give up when hypothermia set in! I finished it off a few days ago sitting in the sun in my garden. Has a slightly Samuel Palmerish feel, maybe the first signs of madness.

 

Salisbury, carving, cathedra,l wiltshire, pen and ink, drawing

A visit to diy store Wickes in Salisbury. The store was a bit boring so I went on to the distinctly more drawable cathedral. This is a carving on the facade warning you of what might happen to you if you sin… I got a crick in my neck doing this!

 

Salisbury Cathedral, wiltshire, pen and ink, drawing

Yes it’s that famous view Constable painted. I decided to have lunch in a pub by the river but got lured into doing this. By the time I got to the pub they had stopped serving which served me right for getting distracted.

 

Hambledon Hill, water colour, plein air, painting, art

This post is a bit Hambledon Hill heavy I fear! I am determined to get some paintings that catch the character of the place. It is easy enough doing distant views but although it is fantastic visually up on the hill itself, making a painting that catches that is very hard. It is like those wide views that you photograph when on holiday. They look wonderful when you are there but once you are home the photos look ho hum. Photographs taken from the hill have that same quality. So I set out on a blustery hazy afternoon to do my best. This is looking right out over the verdant Blackmore Vale and I am quite pleased with it. I might try some different formats, tall and thin or square the straight landscape proportions don’t quite work for me. 1/4 sheet Watercolour.

 

Hambledon Hill, watercolour, art, painting, Dorset, hill fort

I started very boldly here with a full and very wet wash. I need maybe to strengthen the fore ground to push the distance back. I might do a studio version to try and get the balance better. It was so windy the painting blew away a couple of times! 1/4 sheet Watercolour.

 

Hambledon Hill, hill fort, Dorset, watercolour, painting, art

Not the most cheery of watercolours of Hambledon but I am quite pleased with it on the whole. It was quite different day with the wind driving rain showers up the Stour valley unlike the previous dry windy days the washes just wouldn’t dry. Still I must get up there on some wet days with the oils as I love the mood. I struggled down the hill after carrying my painting gingerly at arms length as it was still very wet. 1/4 sheet, Watercolour.

 

Fontmell Down, watercolour, Dorset, painting, art

I got up at the crack of dawn to do this, even before the dog walkers, but not as you may have noticed, the sheep. Only a little 9in by 6in but it was lovely to do. Not a mood for wild wet into wet washes so I did it in areas which gives it a calm still mood perfect for the scene. People do go on about “wet into wet” and so forth as if it is the only way to paint. I like both the wild and splashy and the carefully laid down and find that the approach can be infinitely varied from the exuberantly expressive to the quietly meditative to suit the feeling of different subjects and moods. The rule is for me that the technique should be at the service of the subject not the other way round. The subject here is the wonderful Fontmell Down.

 

Eggardon Hill, Watercolour, Dorset, painting, art

This is the view from Eggardon Hill another hill fort in Dorset. A studio painting done on the David Cox paper. Very hard to stretch as it wrenches any gumstrip off. You have to staple all round the edge and even then it pulls free. I must use my Artmate paper stretcher in future. The paper is much thinner than what we use today and is technically quite hard to paint on. Too wet and it turns into an impression of the alps cockling fiercely. On the other hand the beautiful surface with little flecks of brown and yellow gives a lovely quality. You soon understand why the 18th century masters used body colour. To get a bright wash you just have to add some white to the wash. Not enough to remove the transparency but just enough to add brilliance to the colour. I enjoyed doing this tremendously and love the quality it brings to the paint. 14in by 9in, watercolour.

That’s it for this edition. I feel some oil painting is due as I have neglected it in the last week or so, like everything if you don’t keep doing it you loose the edge that comes with regular practice. Painting is very not like riding a bicycle you do forget all too easily!

 

 

 

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…

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