Rob Adams a Painter's Blog

November 11, 2014

Getting Old

Filed under: Dorset,Drawing,London,Painting,Thames,Uncategorized — Tags: , , , , , , , , , — Rob Adams @ 6:39 pm

It is a common idea that as painters age they gain in wisdom and depth which makes their late works more resonant and moving. This idea was key to Simon Schama’s latest program on the late Rembrandt. I  enjoyed the program but it was an extremely orthodox view which I am tempted to question. If you look at the great man’s paintings they actually in my opinion fall off a great deal in quality. I suspect some problems with his vision as Titian and Turner show much the same retreat into inchoate yellow orange tones. With Rembrandt of course falling off in quality is a relative term, he was in my opinion one of the all time greats. What I dislike is the hijacking of this change in quality, probably brought about by diminuition of sight, as a harbinger of modernism. This was the final line of Shama’s spiel. I have heard this argument and commented on it in relation to Turner in earlier posts. In my opinion to take this view is deeply silly. None of these artists as far as I can see could have had any understanding or sympathy with what we call modernism. What we see in their works is physical decline not a new visionary conceptual direction.

This is well illustrated by this quote from a letter from Monet to Marc Elder, in 1922 He wrote, “in the end I was forced to recognize that I was spoiling them [the paintings], that I was no longer capable of doing anything good. So I destroyed several of my panels. Now I’m almost blind and I’m having to abandon work altogether. It’s hard but that’s the way it is: a sad end despite my good health!” . Yet these same canvasses are now held up as the artist making a bold step forwards towards abstraction. For Monet however they were a desparate struggle against increasing blindness. Why abstraction should so often be regarded as a step forward in this road to Damascus manner rather irritates me as abstraction has always been with us in one form or another and cannot really seen as step toward nirvana. There it is though, we are constantly assured that moving from representation to abstraction is like gaining adulthood and leaving the whimsy and the toys of childhood behind.

I have been rather distracted by building a studio in my new garden and the general hassle of relocating a hundred miles from London. It has been very frustrating seeing the countryside of Dorset looking very paintable while I was doomed to be wheeling barrows of concrete for foundations. Still I have managed a few bits and bobs. Also I have a fair few pictures in this exhibition at Bankside with the United society of Artists.

 

oil painting, Dorset, plein air

A tiny oil I snatched the time to paint, it is going to take a little while to adapt fully to doing pure landscape. The relative lack of people will be one of the greatest changes.

 

Child Okeford, fog plein air, oil painting

I did this in about 15 min on a damp foggy morning. Walking through the village to get my morning pint of milk was so magical that I had do rush out and try to catch it.

 

St Martins Lane, London Plein air, oil painting

Briefly back in London to paint with the Brass monkeys. I am experimenting with different primes on my boards, this is wuite a rough one with marble dust in the acrylic gesso. Unusually I took this to a finish on site. oils 10in by 14in.

 

Admiralty Arch, London, plein air, oil painting

After making a mess of two looking down Whitehall I settled to paint Admiralty Arch, only about 45min for this little sketch but I was pleased with the feel. 8in by 10in oils.

 

Surrey St, London, plein air, Oil painting

I managed another quick excursion before heading back to the country. This is looking down Surrey St from Mary Le Strand. 10in by 14in oils.

 

Parsons Green, Fulham, New Kings Rd, pen and ink

I got up to London for a single day but just took my drawing stuff. It was a fantastic day around Parsons Green in Fulham, the low winter light is fantastic and you can draw or paint all day really. This is the New Kings Rd .

 

Parsons Green, Fulham, London, pen and ink, drawing

A very quick sketch on the way back to the station. This is the North end of Parsons Green. Pen and ink.

 

Southbank Carousel, drawing, pen and ink.

As my train wasn’t until 8pm I sat on the Thames South Bank and drew the Carousel. After doing a very rough pencil outline I got the figures in first, some are just sketched from passers by, and others cribbed from snaps on my iPhone. Much of the sky hatching I did on the train home! That’s it Posts will be a bit few and far between for a while but I shall still be snatching the odd chance to paint and draw.

October 14, 2014

Distractions

Do you find that everyday chores and responsibilities get in the way of painting? Even someone like myself with no family responsibilities finds it hard to get “easel time”. I take my hat off to those that manage it with job, house and kids to juggle with. Often I find these interruptions are painting related. I have to take paintings to galleries, attend private views, write blogs, I have just spent 3 days framing! I have a painting that has been sitting for 2 weeks on my easel waiting to be finished off, but I haven’t been able to find the 4 hours that would take. It does however have a lovely frame… This is exacerbated recently by moving to the country. An old house to refurbish, studio to build at the bottom of the garden, it all eats time. As I am about to hit 60 time is all the more precious.

I wonder in reflective moments if I had painted for all the hours I watched telly, or more recently floated round the inter web, over the years just how many more paintings I would have got done. Also having done them, how much better at the whole business would I be? The odd thing is I can get up and paint all day without interruption if I am doing an illustration for a client, but find it harder to do that for myself. I suppose that if you don’t get the commercial job done there will be immediate consequences but if you don’t finish that landscape then no one will tick you off!

I think I ought to implement an organised regime, but am not sure I have the will power to stick to one. Even if I set a regime of 5hrs a day 5 days per week I would I suspect still improve my output. Twenty five hours, I doubt if I am making 15hrs at present. Discounting commercial work of about 10 weeks leaves 46 weeks in the year so 690hrs of painting time. I have completed 200 works of various kinds. So I am being a bit unkind as I think maybe an average of 4 hrs per work including studies, preparation and finding subjects on location. Which means I have put in about 800hrs of painting and drawing this year or about 20 forty hour weeks.

Exactly why I feel I have to put in this labour is another matter. I am fortunate in that I do just enough commercial work to feed and keep me. Many I feel artists overstate the importance of their art in order to legitimise the work they produce as being the result of some irresistible drive. Mostly we tend to look upon obsessive behaviour as a negative thing, but if you are an artist then you can wear such behaviour on your sleeve. I don’t think I am obsessed, I have said before I could stop painting and just write or play music, but what pushes me along in interest and fascination. The more I learn the more I wish to learn.

So here is what I have got done despite distractions! A mixed bunch, but I feel it is important to post the misses as well as the ones nearer to the target.

 

Queenborough, Sheppey, Kent, Oils, Brass Monkeys, plein air

This is Queenborough on the isle of Sheppey. A very fine day out with the Brass Monkeys. This was such fun to paint and unusually I took it to a finish on site. 14in by 10 in Oils.

 

Queenborough, Sheppey, Kent, drawing, brass monkeys

Queenborough again, very pleased with this one. Pen and ink 9in by 7in.

 

Royal Hill, Greenwich, Brass Monkeys, London, oils, plain air

Another Brass Monkey day. This is Royal Hill in Greenwich. 10in by 16in oils.

 

Greenwich, London, Observatory, park, brass monkeys, oil painting

Very quick sketch of the Observatory in Greenwich park, not one to take any further but fine as a sketch. 10in by 10in oils.

 

Isleworth, watercolour, Wapping Group, Thames

This is Isleworth on the Thames. My heart wasn’t really in this it doesn’t have a natural focus. With plein air it is sometimes impossible to juggle all the requirements that make a good picture, but sketches I feel have a charm of their own. 10in by 8in, watercolour.

 

Isleworth, London, London Apprentice, drawing, pub

This is Isleworth again on the river terrace at The London Apprentice.

 

Shaftesbury, Golden Hill, Dorset, Pen and Ink, drawing

This is the famous Gold Hill in Shaftesbury in Dorset. This is the “standard lazy view” but I hope to return and find a few more original angles! Pen and ink A4.

 

Lastly a few life drawings, I have found a new group in Dorset so will be able to keep up the figure work which is wonderful.

Life drawing

 

Life drawing

 

Life drawing

 

Life drawing

The above are 5min each. The village hall where the session is held has wonderful light so I am looking forward to future days.

 

Life drawing

30min

 

The model view was no good so I sneakily did one of my fellow artists! That’s it for this episode, there may be a bit of a gap asI am rather thinly spread of late!

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