Rob Adams a Painter's Blog

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!

July 22, 2014

Competitions, Clubs and Criticism

A lot of my painting days out are done as part of a group. With the Wapping Group painting every Wednesday and the Brass Monkeys every other Sunday I keep quite busy. I do feel perhaps I am not doing enough going out and painting by myself. The dynamic is quite different with a group of fellow painters, very pleasant of course with chatting and coffees to punctuate the painting. I think most of this posts offerings are in the group category. Rather a large gap in posting this time too as my laptop died and needed bits replacing.

I also attended the Pintar Rapido competition in Chelsea which was great fun. I was a little more organised this time and went there a few days before to decide on a subject. The previous year I wandered about looking for one and had to settle on a subject I wasn’t wholly in tune with.

The results when seen in the exhibition were as last year a mixture of all styles and levels of attainment. Interesting to see what I guess are art school students trying to paint the real world. They have almost no skills as such and have this naive idea that if they just go for it then a miracle will occur. Alas miracles are thin on the ground, but their self belief in unshakable. I talked to a few and they all seemed to feel skill was a minor consideration in painting. On the other hand they all seemed to admire it in others. I didn’t say I felt it was vital, as I wanted to gauge their feelings on the matter rather than impose my own views.

In the exhibition it was plain that some of the buyers didn’t think craft mattered either, but on the whole the well crafted sold better than the randomly intuitive, which is cheering. Another thing that struck me when whispering critical comments to a companion is how thin on the ground criticism is. We were whispering in case the artist was hovering nearby and our opinions overheard. In essence so that the person who might be the most likely benefit couldn’t possibly hear! Passing comment to the artist doesn’t really happen in the clubs either. I do sometimes offer an opinion if I see something really wrong that is easily corrected but try and restrain myself for the most part as offence is a very likely result.

It’s not that the criticism isn’t made, we judge and evaluate automatically. We also share our views with each other… but almost never with the artist themselves… which is odd really as they would surely be the ones most likely to get the most out of it. The result is that you tend to only hear anodyne  positives or inscrutable silences. I am in the habit of forcing the issue and asking for comments. This makes some uncomfortable and others will just tell you all is well whatever the real state of affairs!

Politeness is of course the reason for this lack of plain speaking. There is the uncomfortable fact that none of us welcome hearing that one of our efforts falls short and even less that it has fallen short in some way we hadn’t spotted. The truth is though we would all benefit from the clear sight of an uninvolved eye however bad the news, especially if that eye is educated.

What is needed I suppose is a forum where praise is banned and only observed room for improvement is mentioned. You would need rules of course. A comment like, “That is rubbish!” is of no use to any one. But a comment like “The perspective is out on that building.” or  “I’m not sure about that red patch as it takes the eye too much.” is useful as it gives a clue about putting something right. I have seen some attempts at this, the most successful being in the Life Drawing forum on WetCanvas. There people commented on anatomy and other aspects without too much bad feeling being expressed. However I think a forum where only critical comments were expressly required might work better. There are some I suppose for whom any negative comment is undermining and damaging for confidence, but IMO excellence in art (or indeed anything else) is a hard road and if you are that delicate then perhaps serious pursuit of it isn’t for you. On that harsh note some pictures… feel free to make painful but valid comments!

 

Erith, yacht club, drawing, Thames, Wapping Group

A day out with the Wappers at Erith Yacht Club. Very hot day and I was late getting there. I had just received a set of new sketch books with reproduction “Turner blue” paper. I hatched the sky but should have blocked it in with the white acrylic pen as the line work is too fussy. I might start to use white chalk as Turner himself did.

 

Erith, Thames, watercolour

I liked the way the light had developed so I did the same scene again. I am rather liking doing watercolour on the hot pressed paper. I tried using it years ago with little success but rather like its qualities now. I softened the clouds a little after this was scanned. I was pleased at how easy that was.

 

Amboise, france, watercolour, chateaux

Another historical paper effort. This is on “Girtin” type paper. Again an interesting effect. Wet into wet is almost imposssible as the paper cockles brutally.

 

Amboise, Romanesque, france, watercolour

This is the door of the church of St Denis in Amboise. The Romanesque part dates from 1107AD. Denis lost his head due to an axe. After his head was chopped off Denis is said to have picked it up and walked six miles from the summit of the hill preaching a sermon… 12in by 9in Watercolour. Done on Arches 140 paper from a large roll, I’m very glad I stocked up before the quality dropped!

 

Ransomes Dock, thames, London, Barge

Another Wapping day. This is Ransomes Dock near Albert Bridge. 10in by 10in. I thought of taking this further but decided not as it might ruin the feel which I rather liked.

 

Albert Bridge, Oil painting, plein air, thames, London

I had a short while on the foreshore to paint this as the tide raced in. Albert bridge is very pretty but I don’t like bridge pictures a great deal and wonder now why I bothered to paint this… dull but worthy alas! 10in by 16in.

 

portobello, london, pen and wash

This is Portobello, a great day with the Brass Monkeys. The road was full of life despite is being a non market day. I am enjoying the pen and wash it is great fun to splash over the pen work.

 

portobello, london, watercolour

Another very quick sketch, leaving out the pen this time. Portobello again.

 

portobello, london, pen, drawing

Last one from Portobello… it’s that Turner blue again.

 

Sloane Sq, chelsea, London, Pintar Rapido

Here’s my effort from Pintar Rapido. Not the greatest photo of the painting as I forgot to snap it in the open air and had to take the picture in low light at the exhibition. 12in by 16in Sloane Square, Oils. I had set my heart on a rainy painting and the forecast looked to be on my side. When I arrived the streets were wet from earlier rain but that was the last rain we saw! The reflections therefore are imaginary. I enjoyed painting it hugely and was delighted that it sold. If the buyer reads this they are welcome to bring it to my studio in about 3 months as it will need varnishing!

 

Rob Adams, Pintar Rapido

Here I am painting away in a somewhat colour coordinated manner.

Older Posts »

Powered by WordPress