Finn Eces (Finnegas) Salmon of Knowledge, final stages.

Here is the finished painting of Finn Eces' salmon. I added two more hazelnuts, mainly to help break the horizontal across the back of the painting. I had considered putting the nine nuts the salmon was said to have eaten in the myth but I don't really see a need to be a slave to the legend.


I am considering doing a series based on the Irish legends and have started another work, the hound of Culainn the Blacksmith, reputed to have been slain by the boy Setanta, thereafter known as Cuchulainn.

bradán feasa, a painting and searching for the inspiration....

I have not posted in a while, I have been busy both with an exhibition and also re-evaluating my art. I feel I have to move forward with my painting. I have not been totally happy with my work recently, it is/was in a rut. I have decided to move from my normal representational work further into a more stylised conceptual way of painting. I may even move more into semi-abstract works if the fancy takes me.



I suppose I am overdue a change, I have been working on a painting, based on my lino print of the salmon of knowledge, Bradán feasa in the Irish language.

Here are some photographs of the work in progress, although it needs to progress quite a bit further yet.




















the first stage, drawn in charcoal and fixed. The hazelnuts have been painted green.










a base colour in position



further work, mainly on the salmon, note the repositioning of the Newgrange passage tomb to below the hill-line








the present stage of the work


















detail of the salmon





I will give an update later in the week, after I do a bit more to the painting.

Incidently, it is acrylic on canvas, 24 by 20 inches.





The painting has an accumulation of themes, the salmon is said to have gained it's knowledge from the hazelnuts that grew on trees around the magical spring from where the rivers of Ireland grew, hence the contorted hazel trees and hazel nuts. The Salmon was caught in the river Boyne, which runs through the valley at Newgrange, two more elements of the work. In the clouds and river, the swirls of the contorted hazel are echoed, also encompassing the spiral decoration from pre-christian celtic art found on the stones at Newgrange. All of which combine to create a history of the salmon of knowledge while the dissapearing river leaves us seeking knowledge of where it is going.

Two recent Irish landscape paintings.

Here are two recent works, the first is a view of Connemara. Acrylic on canvas, 18 by 14 inches.

The dry dead foliage gives the landscape a warm feel with any sunshine. The light picks up the reds and ochres of the dormant foliage, while the pools of water amongst the bog sparkle with light. The reflections in the puddles and pools give a contrasing coolness to the warmth of the landscape.



More details of the paintings can be found on my website .
The second painting is an oil on canvas, of the same dimensions and is a painting of Lough Carra in County Mayo. I like the oil painting particularly, as it gives the feeling of calm that this particular lough gives. Lough Carra is the smallest of the western lakes at 4000 acres. It is an intricate Lough with many bays and points. A clear lake it is the safest of the western lakes, and rarely gets the rough waves the others can experience. The light limestone marl gives the shorelines the characteristic 'white' shallows, dropping off into deep dark water. It is along these edges the best of the trout fishing is found. This second painting is also on my website and is available to buy direct.

another Tunisian coast seascape study, step by step

Blocked in

reworking the sea

into the shallow water

and next I work the rocks

some general highlights

more highlights to give the movement in the water and wave lines added

final highlights and details

about 12 inches square, acrylic on canvas. I am building up a collection of these small works, soon I will start on a large scale piece on the subject.

two small seascapes

Here are two quick studies, acrylic on canvas, about 10 inches square. They are both based on the mediterranean coast again. They are just basic square works, but divided in half, blue and green. This has been varied by splitting the top square again, the lower one in half again above and graduated colour below. In the first painting, the movement in the water and the cloud in the sky have broken up the stripes, thus disguising the geometric form of the painting. In the second, less worked piece the cloud does not break the top strip to a great extent leaving it stronger looking even though it is less pronounced than in the first painting. The gradual and radial colour change of the sea help do the same.






SOLD

These are two small experimental paintings which will help when I come to do a larger painting based on the same principle.

SOLD Seascape 2,

North African seascape No.2

I have been working on another North African/mediterranean seascape painting. Here is a step by step work up study;acrylic on canvas, 16 inches square.
Step one:Blocked in colour with a few marks indicating water movement.

step two: further work on the main sea areas. There is added movement in the water and more tonal values in the sea.
Followed by step three: detailing and moving light on the rocks, light movement in the foreground water, created mainly with the use of semi-transparent layers and brush marks.

The criss-crossing curves and arcs create a simplified rippling effect on the seabed while still showing as water surface without needing to delineate the visuals by adding a shoreline




This will be an interesting excercise in a more finished painting.

A step by step view of a painting.

Here is todays work, a WIP, work in progress.

This is the first stage with a basic sketch and blocked in dark areas.

My second stage with a base wash of yellows

The next step was to add warm colours into the rocks and a little more substance, still with thin washes

adding some depth and a little more contrast

followed by some further detailing, still in thin washes.

a few washes later, ready for cleaner work with thicker paint. I will start the next steps on Monday.

As you may notice it is a study of the sea and rocks again. I was looking into the water from a stone built 'pier' out into the sea when creating my sketch.

The first work out of my new studio..

Is an acrylic on canvas, 24 by 18 inches. It is based on my Tunisian coast studies. I photographed it when I had the base work painted in. These base colours look a little stark, but you will notice how much they soften with the extra layers of paint in the final picture. I intend to do a few of these seascapes, and then I hope to paint a couple of larger paintings in oils when I have explored the ideas a bit further. The acrylic paint is a bit flatter than the oils would be, but because they dry so much quicker I can develope my ideas more rapidly.



For my next painting I will try to get more vibration within the sea itself. I like the movement within this one but I feel I can get a deeper look to the movement if I use less brushwork, but more careful blending of colour tones. The similar tones of two colours react when laid down beside each other, giving the effect of a vibration within the painting. This will aid the movement of the water in the seascape.

PS. in the actual painting the rocks sit below the surface of the water, but not quite as well in the photograph. I must look at the painting again to make sure.

A small paper study.

This is a 'small work on paper'. It is a view from Tunisia, 16 X 12 inches, acrylic on paper, and has gone to Belgrade, Serbia, for an International Exhibition of small works. The horizon looks crooked in the photo, but the paper was still wet and crinkled when the photo was taken. You will also notice it has a bit of 'fish-eye' lens to it also, but it gives a good over view of the painting.

I am still organizing for my new studio, but I hope to have it soon.