Glenmacnass, Wicklow.

I have just finished (well almost) my last commission for Christmas. It is a view of Glenmacnass in Co. Wicklow, 1 meter square.

I have one or two little touches I wish to do, but in the main it is finished now.

I have photographed it along the way so you can see the work in progression, from the original sketch/design to the finished piece.

This is the Graphite sketch I worked from, giving me my composition and design.

The next stage was drawing and blocking in on the canvas with thin washes of oil paint.

followed swiftly by blocking in my base colours before rechecking my composition against reference photographs. Sadly it is too wintry to try to work on site at this time of year.

This was followed by further blocking in and a little re-drawing, mainly in the area of the waterfall and the larch trees to the top left.

This is a continuation of the blocking in process in the foreground, and I have been adding texture around the midground areas.

This is followed by further detail being added throughout the painting and adding more definition to the blocks of colour.

From here I have begun to finish off areas of the painting, mainly around the mid ground and the road and hedgerow leading to the cottage. I have also added life to the cottage roof.

From this stage on I have increased the detail around the Larch trees, the right hand hill and the cliff-face again. I have painted in the Birch tree over on the right hand side of the painting.

This is what unifies the whole of the right hand side of the work. The fine, strong branches, and the blockier twig areas binding the foreground to the background and a the same time taking the hard edge of the scree slope on the right and breaking it up, this is also helped by the green gorse bush growing out of it. I have started to bring the reds in by painting the fence in, with a rusty brown.

This final stage is where it has all come together. The repainting of the tree in the foreground. This has now been darkened and warmed up, and details such as the small branches added to break up the straight line again. The wire fence has been painted again, to reduce the red slightly as more purples, pinks and reds have been added to the tree itself making it a warmer grey than in the previous image, which has also brought the tree forward from the background cliff-face and the mid ground landscape.

Now the painting is finished as such the whole atmosphere has changed, and it reminds me of the weather we had the day I went up and took my reference photographs for the work.

I have managed to get light in the painting even though there was no sunlight to create highlights and shadows, and yet the work has the feel of a damp overcast November day.

Further work on my two fish paintings

Well, I reworked the water in this one a little. I think I may leave it now.

The second work has been reworked extensively, without the silver foil though. I am quite happy with this one as it is, and I have even signed off on it. Always a sign that I know I have done enough.

I am going off to lough Sheelin tomorrow, hopefully I'll catch another trout to use for further pieces along the lines of this one. That's my excuse anyway. ;)

final work on the Carna Bay painting

Here is the promised photograph of the finished Carna Bay painting.

I am happy with the effect.

It will go on exhibition before Christmas, hopefully it won't be coming back home.

I'm off back to my studio now, I've to finish another one or two works this coming week. All the exhibition catalogue notices for the pre Christmas shows are starting to arrive and the deadlines are from only two weeks away. The reason I have just photographed this one is to send a Jpeg image for a catalogue inclusion. I find if you are including a colour photograph of a work it is always better to use the smallest work as it is less likely to be missed amongst larger pieces.

Indian Summer...

We are in the middle of an Indian Summer. It has gone quite warm again, and in between showers it is nice and sunny. My cold work has disappeared again.

Here is a painting I started yesterday, based on studies of Cashel Bay, Connemara, from earlier in the year. I did further work today, as you will see in the second photograph below.

There is still quite a bit to do on the piece, I will be adding some Montbretia into the foreground foliage later, and I will probably have to do more work on the far shore, but until the hot oranges go in (montbretia) the foreground I will not know for certain how warm or cool the mid-distance will need to be.

To the right is a photo of Cashel taken from the same area, however this from further around to the left of the first Sketch. The tree is from another drawing based on trees that are actually across the road from the bay. But the photo serves to show where the warm colours are coming from, dry grasses and red seaweeds. It was taken too early in the year to show

any of the montbretia flowers that grow wild in the area. Although they are more prevalent in the far south-west,(Kerry and West Cork) the orange flowers thrive in the acidic soils and can add great colour beside the dark red Fuschia bushes that make up many hedgerows along the west coast of Ireland.

Summer's end part two....

I have finished the painting I spoke of in my last post.... I have titled it Gathering Storm. To this end I have used a number of techniques within the piece. The sky is obvious, but within the painting of the sky there are echos and shadows of the underpainted tree branches. These have been left intentionally, they add a feeling of restlessness movement to the trees without animation in the painting. The lines and bow curves of the tree branches are designed to give the impression of whipping movement and tension within the tree. Within the painting of the tree boughs and branches I have tried to create a restlessness using uneven brush marks along with the uncoordinated shapes of the branches.

The magpies themselves also help the stormy effect. The top left magpie is either struggling to perch, or just arriving to join the others.

I have used six of the birds in reference to the old Rhyme, One for sorrow, two for joy, three for a girl and four for a boy. Five for silver, six for gold. Seven for a secret, never to be told ,eight for a wish, nine for a kiss.
Ten for a bird you must not miss.

The number of birds is designed to help the collectability of the painting, being a good number to have if someone is superstitious. The number is not an important factor in the composition, just the variety of their stance, the top left craning it's neck looking down, as is the bottom right bird, as they do when scolding the cat. These are incidental to the mood of the painting which also carries the threat of the storm within the tree itself, and from the dirty grey sky behind.

I feel the painting works well, pleasing to the eye while still holding the threat of an impending storm, with the cameo of magpies adding further interest.

A re-worked plein air study.

I have finished re-working this Plein air study from St. Marguerites Island in the Bay of Cannes, Cote D'Azur.

The couple of areas in this photo with a shine have already been started on. (I decided to photograph the work in progress after starting)

Starting from the base oil sketch, the composition is very busy, and the small branch to the left of the right hand tree is mimicking the center trunk giving a regimented and fragmented look to the work.

I have adjusted the curve on the right hand tree already, the dark blue of the original sketch is visible to the left of the reworked trunk. I have put a base coat on the small branch, which I am about to paint out next. I have also painted areas of the 3 tree trunks
and darkened the dark area behind the lefthand tree.

In photo two, I have done further work on the tree branches. There are areas of light added to some of them. I have also emphasised the curve and twist of the middle tree trunk.

I have painted some foliage in the foreground, top left, this adds depth to the painting.

I have greened up the main area of foliage to the back.

Second coats have been given to the two areas of ground under the trees. The little piece of wall has been painted out also, it does nothing for the composition and is not needed. The dark line of the old wall foundation on the other hand adds interest and does the secondary job of creating contrast to the strong line of the tree's roots on the surface of the ground. These roots make the trees more interesting.

The section of the Island in the background has been repainted. This has been cooled down and adjusted in tone to complement the newly painted sea and sky areas.

In the third photo I have reduced the area of foliage to the right hand side of the painting. This area was to square and also quartered the painting. I had a little fun with this part though...creating a little map of Ireland out of it....

I have left the basic square, but I have broken it up to make it less solid.

It has also allowed more of the horizon to be visible.

Although not noticable in the photograph there is a small variety in the colouring of the sea. This gives a pleasant vibration to flat blues of the background, and not just in the closeness of the colours in the sky to the sea itself. This has the effect of giving heat and life in what could have been a very flat and un-interesting area.

I have also created another curve and twist in the righthand tree trunk to give a better shape to the fork. Finally the foliage on ground and behind the trees has been re-worked and detail added.

I feel the painting is finished now. Though there is always a possibility I may see some change to make in a month or two.

This last photo is of the view, though not the same angle, which was a little to the left I think. But it explains some of the changes made, and the original sketch.

Cashel Bay, Connemara, Re-worked:

I reworked the painting from
April 2nd's post.

I replaced the lobster pots with nets. These are depicted with some orange and onion netting, glued down and painted on and over.
I also reworked some other areas of the painting, particularly the foreground area which I warmed up to increase the depth of the landscape.

The 3D effect of the scrap netting is interesting in itself. I managed to set the bright colours back with judicous use of paint. while still allowing the colour to come through, while the painterly effect on the plastic bouys still allows them to sit in the foreground while appearing to be three dimensional alongside the netting.

Starting work again at last....

I have been into the studio and made a start on another painting. I did not manage to get a lot of work done, but I feel better for starting. Although I am back on more steroids I still have a bit of a wheeze and remnants of the cough. My energy levels are quite high, but my fitness levels aren't, so I start something and realize halfway through I can't carry on.
I have planned out and laid the base coats on the painting, and left them to dry out. At the moment the background layer is just a strong dark deep red, which will more or less dissapear as the work progresses. My next step is to start adding details into the base painting of the sea-bream so I can be fairly set in the colouring and style of this aspect before I work on the peacock feathers and the background. I will take a photo of this first stage before I start, and another at the end of my next session. I am not sure if I will post them as works-in-progress though, I may post the full series with the finished piece in one post, or I may not post them at all. I think it will depend on how the work progresses, and how happy I am with the way it has gone.
Working on and through ideas, does not always allow the process to be visible, as they can become very confused and cluttered and even worse unresolved. I see the proposed painting in my mind, and at first it seems to gel and work, but when it becomes a physical object that can be analysed and studied it often shows weaknesses not apparent in the planning -- a bit like a dream not reflecting the reality.

I am hoping to start the work using previous studies and images rather than the actual still-life subject (another sea-bream) due to the short bursts I will be working in. With so little fitness short spells of work are going to be called for and I will end up using a lot of fish during work on one piece if I don't. I will save the fish in the freezer until I start working with the peacock feathers. I will need to see the way one of the feathers lays across the fish, as I intend to have one doing that in the painting -- but this is subject to change.

It has been a while since I last posted here on my blog. Mainly because I haven't really had much to say about my work. I am still working away, not really getting to grips with anything. I am at a cul-de-sac with my ExLibris ideas. My painting is not coming along as I wish either, mainly because my mind is more on the printwork than on the painting.

I spent the morning retrieving small goldfish fry from my pond and putting them in nursery tanks.... anything to avoid work. Now I am here typing a post on my blog. I have already cleaned and scraped the build-up of paint on my palette, reloaded it with fresh paint, added oil etc, it is ready to go.........

....but I am not.

My studio is in danger of getting a thorough spring clean at this stage........[shock-horror]

I think I may take the rest of the day off. I am likely to do little or nothing anyway. It is hot, heavy and thundery with regular heavy showers which doesn't help either. I will leave you with a photo of the latest finished work from the Maltese series. Oil on canvas, 90cm by 70 cm.

Computers down, paintings up...

I am not on my own computers at the moment so I am still unable to upload pictures. My studio desktop is not communicating with the wireless base station for some un-explained reason. My laptop's power chord is kaput, and I'm waiting for a replacement to arrive. Therefore I'm borrowing C's laptop to post. Work is progressing, I am still working on fish themed work, but I am also working on other pieces for sales/commissions. Business has picked up a little recently, which is just as well since I have a few bills coming due, van insurance, week-away-with-the-lads-fishing, a need for New brushes, some canvas, paint.....ah well! easy come easier to go as they say.....what they forget to mention is money has a habit of being more Hard to come by, easy to go.

I had a nice surprise yesterday when I learned three small works had sold. They were in a venue that while I hadn't forgotten about, were not expected to start selling for a month or two.
They now want more works, and since they are all of a standard size have said they will organise the framing of the pieces.

Another pleasant little chore for me. Consequently, this will be another short post....things to do, people to see..and painting to be done.

More work on my Rainbow Trout

I have done more work on my Fish painting.

I started off by finishing the trout's body. When that was done I added highlights and finished off the fish's eye. Finally I scumbled in the background glaze over the dark olive under painting.

I have photographed the trout's head section in close-up also to give a better view of the detail. I am also posting a selection of the work-in-progress pics below.

Painting a Rainbow trout.

This morning I decided to paint one of the trout I caught while out fishing yesterday. It was taken on a fly, fished from a drifting boat, lough style.

It is a nice silvery fish of about 1.25 kg, a Rainbow trout, grown on from fry stocked into the lough. I kept this one because it was so sleek and beautiful. It was also late in the day, so I wasn't worried about it laying in the sun for hours.




I started off by painting a quick oil paint study, rendered in about 3 hours. Painted alla prima I was more concerned with the light and colours on the fish than with the outline. Consequently the fish is a little too narrow and long in proportion. I also am not really happy with the tail shape after a long look.



The study is painted on a 35 by 25 cm canvas.





For the second work I have used a canvas 80 cm by 60 cm. I started this canvas by being much more particular in my drawing. Although this was done in paint with a brush, the sketching in was done by measuring proportions to ensure they were correct. I then adjusted the drawing slightly, to emphasise the perspective by moving the dorsal (top) fin back a fraction.

You will notice that I have taken a different angle with the second painting. I moved the fish nearer eye level to allow more of the underside of the fish to be visible.

Today, I have blocked in the background and shadow, and painted in the tail. This was important as the tail fin has started to dry out, even with regular damping. This effects the light and reflections, I also have taken some close up photographs for reference if needed. I continued working on the head, catching the colours and light playing around the gill covers, and finally I have blocked in the body tone to allow me to reposition the subject correctly for the next day so that the same area is subject to the silvery highlights.

I am not going to be able to continue tomorrow due to other commitments, but I hope to get back to the painting on Sunday. My fish will keep in the Refridgerator, covered so it doesn't dry out.

Back to grey skies....

We are back from the Cote D'Azur (French Riviera), in France. The weather was beautiful again, February and 20 degrees, sunshine and blue skies (if a little hazy at times). Travelling along between Nice, Antibes, Cagnes-sur-mer and as far along as Cannes....we intend to go further on our next visit to the area....was most enjoyable in bright sunshine and warm breezes. However we are now back in cold grey windy Ireland...and wishing I was still there.

Visiting the Cote D'azur, among other places, allows you to experience the world of the Impressionists and post impressionists. It is much easier to appreciate or critique the work when you have seen the areas painted, the light of the region and it's natural colours. See what they saw when painting plein air landscapes along the coastal regions. But many other artists also spent time working here, among them were Pablo Picasso, Chagall, Dufy, Cocteau, Bonnard, Soutine, Derain, Boudin, as well as Monet, Renoir and others. There is even an organised tour based around the settings and landscapes they painted for those that like to be guided.

I prefer to meander along at my own pace rather than being chivvied or delayed by a herd instinctively trying to keep everyone happy....even those that want the whistle-stop tour!
I am amazed how some groups go into galleries and speed around as fast as possible...I tend to go to one or two rooms at a time and savour what I see....there is always another day to see further. But back to the Riviera...the light there is different.. one of these days I may get to spend enough time there to do some painting....maybe next time, we are certainly going back again, we had a better time this year than last year, mainly because we travelled more widely (last year we spent most of the time in Nice and Monaco) but we still want to see other areas of interest, and we still didn't go to the Renoir Museum (Cagnes) the Chagall Museum (Nice) time just passes and before we know it, it's time to go home again......Well at least until Barcelona next month..........

Christmas is coming, sales are soaring, mark II

I haven't been working (painting) in the studio since my last post. I have been busy with other things, like tidying up for a studio visit by a client. Getting my van serviced and certified (road worthiness) which has to be done annually. Then other odds and jobs took up quite a bit of time, a fishing competition last weekend.

With everything going on I am just not able to get down to painting. Although sales of work are going well, surprisingly considering the economy. I think it has a lot to do with the fact that at the moment investment in art is one of the safest options. Buying sensibly means that your investment should not lose value, as art is not as volatile as stocks and shares. The newspapers and journals have been full of articles saying as much for the last few weeks. Mainly driven by the major art auction houses I suppose, but it has had a good effect on my sales.

I may get some painting done next week, but it is getting close to the silly season, and I may find myself otherwise occupied.

A trip to the south of France, but no painting.

I am just back from the South of France, Carcasonne and the Lanquedoc area. Warm sunshine, and occaissional showers but a nice change from the miserable weather over here.





We had a great time walking around Carcassone old city and along the river Aude.


















I spent a lot of time watching the fish in the river and the Gheckos in the walls.

We took a short boat trip down the Canal de Midi too.

Sadly we only had three days, but we enjoyed every minute of our stay.
Incedently we stayed at The Royal Hotel
22 Boulevard Jean Jaurès CARCASSONNE 11000, which at only 45 euro per night for the two of us was excellent value for spotlessly clean rooms with albeit small ensuite, all mod cons, phone and TV.
The staff were very pleasant too.

We did not manage to get to the Art gallery which was just sround the corner.... ...we were too busy enjoying the sunshine,..... but next time...













I did not take a sketch book or similar as I knew I would not have time to paint while we were there, but in a way I'm sorry I didn't because I could have done a couple of quick watercolours while we sat down by the river and outside the old City.

Autumn is arriving...

It's the end of the month already. The lack of posts on my blog gives testament to the fact I have been busy painting. The work has gone quite well too.
I will try to get more posting done over the next few months, but in reality I have not had a lot of interesting news recently. Lets face it, who wants to hear that I have worked this week, last week, next week....etc. I need angst or something interesting to write about.
....Now I could start on about the weather again.......autumn has arrived and the leaves are starting to turn already, it will be soon time to start painting still-life for the winter.

another update on the plien air painting

It's still raining! I don't see myself getting much plien air painting done while the weather is like this. I am hoping the weather will get more summer like this month. It is a little frustrating not being able to paint outdoors all summer....it's enough to make you want to emigrate to somewhere dry...

Just a small update..

I am still working on more pond paintings, with the humid thundery weather of the last few days the oil paint has been slow to dry. It still surprises me at how dependent on the weather conditions drying time can be even while using drying mediums. I still need to do more work in the studio too, I have not finished my re-organising yet.
I will be doing some plein air landscapes shortly, at least if the weather is amenable I will. I am hoping to get a few days here and there around the country so I have some varied Irish landscapes to hopefully organise a show in the US in a while. I haven't had a US show in a couple of years, but at the same time I have not really had that many Irish landscapes "in stock" in a few years to organise a show featuring landscapes of Ireland.
I have been meaning to get enough together for quite a while...the world is paved with good intentions....and I just haven't been in the mindset to do it.

I have set up a page on Facebook this week, mainly to keep in contact with family members abroad, but feel free to look me up...:)

Pond paintings and my studio

I have finished the painting I posted earlier, this is it here. I have also completed another one, painted from outside the studio. You will notice the reflection of the studio in the bottom left corner of the work.

I was going to do some more work from the pond today, but it is overcast with rain forecasted later so I will leave it until the weather is more suitable. In the meantime I have other jobs to do anyway, so I can get stuck into them today and I have a meeting tomorrow I need to prepare for. I will try to update a little more regularly, but I tend to get sidetracked to easily... :)

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.