Friday, 24 March 2017

This Week's Paintings

Actually yes, they are mine not the fabulous ones I post monthly. The next instalment of those will be in a few days time - April. The Amerindian painting was done at home. I have reappraised the way I do these portraits becoming dissatisfied with recent efforts. and have attempted a slightly different approach. Following Charles Reid's mantra "be a little crude...mistakes are part of it" I first made the drawing using a size 7 2B Pentel mechanical pencil. The following day I commenced the painting but did not complete it,  going so far then leaving time to reflect on what I'd done. One tends (at least I do) to see things differently after reflection and a little time - a day or two - rather than first impressions. Maybe that's just me. I still aspire to do better and never ever feel that I've produced a 100% result.

Whirling Horse Sioux 1900

I'm quite pleased with this and feel I achieved something approaching where I want to be.

Flowers - 16" x 12" Fabriano Artistico Extra White not.

Flowers /foliage was the subject at this weeks AVA session. I obtained the photo by 'googling', which is how  I normally get most of my references. The colours appealed to me.

I again made the drawing the day previous so could concentrate solely on the painting at the AVA session. Only two brushes were used, mostly a No 10 travel brush from Rosemary which is  a nice full-bodied sable, and a NO 6 Isabey travel brush. Flower colours were also limited. The reds were all various dilutions of Quinacridone Coral from Daniel Smith. The yellows were Hansa Yellow Medium (Daniel Smith PY97) and Indian Yellow (Rowney PY153). I still have stocks of the Rowney although PY 153 is said to be no longer available.. The marks on the petals were made by a Staedtler pigment liner. I bought a set of six a while ago from Cass Art in Bristol.

The greens are slightly more complex. Apatite Green from Daniel Smith, Sap Green from Lukas and one or two mixes of Ultramarine Blue and Hansa Yellow Medium. There is also some Cobalt Teal Blue (Daniel Smith). Possibly I've missed some out.

I was reasonably happy with this painting. The flowers are Alstroemerias ( I think that's the spelling).

I don't put these forward as good paintings just my current work.  I'm beginning to paint a little more often again and hopefully emerging from the trough I've been stuck in. Not painters block exactly but something similar. This also applies to my health, which although generally good, has been less than 100% the last few months and may have been a contributory factor.


Oscar Solis said...

Whirling Horse Sioux 1900 is wonderful. It's my favorite of your Native-American paintings. I love the distribution of paint on the hair as well as the choice of colors over all as I'm assuming you had to work from a black and white (or sepia toned) image. The quote by Charles Reid, although I've never come across it till now is perfect and summarizes what I feel about painting and drawing. Robert Andrew Parker, one of Reid's favorite artists (according to one of his books), is my own guide in this matter. He applies color with certainty and doesn't worry about runs, blooms, mixing opaques with transparent paints and on. Yet, his work holds together and I have to say it's that wildness that hooks me into his work. It's something I've learned to apply to my own.

Th flowers I like. Once again, there is a freedom of application. It feels alive. I hope that if you decide to matte this work you lose as much of the white and basically crop into the petals (I tried it with the painting and it really drew one in so that you felt you were among the flowers).

So there are my two cents. Keep going. These are two wonderful pieces. But as aside, when you finish them, try seeing how they look cropped. Again, just my two cents.

Peter Ward said...

Nice to have a fan Oscar! Thanks for your comments. The Charles Reid quotes are from comments he made on the various courses I did with him. He is coming to the UK this year with the Travelrite outfit (International Artist Magazine). The cost including single supplement is nearly £4000! His previous workshops weren't cheap but nothing of this magnitude. The paperwork makes it seem more like a holiday with painting than anything else. You are picked up from Heathrow by a coach. As I won't be flying in the travel arrangements raise all sorts of complications. I felt the last workshop I did at Stow a bit deja vu so apart from the price of this one, which I wouldn't even consider paying, maybe I'd reached the end of the line. Of course I have all my memories (watched nearly thirty demos), all his books and DVD's so enough is enough.

Thanks for advice about cropping. I don't suppose I'll frame either but will bear this in mind.

Simple Living Blogger said...

Love both of these, Peter. You have such a natural and unpretentious style. I see the influence of Charles Reid in the floral. :0)

Peter Ward said...

Thanks for comments SLB