Painting in the snow

On the positive side , this recent Arctic weather has provided amazing opportunities for painting en plein air. It is something I have done a lot of, even in near zero temperatures. On with the thermal underwear, the furry hat , the fingerless mittens and six layers of clothes and off one goes.

What could be more enchanting than to stand painting in splendid isolation, listening to the sound of silence. On a crystal clear day, the colours are amazing. The white of the snow is a myriad of colours- pinks blues, purples. How does one capture it?

It most certainly isn't for the faint hearted. I can well remember painting in Scotland once, during the worst winter in living memory. I was working in gouache and suddenly felt the paint was becoming difficult to manipulate, only to realise my medium was turning to ice on the surface of the board. It certainly gave some interesting effects when I took it back to the warmth of my cottage and the painting thawed out!

Here's one I did earlier!




The Abbey Gardens, Bury St. Edmunds. Oils 40" x 30"

Painting at Pin Mill 4

In a previous blog (August 10th) I demonstrated my methods for painting a gouache landscape en plein air. The subject was Pin Mill on the Suffolk Coast. Unfortunately, as I explained, “good light” stopped play.
To recap:

The start of the painting.

Stage two. At this point the painting had to be abandoned due to rain and wind!

Fortunately, I have since returned for another few hours to work on the painting and then complete it in the studio.

The finished painting.

Detail of finished painting.

As will be seen, a great deal of work has been done on the barges etc and on the water where I was hoping to capture the play of light and the patterns of reflections. At times I used hogs hair brushes, at others, softer synthetic ones which allowed me to blend much more easily. At the end I was using tiny sable brushes, to do areas such as the rigging.

As I said in my previous blog, working en plein air can be both exhilarating and challenging. If you haven’t already tried it , have a go!

Sam Motherwell's Exhibition

In previous blogs I have spoken both of charcoal techniques and working “en plein air”.
In his new exhibition at the Barnabas Gallery in Cambridge, Sam Motherwell manages to combine the two. There are over 30 charcoal drawings done on the spot in Iceland, Scotland, Finland, India, Nambia, Spain , Egypt and Greece

Dr. Sam Motherwell

Done quickly, Sam’s drawings retain a freshness and spontaneity that can so easily be lost when using charcoal as a medium. He has a very individual style which reminds me of the work of Paul Hogarth. Like Sam, Hogarth worked almost exclusively in black and white, illustrating books by Brendan Behan and also those on his own travels around the world. Both artists balance line and mass, shift perspective and create almost abstract patterns out of everyday scenes and people.

Sam and Pat Motherwell chat to Colin Hayes at the Private View.

Other guests.
As well as showing Sam’s drawings, this exhibition offers the rare opportunity to view a working studio and print workshop, and to discuss other processes such as lithography, etching and linocut.

Sam’s studio within the St. Barnabas Press.
Sam Motherwell’s Exhibition runs from 25th April- 16th May at the Barnabas Gallery, Coldhans Road, Cambridge CB1 3EW. Mon-Frid. 10-6, Sat. 10-4
Also worth checking out is Sam’s recent publication – “Mill Road stories without words”. It is a book of 114 evocative linocuts of Mill Road, one of Cambridge’s most colourful streets.
Finally, Sam in flamboyant mode. Behind him, a portrait I painted last year as his term of office as the President of the Cambridge Drawing Society drew to a close.