Friday, 14 August 2015

ARTFINDER: Kind of Blue by Bernard Victor - A modern semi-abstract painting of some book sh...

ARTFINDER: Kind of Blue by Bernard Victor - A modern semi-abstract painting of some book sh...

 This painting is the second in a series of paintings based loosely on books.

I have always been interested in the inter-action of still life objects to each other and the ways that colours interact.

The title reflects my inspiration by the MIles Davis album of that name.

Tuesday, 14 April 2015

A slightly new approach.

I have always liked a minimalist  style of paintings, and have long admired the works of Mary Fedden and Elisabeth Blackadder, More recently I got to know of the work of William Scott, which I really liked. My late mentor, Bernard Myers, also painted in a minimalist style, and needless to say I have always been influenced by his work.

Recently I have been inspired to do the following paintings. They all portray familiar objects that I have  around plus fruit and vegetables. I am interested in exploring their shapes and the relationships between the objects, against plain backgrounds.

Blue table,vases, flowers and oranges (oils on canvas)

yellow table, flowers and fruit (oil pastels on paper)

Vase, flowers and fruit (oil pastels on paper)

Coffee pot and cup (oil pastels on paper)

Two vases (oil pastels on paper)

I feel that I can explore these themes in greater depth, and possibly explore a similar approach to landscapes.


Saturday, 31 January 2015

Some different boat paintings

I thought I would try painting some different styles of boats than those seen around UK waters, so here are a few attempts in watercolour and ink.

A Chinese Junk

Three Arab Dhows on the Nile.

Three more Arab Dhows

  Amundsen's Boat on it's voyage through the North-west Passage.

This last one is based on photos of Amundsen's boat as it is in a Norwegian museum.

Sunday, 11 January 2015

Emily Carr at Dulwich Picture Gallery

It is funny how sometimes the unexpected  can turn out to be more exciting than one would have thought. I was not expecting much of the exhibition of Canadian painter Emily Carr's works at Dulwich Picture Gallery, but ended up having a rather exciting afternoon there.

Emily Carr  was a Canadian painter, who is hardly known outside of Canada. She painted from the end of the nineteenth century through to the 1940's.  Originally trained in England and France, she was well acquainted with the modernist movements springing up in Europe. On returning to Canada she was attracted and inspired by the native art and life of Native Americans and the environment in which they lived.  However as she had initially no commercial success she abandoned painting and made her living  by other means. However an exhibition of her work awakened a new interest and she started painting again in the 1930's.

The works from her second phase appear to be much looser and livelier than her earlier works, as she moved from watercolours to oils and drawing in charcoal. To me there is a wonderful spontaneity in her work with very free and expansive brush strokes. She captures the movement of the trees and undergrowth with wonderful freedom and on some occasions humour. At other times she captures the heaviness and oppressive feel of the forests in which she painted.

  Her paintings of Native American objects such as Totem poles are obviously painted with love and understanding.

 At other times she captures wider landscapes and skys, with an almost "Turnerish" on Van Gogh like abandon.

She obviously loved the environment in which she painted.

We almost nearly missed a notebook which she produced early in her career when she visited Alaska with her sister. This was full of really amusing cartoons of their adventures in Alaska, which you can see on an i-pad alongside the original notebook.

If you get a chance I would really recommend to this exhibition which goes on till March.

Wednesday, 10 December 2014

Moroni and Rembrandt Exhibitions.

I have recently visited these two exhibitions and was pleasantly surprised by some of the similarities between these two painters even though they were a decade apart. Rembrandt is much the best known,, whilst Moroni is not known at all well, and yet they are both supremely excellent portrait painters.

Rembrandt - Portrait of an Elderly Man (1667)

What makes them similar is that they do more than paint an accurate portrait of their subjects but get under their skins and make you feel that they knew these people and understood the way that they felt and acted. Whereas a good portrait painter will give an accurate depiction of their subject, these two painters make you feel that you also would know these people and be aware of their strengths and weaknesses. They also painted their sitters as they were,not beautifying them and  not hiding any imperfections

Moroni - Old man Seated with a Book (1570-5)

Rembrandt -Portrait of Margaretha de Geer (1661)
This is the difference between a good portrait and an outstanding one. The other similarity is that as well as painting the more distinguished and aristocratic  people who lived around them, they both painted more ordinary people.

Moroni - The Tailor  (1565-1570)

It is a pity that Moroni did not appear to have done any self portraits. Rembrandt  painted himself many times, and because of this one feels that one knows the man intimately.

They both also painted allegorical and religious paintings. It is here where Rembrandt is a far superior painter. These paintings are full of life, whereas the few Moroni religious paintings we see are rather stiff and not at all life like.

Both painters were very skilful in their use of paint, giving wonderful depth to the everyday objects in their painting such as feathered fans and books. Moroni is more academic, whilst Rembrandt is much more daring in his brushwork. The catalogue states that he was the first painter to apply paint with a knife, and if so this makes him a great innovator.

If you can, go to both exhibitions. The Rembrandt unfortunately will be very crowded, but the Moroni should be quite comfortable. Personally I prefer the exhibition space at the Royal Academy, where the Moroni exhibition is being shown, even though it is in the smaller Sackler gallery . How wonderful the Rembrandt's would be in the R.A.'s main galleries, instead of the cramped settings of the National Gallery's Sainsbury Wing.

Tuesday, 29 July 2014

Matisse the Cutouts.

At last today we got to this exhibition at Tate Modern. Are we glad that we did not miss it. This must be one of the most exciting and eye opening exhibitions we have ever been too.

I knew a bit about "The Cutouts" but did not know that Matisse worked on them for such a long period. I thought that they were only done in his last few years, not for seventeen years.

Exhibits ranged from the small ones that he started with, particularly the ones that he did for his book "Jazz" and progressed to the enormous ones that he did towards the end of his life. These included the ones that he did for the Church in Vence and other designs for stained glass windows and even carpets.

What a prodigous worker he was. His output was much larger than I thought it was. What an influence he was to the whole art world. If ever there was an artist to whom the word 2genius" applies, Matisse  fils the bill.

All I can say is that even if you only go to one exhibition this year, this is the one to go to !.

Wednesday, 11 June 2014

A Rather Dissapointing Exhibition

 I have just returned from viewing the latest exhibition at Dulwich Picture Gallery  entitled "Art and Life".

This exhibition traces the work of five artists who were closely connected over a period of ten years, from 1920 -1931.

The artists covered are Ben and Winifred Nicholson, their friend Christopher Wood, the naive painter Alfred Wallis and the potter William Staite Murray.

The connection with Murray seems rather tenuous, and though he produced some interesting work, their seems little connection other than their friendship.

It would appear that the Nicholson's were looking for inspiration at this period, and though Winifred found it in her quite nice flower still life's , Ben Nicholson was trying to find inspiration but not very successfully. His paintings vary from rather poor semi-cubist still lifes, obviously inspired  by Picasso, to rather insipid landscapes. His early abstracts, show the way he would eventually develop, but are rather weak. He also looked to the naive paintings of Alfred Wallis for inspiration, but in my opinion his work is again rather weak, and does not compare with the lively naive paintings of Wallace.

Christopher Wood again is obviously looking for inspiration in the same way, and to my eye has more success then Ben Nicholson. It would appear that he was getting there with one of his last paintings before committing suicide, which shows how he was experimenting with surrealism. This in my view is his best painting in the exhibition.

The exhibition ends with Winifred's rather unsuccessful flirtation with abstraction, and Ben's very much more successful early white abstraction. It would appear that Winifred was at her best doing flower still lifes, which seemed to give inspiration to Mary Fedden, Elisabeth Blackadder and other contemporary painters, whilst Ben found his way to fame and fortune with his much more exciting abstracts.

In all I found this a rather disappointing exhibition, particularly as it was one that I was very much looking forward to. However I must say that I found Alfred Wallis's paintings much more exciting, colorful and full of life, than his perhaps more noted companions.

Monday, 21 April 2014

Reworking with oil pastels.

Continuing experimenting with oil pastels, I thought that I would see how they worked in touching up an oil painting that had not worked.

This was a painting that I started after last years river cruise on the River Rhone. It just did not seem to work and I had virtually abandoned it. However I have spent some time in the last two days re-examining the source photos and sketches and this is how it has turned out. I feel that this is a worthwhile effort, and will now have a look at some other old work and see if they can be "improved".

Tuesday, 15 April 2014

Amaryllis in oil pastel

Continuing my experiments with oil pastels, here is my latest effort.

This is based on some that I took of a very pale pink Amaryllis we had just after Christmas.

I decided to make it much redder than the actual example, as unless  I put it against a very dark background or painted it on a black support it would not show up.

What do you think of this one ?

Now do I do another flower oil pastel, or try another subject. I do have a pot of Hyacinth's drawn, so I might have a go at that.

Monday, 24 February 2014

Tulips in Oil Pastels

Continuing with my experiments in using oil pastels, I painted this picture of a bunch of tulips in a vase.

I am quite pleased with this painting, which I did using Caran D'Ache and Sennelier pastels on Fabriano 5 watercolour paper.

Sunday, 16 February 2014

Three or Four Schooners ?

The other day I did a small watercolour of four schooners racing, based on an old photo from around 1900.

On completion I thought that the fourth boat with a red sail did not look quite right, so I am not sure which is the better version. The one with three boats or the one with four.

 What is your opinion. I feel the one with three boats is better balanced.

Spring in Holland

A few years ago we had a holiday cruising on the Zuidersee in Holland. I took many photos on this trip, and whilst sorting through them the other day, I thought that a few would make good subjects for paintings.

Here are my first two from what will eventually be a small collection.

The first one is of three windmills at  Kinderijk.

I did this composition from a combination of two photos. The boat is a Dutch barge  and the windmill is based on one from the previous photo.

Thursday, 30 January 2014

Some thoughts on Linux.

I have been using Linux operating system for many years. I started using it whilst still working, dual booting Mandrake distro with Windows XP.

After retiring and when I messed up my Windows XP system, I returned to Linux, and have tried many distros. As my machine is a bit ancient, it will not run a KDE based distro very well, as this interface needs more RAM than I have, though I have been using Kubuntu with varying success. I had settled on using Mint XFCE as this worked well and did not take up to much systems resources. However I have recently read a lot of reviews praising Elementary Linux, so I thought I would give it a try.

In all I am very impressed. It has a rather MAC like interface, is fairly customisable and does not use to much resources. Based on Ubuntu 12.04 it is very stable. So at present I am using it asmy base system, though I stilll have Mint XFCE as a fallback.

If any of my readers use Linux, I would be pleased to read their comments.

Two new watercolours

Having sold a few small watercolours recently I thought I had better turn out a few more. Going by the precept that boat paintings always sell, and because I enjoy doing them, I turned out these two this morning.

This one is entitled "Sail and Steam" and is  on a piece of 10" x 8" Khadi paper. It is based partly on n old photo that I took many years ago on Lake Lucerne in Switzerland. At least the paddle steamer is.
It is priced at £45.00

I'm not sure where I got this side view from, but I copied it from a drawing in my notebook. Colours are pure invention. Price is £25.00

I hope someone likes them and might even purchase them.

Wednesday, 4 December 2013

Romance of the River

I recently attended a course at the Dulwich Picture Gallery, tutored by artist in residence  Liz Charsley-Jory, which was inspired by the current exhibition of paintings , drawings and prints by Whistler of the river Thames.

On the first day, after a short talk regarding how Whistler was inspired, we drew in ink pen from the large collection of photos of the river taken by Liz. I found this very worthwhile, but my rather rapidly done sketch was far from one of the best with some exquisite drawings from other participants.

The following week, were introduced to oil pastels by Liz. This is a medium which though I have tried, I have never had much success. However Liz gave us a very thorough explanation of the various techniques to be used with this medium, and then again either choosing one of Liz's photos or a reproduction from the Whistler's on show we got down to producing our own works. 

This time I found the medium very interesting a nd exciting to work with. My first attempt used one of Liz's photos as a base, and I was quite pleased with the result.

The third week  we could either work on the same painting if not finished, or start a new work. I chose to work from a photo in the exhibition, which Liz kindly obtained and blew up to a workable size. This larger painting took much longer, and I continued with it for the third week.

On the fourth week, I decided to experiment a bit more. Firstly I chose a night shot of the river with Canary wharf, which I tried in a semi-abstract manner.

 I also started another painting from Liz's collection, which I originally conceived as another semi-abstract , concentrating on the water effect only, however this expanded to cover the whole painting, which ended up as a very bright semi-expressionist style painting. Quite honestly I am not very pleased with these two paintings.

As well as the work done at the gallery, I also did a couple of watercolour and ink paintings based on similar sources. i am fairly pleased with these,  and have another one drawn out and ready to paint.

I enjoyed this course very much, and hope to get more practise with oil pastels, which I found very workable, and rather less messy than regular pastels. Liz advised me not to use Sennelier, which she said were rather greasy, but to concentrate on Caran D'Ache, which is the make we used on the course.

Tuesday, 29 October 2013

Whistler and the Thames at Dulwich Gallery.

I have been looking forward to this exhibition at Dulwich Gallery  for some time, as I  consider Whistler an extremely good and very influential painter, particularly on British art.

Whistler was an American, but spent a considerable amount of his life in London, usually living close to the river, which he painted, etched and engraved for a good part of his career.

The first room was dedicated to his early etchings and dry points of the river. many of these were highly detailed and won Whistler a very high reputation. It was a bit distracting to find that these etchings showed a reverse image of the actual view.

We then moved onto views of Battersea Reach including the bridge, which  was eventually to feature in one of his most famous paintings. As well as a few paintings and etchings, there were quite a lot of early photos, which did help to place the the area in context.

This was followed by paintings and etchings which showed how Japanese prints influenced his painting.

 These included his wonderful painting called "Wapping",
 which he himself praised extravagantly in a letter to Fantin-Latour. Whistler was not exactly a modest man, and had a very high opinion of himself. This was accompanied by the lovely painting of his mistress "Symphony in White", who was featured in "Wapping".

His Nocturnes followed, these are paintings and etchings, giving  evening and night views of the river. At the time these were very progressive works, as the subject is only secondary to the subdued colours used in these very evocative paintings. One can see how these must have been an influence on early abstract paintings.

Finally we come to a room devoted to his famous painting of Battersea Bridge, and showing the great influence of Japanes e painting on his work.

Overall I enjoyed the exhibition, but I did think that it was rather lacking in content, with to much emphasis on his prints, and filled in with rather a lot of interesting  early photos, which helped show the conditions and locations in which he painted, but I felt were put in to bulk out the show.

If you went expecting to see a good selection of his paintings, I am afraid you would be rather disappointed, but if you went to see how he saw the river and expressed his view in paint and prints, you will come away contented.