We have had a male model at Life Painting, often trickier to paint than female models. A few of us moved our easels to try to get a view that was slightly less beset by perspective issues. These two images are in sepia tones (the actual skin colour is starkly affected by the very bright arc lights in the studio). The lying-down pose, with arms wrapped around the body, was a challenge – we have this pose for another couple of sessions so I will have to go off-piste a bit, or abstract, or cubist, or…. You just have to accept what you get and make the best of it, and learn from it. I’m certainly doing that thing that art tutors keep telling you to do (which I’m fairly bad at): Observe.
Simon has put some more of my glass paintings in his shop window near Morrison’s. One has just sold – to someone from Belarus! Here are some of the others. They don't photograph very well because of the slight distortion of the glass when straightening the photo of the image. Hopefully these will sell by Christmas, I think I've done enough paintings on glass for a while.
The five art trails in Bath are exhibiting paintings along the main corridor of the RUH in aid of the Art at the Heart hospital fund. One of my paintings, Coming Home, has sold. I will take another brightly coloured one, The Outsider, to fill the space. It’s a lovely exhibition, well displayed, and hopefully lifts people’s spirits a little as they walk along the corridor.
I have been going to Life Painting class with my daughter Ele. I thought I would be well out of my comfort zone but we are both enjoying it, despite early misgivings about having the same pose for three weeks! I got round that by being less authentic about colours and Ele experimented with dripping ink.
The fourth week we had a standing pose that involved the model holding onto ropes – looked pretty uncomfortable for her. Being newcomers to the class we had what seemed like less good views of the model but the people who had front views had a much harder task, especially in the reclining pose where you would have to tackle perspective and a knee or foot dominating the painting.
Busy doing nothing much. I am making insects and cards. Found a clipart bee, enlarged it, Andy cut it out in plywood and I painted it. It's stuck on a stick and in the garden. Not at all original but we like it! I am not inspired to paint. Instead I've been replenishing my stock of 5" square cards ready for exhibitions or a gallery or just to send for birthdays. The mini mounts are a bit awkward to cut out - Andy does them, being gadget man and more adept! Found some bits of coloured mountboard, most are made with white.
We changed the paintings in Simon's window in Bath. It's good to have them on show. I've entered the large abstract, top row in the centre, "Save the last dance", in the National Open Art competition. It took most of the morning to complete the entry form, hugely aggravating, I nearly gave up. It took ages to get the picture the right size and then you have to provide an Art CV and a 30 word Art Statement - here's my statement about this painting, and if you think this sounds mystifying you should read some of the others! An interpretation of the romantic song by the Drifters, combining an upbeat palette with a slight ambivalence in the abbreviated title, hoping the last dance is “for me”.
In a bit of a lull. Sorted through old paintings and revised (hopefully improved) these three. The blue jug that was beginning to fragment is now whole (but breaking!) and has flowers cut out from the painting I did on gesso paper. The sunflower painting now has more depth - I repainted the sunflowers to the left of the picture so that they are facing backwards rather than full front. The blue pool - don't know, I just messed about with it!
Still with flowers, I covered the paper with thick gesso and swirled it around to resemble petals and let it dry to a flexible surface. More tricky to paint the ridges and hollows. I tried highlighting with iridescent white paint which produced a silvery effect. Don't think I like it! It may be headed for the collage drawer. This photo was taken in my art class. The painting looks better in the photo - not sure about my hand but the brush is a favourite!
Three of my recent flower paintings are in the shop window in Walcot Buildings, displayed by my art tutor, Simon Wright, with some of his pots. Every so often I think I’ll do something pale and watery and interesting but the paintings pretty well always end up bright, straight from the tube – water is just for washing brushes!
I love looking at flowers but I rarely buy them and am happy to wander round the flower stalls at supermarkets just looking! These flowers and jugs are all painted from memory. I tend to start by painting a jug, add some flowers, invent a background, wonder what else to put in to fill up the spaces - it does mean that some parts are heavily overpainted where things didn't quite work. This painting is part palette knife, part brush. I think I need to add more light, the flowers in particular are looking a bit solid.
I don't know. Some days I like this painting, other days I wonder if it looks too much like the floral corner of the library!. It's another painting done with a palette knife, except for the background bookshelves which are loosely brushed in. The flowers are gifts from Mother's Day, the jugs and bowls are imagined. I may have overworked it, layering on the paint to get the direction of light and sense of perspective. It's imaginatively called Spring.
Our bookshelves really do look like this!
Having painted a few neat and tidy sorts of pictures I decided to use a palette knife, a larger sheet of paper (20x16 inches), paint straight from the tube and just see what happened. I did a thin wash with a big brush for the background after I'd painted the rest of the picture. The paint is thick and chunky in places (briefly chanelling Van Gogh!). The horizon needs adjusting. So far I like the effect. Maybe I'll do another one.
This is one of my favourite jugs. I've painted it a few times, also the wooden bowl carved by my father-in-law and inscribed "FWJ lime wood, 1976". Hopefully the wooden bowl looks like a chunk of carved tree, the jug looks ceramic and the fruit is recognisably lemons and limes. I'm experimenting with colour contrasts - originally the background was bright orange which didn't really work. This colour scheme gives it a cool look which I quite like. I'm working on another jug painting and then maybe I'll get back to abstracts.
I loved this when I started painting it in art class. Now I can't get back into how I thought I was painting the sound of breaking glass! The left hand side of the jug is ok. the right side looks too awkward or just weird. And the top looks like a bad tempered crow! The spilt water at the bottom is perhaps the best bit.
The sound of breaking glass