I must have done something right because I sold a few on the preview night. In fact one buyer congratulated me on my efforts and remarked "You have to be there to capture that special light". What could I say but agree. Happy days. I think I still have a couple hidden away somewhere but 'Notte Lucente' was the last one to be sold. A lady called into the newly opened Gallery Forty Nine in Old Town, Bridlington and after a long look at the painting asked if she could take it home with her for a few days. I agreed and was just starting to get a little anxious when she didn't reappear for several days. Eventually though she came in and paid the £350 with a smile explaining " I had to check it would go with the new look in my bedroom and the blue of the gondolas exactly matches my curtains so I wanted it!". Ah well they all count! Here they are then complete with titles some of which I can no longer translate back into English.
Every artist has to paint Venice at some stage. My opportunity arose in 2005 when a group of artist friends visited that amazing city. Although I stayed at home and minded the shop so to speak, I was still invited to take part in the ensuing Venice Exhibition. Renowned photographer Margaret Hockney kindly gave me permission to use some of her images as the inspiration for my eight paintings. Luckily for me Margaret often 'shoots into the light' so it was easy enough to choose photos I wanted to paint - the issue was - could I do them justice? Some worked better than others but at the time I was very excited about the outcome especially as it was also the first major exhibition I had been involved in. I asked an Italian friend to supply the titles and you have to admit that 'Mattinata Mistosa' sounds a lot more romantic than plain old 'Misty Morning'! I must have done something right because I sold a few on the preview night. In fact one buyer congratulated me on my efforts and remarked "You have to be there to capture that special light". What could I say but agree. Happy days. I think I still have a couple hidden away somewhere but 'Notte Lucente' was the last one to be sold. A lady called into the newly opened Gallery Forty Nine in Old Town, Bridlington and after a long look at the painting asked if she could take it home with her for a few days. I agreed and was just starting to get a little anxious when she didn't reappear for several days. Eventually though she came in and paid the £350 with a smile explaining " I had to check it would go with the new look in my bedroom and the blue of the gondolas exactly matches my curtains so I wanted it!". Ah well they all count! Here they are then complete with titles some of which I can no longer translate back into English.
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Back in 2003 the Yorkshire Wolds was a completely new area for me. Up till then I had been concentrating my paintings in and around the Yorkshire Dales and the North Yorks Moors National Park. Imagine my delight then when I was introduced to this relatively unknown and unspoiled part of my beloved Yorkshire. Although not as wild as its more famous cousins it has a charm all of its own. It’s rolling Wolds and quaint villages give it a character that you do not find on the more well known tourist spots. It has certainly not been revered by painters to anything like the same degree as the Dales or Moors. The location for this painting is on the road to Burton Agnes from Lissett. I was being introduced to the area by a fellow artist Tony Hogan and we just pulled into the side of the road and painted this typical Wolds scene. You can see the pencil marks from my original sketch. We had to work quickly but luckily it was dry so I could get on with it. It was painted wet on wet just dropping a few colours in together and you will notice ‘bleed’ marks in several places where the paint was not quite dry enough from the previous wash but this just adds to the freshness of the painting. I was pleased to find a record of it as it portrays all the excitement and eagerness I was feeling about painting the Yorkshire Wolds outdoors for the first time.
This is the first in a set of old paintings that I have recently come across that have not been posted before. They were painted in our pre-digital days and the images were quite low resolution. There are some that I never even framed because they had not turned out as I wanted but thankfully Merice persuaded me to keep a record of them anyway. Now after a bit of tinkering they can see the light of day again. Although some might lack technical expertise they contain a lot of happy energy and the excitement I felt at the time as I began my painting career so I hope you enjoy them.
In the summer of 2005 I was established in a small studio/gallery in Easingwold which is a market town just up the road from where I was living at the time. Merice would sometimes come up and we would meander home down the back roads together. This is from the road between Easingwold and Strensall and it was just stunning to see this abundance of poppies brightening up our evening drive. The road goes between two farms and the one with the poppies is called “Forty Acres Farm”. The farm on the other side of the road had no poppies which made this field stand out even more. I have to say that during the last ten years poppy fields have become scarcer and scarcer which is so sad. This then is a celebration of an iconic symbol of both summer and remembrance. Galtres Forest was a huge Royal forest that used to stretch from the River Humber all the way up to Northumberland. It is mostly gone now but there are scattered remnants here and there. Strensall Common just outside York is one such area. It has two things going for it that have helped it remain relatively unspoiled. First, as the name implies, it is common land. Probably going back to mediaeval times this gives locals the right to graze their sheep so the opportunity for development has never arisen. On the other side of the road from the common land proper is an army firing range and training ground.. This is the second reason why this chunk of Galtres has been undisturbed because when the red flag is flying you enter at your peril! Bearing all this in mind and because it was more or less on my doorstep when I lived near York, Strensall became one of my main places of inspiration during my early painting days. It was and still is a great place to paint outdoors. I did several paintings of the area and named one ‘The Last Remnants of Galtres Forest’. This was on display in my small studio/gallery at Easingwold. One day a lady entered and after having a good look round she approached me. She was very pleasant and courteous but informed me that I was wrong about the location of the last bit of Galtres Forest. She told me that it was actually located in a place I had never heard of and mentioned I should have a look. This was my introduction to Skipwith Common. This too is situated fairly close to York so being so intrigued we went to explore the area just a few days later. I was instantly captivated by the place. Although sharing some features of Strensall Common it is so much larger and is in fact the largest expanse of heathland bog left in the north of England. As the word ‘bog’ implies it is a wondrous location of deep black reedy pools and swampy marsh. There are no non native trees growing here just oak, ash, hazel and the occasional Scots Pine. It is an artist’s dream of a place and I bet your appetite for it is whetted already! This was the first painting resulting from my affiliation with this inspirational area. We walked down this muddy track and I was totally intrigued by the semi abstract patterns created by the shadows and reflections. This may have been my first painting of Skipwith but it certainly wasn’t my last!
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AuthorProfessional artist now semi retired and enjoying being eccentric! Archives
October 2022
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