Painting flowers is always harder than it seems. It’s all too easy to make them stiff and un-natural looking.
Despite the fact that we see flowers all over the place, on a daily basis, it’s often quite difficult to capture the essence of a particular flower – the shape, the tone, the angle of the stem. It all adds up to making the general impression.
So why am I painting flowers from a French field?
About a year ago my friend, Olivia Quintin called to tell me about a painting week she was organising on Belle Ile. I would have jumped at the chance to paint on the island, and when she told me that the other tutor was to be Fabio Cembranelli, I was completely hooked. Fabio’s atmospheric painting style is one I have admired for some time, and Olivia paints with stunningly vibrant colour mixes. Fantastic combination of tutors and some dedicated painting time on a beautiful island. What could be better?
This is the result of my second day of working with Fabio and I couldn’t be happier with the result. I’ve loved doing this painting and have now been spurred on to do more like it.
Painting Flowers from a French Field
The field opposite our little complex of chalets is a mass of wild flowers. There are sunflowers, wild crysanthemums, pink cosmos, white cosmos and cornflowers. Painting flowers is almost unavoidable when you have that much fantastic material on the doorstep. Here’s one bunch that provided inspiration for the artists who wanted to spend time painting flowers.
Fabio’s approach to painting flowers is not to slavishly follow the bouquet in front of him. Instead he uses the shapes and colours as inspiration, but takes artistic licence on the composition and in adding new flowers to bring in colours and form to enhance the original image.
Plein Air painting with Olivia tomorrow. What surprises will that bring?
Yesterday was a day for considering painting darks. There was one last tomato and a bag of glorious big field mushrooms in the kitchen when I was looking for my subject yesterday. The mushrooms caught my eye.
There’s a lovely tonal contrast between the dark underside frills and the creamy top of a field mushroom that just invites the artist’s brush so I decided that painting darks was going to be the day 3 project.
I couldn’t leave the poor lonely tomato out of the frame so I added it just for fun. Next time I might go for a purely mushroom composition, because in hindsight, I’m not sure the tomato adds anything particularly fabulous to the image – and it’s not really in sync with the painting darks theme. You may also notice that I lost interest when I was painting the tomato vine. It seemed unimportant to my purpose – the painting darks thing.
Despite its title, this painting really is all about the insides of the mushrooms (which, tasted fantastic when we ate them for supper, by the way).
Raw umber was the main colour for shaping and detailing the smooth edges of the mushroom. I deliberately chose two with quite different edge shapes so that I could work on capturing the juicy roundness of the fat specimen on the right, as well as the slightly tattered frill on the other.
Burnt Umber was my dark of choice. I added some lovely rich blues to emphasise the deep shadows under the upper lip of the mushroom, and some lovely perylene maroon in the nearer part of the frill to provide some warmth.
I was hampered for colour as I was just using a little box of paint blocks rather than my normal range of colours. So while I’m not under any illusions that this is a masterpiece, it’s achieved it’s purpose: I had a good play with painting darks.
It may seem completely obvious to talk about painting colour. After all how could you painting without painting colour? But bear with me. Hopefully this will make sense by the end of this post.
Monday marked Day 1 of the current 30 Paintings in 30 Days challenge. I’ve done a couple of these in the past and found them to be both demanding, and hugely valuable at the same time. They create a structure and a focus for painting time, and in the past have also provided a boost to the Running With Brushes collection.
I had actually decided that I wasn’t going to take part again this time, mainly because I’m pushed for time (as always). But I signed up nevertheless thinking that I could just dip in from time to time during the month and post what I could.
But then last weekend we spent time with some very warm and wise friends. It was a grounding couple of days in which we walked, talked, ate, wandered through beautiful gardens and along windswept beaches. We talked about family, history, books and life in general. We talked about the value of slowing down the pace of life and paying really focussing on the here and the now.
Listening – and I mean really listening, with full attention – is something we know is a huge gift. Not many of us are very good at it. We’re distracted by the noise of daily life.
So I got thinking about 30 Paintings in 30 Days and I will take part. Rather than post a fully formed painting every day, I am using this challenge as an opportunity to ‘listen with my eyes’. This is a marvellous opportunity to practice active looking and recording what I see. I’ll write more about my thinking on this theme as the challenge progresses, and as patterns in my perceptions emerge.
Painting Colours – Day 1:
On a walk through the woods I came across three fully grown Silver Birch trees that have been downed – probably by some huge storm: the roots are exposed and at least one of them is now growing horizontally. Tree shrapnel is scattered across the meadow and I found this wonderful strip of bark with it’s lovely textures and colours. It made me want to spend some time focused on painting colour as I see it in the bark.
Here’s the beautiful piece of bark with all is delicate colour variations. tree bark clearly isn’t just brown or grey. There are shades of green, blue and reds in this piece of nature’s art – inviting you to have a go at painting colour.