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| The Threshold |
After painting The Red Wall I thought I'd continue the colour theme - I'm on a mission to use all the colours!
Yesterday was a good day. The main aim of both these paintings was to explore mark making more and think about colour. Happy with the results!
Why museums? Lots of reasons, not least that I have loads of photographs from The British Museum and The Louvre from when I was there in November. At that point I was thinking a lot about backgrounds and composition as well as wanting to learn more about how different people have imaginatively portrayed the human figure.
These are all things I want to explore and experiment with during the hundred days, along with thinking more about colur and mark making. Other advantages are that there are plenty of museums within easy travel distance for me to get new reference material (particularly looking forward to The Burrell Collection) and that there is a very wide range of possible subject matter, allowing me to explore a sorts of colour combinations and compositions.
However, there are limitations - working only from photographs, not controlling the light or the arrangement of objects. In some ways though these are freedoms - building a database of photos to work from is time consuming but can be done when otherwise tired and means that getting started in the studio is fairly painless. Not having control over the subject matter's arrangement or lighting means I have to concentrate more on composition and colour.
But the main reason is that I just really like being in museums. The only other type of place I maybe like as much (apart from the studio) are bookshops. Take me to a beautiful, awe inspiring landscape and I'm pretty bored. Take me to a museum, and I could be there for days - looking at the exhibits, drawing the exhibits, watching the people, having a glass of something and cake . . . they are like a little world apart, parallel to normal life, each one different and yet the same as all the others. Heaven!
Seems to be an animal theme today. Sadly the photo's are just too rubbish to share individually.
For the last couple of days I've been doing non-art stuff mainly so it was nice to get into the studio again today.
This is the first day I've not had to think about my materials too much and could therefore concentrate more on colour and mark making - there is always more to learn but progress is being made - and I'm now up to 11 paintings, which should give me a bit of leeway.
So today I got to experiment with my new brushes and the Michael Harding medium.
First I painted the four lioness ladies, using the soft brushes on a board to which I had applied a layer of burnt sienna.
The paint flowed much better than previously and I was fairly happy with the result. But I was itching to try the medium.
And this is the result - much more painterly and flowing, generally just managed to control the paint better. Using the dark background that I'd prepared a few days ago also let me really concentrate on the lights. Definitely and improvement!
Today I went shopping, for soft brushes and medium. Some Sap Green and Manganese may have jumped into my basket as well - which is nice as I have recently added both colours to my basic palette, expanding it from seven colours to nine.
Tomorrow I'll give them a spin (and possibly liquin as well - in smaller sizes it is only available in childproof containers, which unfortunately are also Jane proof. However my studio-mate Louise Scott has promised to lend me a little bit).
So look for an update tomorrow!
Day 2 and I am experimenting with my materials, after having problems yesterday.
Initially I tried again with the same methods and although I quite like the resulting painting (furthest left) it was a bit of a pain to paint.
So next time, the first thing I changed was putting a layer of burnt sienna down and then wiping it off, in the hope that this will make my painting surface less grabby. This worked beautifully for Pericles, which is painted on linen. Then I used dark paint thinned with turps to lay down a drawing and then used paper towel and turps to lighten areas. Next I tried actually painting and soon ran into trouble. Changing to a soft brush made all the difference though and I was able to lay down a fairly solid area. However, the biggest soft brush I have is only about a cm across, so clearly I need to go shopping.
The lack of a big brush showed up even more in my next painting, The Egyptian Duo. This one is on gessoed board and I really struggled getting the paint to flow in any reasonable way. This is a shame as it is fairly easy to get boards in small sizes and generally for my other work I prefer them.
The start of a new year, time for new beginnings, and I know that non-art commitments are going to keep me very busy for the next six months at least.
So I have decided that painting at least one little painting every day I can make it to the studio will keep things ticking over. It will also let me experiment quicker with my materials, with methods, with composition, paint application and colour - in short, with pretty much every aspect of picture making.
So I have promised myself to paint a hundred paintings over the next hundred days. Most of these will be small oil studies although I will count bigger paintings and possibly drawings, depending on what I am working on as the time goes on. Each work only gets counted once, though, even if I spend more than one day on it. To start with the little studies will be museum interiors - like the lady dancing above, who is from the British Museum. This is because I have been thinking a lot about composition and depth recently, as well as looking at how different people have portrayed the human form previously. But who knows what I'll be painting by the end of the time!
Anyway, I will be posting them (good and bad) here, facebook and at @glasgwjane on twitter. All encouragement very welcome!
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