Farm buildings study, oil on paper.

Farm buildings, 10x14 ins, oil on paper, off in the wilds, from a few years ago. The back drop is the Blackstairs mountain range, and this farm was tucked in the hills below them. Texture was the idea here, as I wanted to use the palette knife, without use of brushes to see how far I got.... The answer, brushes were needed to blend here and there, to get some soft edges. This piece, was pure experimentation and a try out for a painting on canvas or board. These days I seem to have settled for a 6x8ins or 8x6 ins size panel. I don't even do try outs, I just go for it. If it does not work, it's only a small panel, and I can easily start over. 

Cattle in a fog after Edward Seago.

I have long admired the artist Edward Seago, his paintings, both watercolour and oil, and his style. A style that has been much copied by artists the world over. I see his influences in many contemporary painters works. I am always keen to learn, and one way is to problem solve, when painting,  or see how another artist painted a particular scene etc. Seago was a great one for creating mists and atmosphere in his work. I particularly liked the painting posted today, that I saw in an art book of mine. So much so, a few years ago, as an exercise, I had a go at making a copy, to learn and for the enjoyment of painting. It is vital that one develops a style of his of her own, no matter if it is not like the great artists.... It's ones own individual style that sets artists apart.

Oil on cotton canvas 12x16 ins, after Seago.

Oil on paper landscape study.

 I am a bit late posting today, I was tied up with a few other things. I joined Saatchi art as well. I am not sure if it's me really, as my stuff is more of a traditional style. No harm in giving it a go, I will see how it goes. It's a full time job, this promotion stuff, in an effort to try and get established. The competition is truly fierce and vast.

The painting today is a study of a local landscape, oil on paper 10x14 ins. It's from about 2006, and I was truly experimenting with colours and impasto. Being only paper, one can be relaxed, as it's not an expensive canvas to mess up.

Acrylic study on gessoboard.

I was toying with the idea of doing a few acrylic paintings again. So I tried out on the study posted 6x8 ins. A cottage at the bottom of a hill, near where I live. The evening light coming from the background. It takes a while to get used to acrylics over oils, but when they work for you, they are great. I was tentative doing this painting, but I was pleased with the tones I managed to achieve. I think perhaps, it needs further work? Maybe darken the foreground, or lighten the background.

I have not decided yet whether to invest in some more acrylic paints or stick up on more oil paints. Decisions, decisions.

Autumn lane. Ireland

I was not sure what to post today, as I am not in the middle of any theme,  at the minute, with regard to my paintings. So here is a little painting that I did a few years back, of a scene near where I live. An autumn theme. It's a quite little country road, with Mt. Leinster in the background. I loved the long shadows that formed a pattern in the road, with the little white cottage drawing the viewer in. Oil on linen board, 6x8 ins.

My. Leinster view 2

My painting today, is of a second view of a road on Mt. Leinster. The first painting is what I worked up as a composition, then the finished painting, unframed. The third image, is that of the painting and what it looks like in a frame. Of course a buyer, would choose a frame, or the framer. Mine is only for demonstration purposes. Oil on board 6x8 ins.

Mt. Leinster view.

I recently completed this view of an area around Mt. Leinster. The first version is before, I laid into it with the palette knife, to create a ruggedness and liven it up, with texture and form. I then popped the painting into a frame that I use a lot, to check whether a finished painting works or how it looks framed. Oil on board 6x8 ins.

                                             The initial version, before the palette knife.

                                         What the completed versions looks like in a frame.