the tiny canvasses in a group

the 4 inch canvasses grouped - Vivien Blackburn

Jean asked about seeing the small canvasses together - here they are Jean :>)

Comments

Anita Davies said…
Wonderful body of work
11:12 pm
Anonymous said…
There is something quite powerful about seeing a body of work like this in a group. Lovely.
12:04 am
Robyn Sinclair said…
Don't they look beautiful together! I have been enjoying these little jewels, Vivien. Wonderful idea. I do hope some of them get to hang out together.
6:39 am
Jean Spitzer said…
Thanks! They look terrific together.
4:39 pm
Teresa Mallen said…
These small canvases are really lovely. They look great grouped together too! :-)
8:21 pm
vivien said…
Thanks Anita, Cath, Robyn, Jean and Teresa :>)

My work actually works best seen en masse - because it's about time as well that comes through when you see them together.

I was dubious when I ordered these tiny canvasses but I think I'll have to get some more :>)
3:47 pm
Christine said…
Hello! I just stumbled upon your blog and I love your work! These little paintings are gems! What is your process for painting these? How long does it take you, and do you paint these en plein air or in the studio? I will definitely keep an eye on your work.
7:59 pm
vivien said…
Hi Christine :>) thank you

I work plein air a LOT when I can and fill sketchbooks with mixed media works (and finished pieces)

then I work in the studio as well working on larger canvasses or alternatively, lately I've done quite a bit of very small work like these.

So, they are studio works from memories fixed by the plein air stuff.

I work fast and tend to have layers of paint - glazed, scumbled, splattered - whatever it takes to get what I want.

I mix a lot of colours on the canvas rather than on the palette.
12:58 pm
kim denise said…
I love seeing these all together like this! I can smell the sea air. I wish I could buy them all!
3:40 am
vivien said…
thanks Kim :>)
7:24 pm
Post a Comment

Popular posts from this blog

The Eye, Urban/Rural exhibition

Image
Vivien Blackburn's work in the Urban/Rural show We've just hung a group show at the The Eye Project, Urban/Rural show.  If you want to come and see it it's on for a month - well worth seeing, 11 lovely artists and some fabulous work. Those large canvasses are 40 inches square. There are rural landscapes, flowerscapes, intriguing textile work including a large knitted building, abstracts .... something for everyone. It's in the gallery below the cafe in the Adult Education Centre at the top of Wellington street, Leicester, opposite Fenwicks.  Meet the Arttists day is Saturday 1st April 10-2.  Come and have a chat with us?
Read more

Hedges silhouetted agains the snow, winter light: watercolour and Derwent tinted charcoal pencils in Stillmand and Birn Beta Hardback sketchbook

Image
 Detail  I have always liked the calligraphic tangle of the hedges when they are sihouetted against the sky.   Recent snowfall meant even more opportunities with amazing light and the landscape simplified and hidden by the snow, throwing hedges into relief. Above is a detail of a double page sketch in the lovely Stillman and Birn Beta A4 hardback sketchbook.  This paper is so forgiving and the watercolour works beautifully with it.  It allowed me to work through wet washes with charcoal pencil - something that tears many papers, leaving holes.  Some of the hedge is paint, some tinted charcoal. First snow, more on the way, winter light: silhouetted hedges in watercolour and Derwent tinted charcoal in a Stillman and Birn A4 beta hardback sketchbook The earlier warm golden glow of the low sun is covered by clouds, threatening more snow to come.   The spiky calligraphic marks of the hedge and the underlying form of the bank, with some of the taller dried grasses showing
Read more

looking at non traditional composition and quiet vs busy areas in paintings

Image
Paul Klee I thought I'd look at non-traditional composition - where the rule of thirds isn't the key but the painting relies on different compositional methods. in response to an excellent series of posts on the various ways of looking at composition by Katherine (link at end). These alternative considerations or breaking of rules - but making it work - appeal to me more than too heavy a reliance on the rule of thirds. The painting above, by Paul Klee is a 'field' painting' - the composition is overall, the eye travels around enjoying the glowing colour that he creates by juxtaposing complementary colours, subtle greyed greens enhancing the oranges/reds/pinks. Most of the image is composed of the various greens, greeny browns and khakis, with accents of the warm colours. When working this way it's important that the balance is unequal and that the accent colours are placed carefully to keep the eye moving in the way the artist wants. A couple of the brighter
Read more