The Wash near Gedney Drove End, Lincolnshire, photos

Roman Bank ( a levee/ sea wall) at the foot of The Wash, inland side, near Gedney Drove End, Lincolnshire, photographs by Vivien Blackburn

I'd always wanted to see the the shores of the Wash - and this time visiting my daughter I finally got to see what it was like. On a cold day it's very very bleak and windy but the day we went was gloriously sunny with enough passing clouds to make the light interesting.

Soon migrating birds will flock to these marshes - there are bird reserves, with hides, all around coast here where they, and their environment, are protected, the salt marshes preserved.

There is a sea wall (levee) that runs for miles, protecting the extremely low lying land behind it. On the northern side of The Wash there was a disastrous flood in the 50s when the sea broke through and killed a lot of people - you can see old film here , photos and details here

My photos were taken from here


That curious circular island offshore is man made - you can read about it here


Miles of salt marshes have been drained over the years and are now very rich farmland.

In the distance you can see the Norfolk coast.

Comments

caseytoussaint said…
What a beautiful place. I can't wait to see the art you make from these views....
4:17 pm
vivien said…
thanks Casey :>) - it's very VERY flat!
6:10 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