The Crowns Botallack, stage 2, work in progress, mixed media on canvas

detail

details, mixed media on 20x16 inch canvas, work in progress (below right)

Here it is in progress, hanging next to Saltmarsh.

I decided not to keep the background white but keep closer to the original sketch and more natural colours. The blue really was that blue - it is a natural colour there on a good day - honestly! See my photographic evidence here :>) The border and sides are now black. I took some of the black into the painting in line form, not all the 'drawing' in it is black but where it is, it links to the border well.

The water around the rocks is greener in reality - that beautiful milky turquoise green that water, full of air bubbles, around rocks turns.

Lots of things still need tweaking and pushing - so all is subject to change :>)

The mine buildings are made of stone and blend into the cliffs, looking almost as if they grew there naturally, not standing out at all - I want to keep this and catch their strength/fragility - heavy stone but so vulnerable perched there on the steep cliffs.

The mine tunnels went several miles out under the sea and the miners would hear the rocks grinding on the sea floor just feet above their heads in storms. The walk, down a narrow path along the steep cliffside to the engine house in a gale would be fearsome in itself - and then to hear the rocks and wild sea just above you ???

It's beautiful now but the area was polluted with spoil tips, arsenic and other toxic debris when the mines were active.

Comments

Post a Comment

Popular posts from this blog

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, w...
Read more

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

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