Derryveagh Mountains

Painting the Derryveagh Mountains

Donegal has lots of breathtaking scenery. I love the coast and the old white houses and a lot of my recent paintings have been concerned with depicting a more intimate impression of Donegal. I don’t like to get into a rut, and I will switch subject matter to challenge myself and keep my work “fresh”.

Painting mountains is one way of doing that for me. I have painted three pictures of the Derryveagh mountains since October 2018. They are based on a series of photographs we took on a trip to Horn Head. For an excellent interactive map of the area click here

Horn Head, Donegal

Horn Head, Donegal

I had been worried about driving along precipitous cliff tops and we had parked up and walked up to Horn Head. The view was great but the overcast conditions did not make for particularly good photographs.  We climbed up part of the spongey hill. I call it spongey because every time I put my put on something that wasn’t a rock, it sort of sank into the heather or boggy grass. It was very unsettling. So I leap from rock to rock. From here we took in the strong breeze and could see across to Dunfanghy.

There were also sweeping views across back towards Falcaragh and Bloody Foreland (Cnoc Fola in Irish). What a great name that is, it refers to the colour of the headland, not to some gruesome incident of the past. The light was in the “wrong” direction for decent photos but the view was lovely. 

View Towards Bloody Foreland

On the way back down to Dunfanaghy, the sun broke through the clouds off in the distance, we stopped and Seamas took some pictures. These are the photos the three paintings are based on.

These paintings are quite a commitment, in terms of effort and resources as they are physically large (for me, anyway) and mentally demanding. I usually like to paint bright and quite detailed landscapes. These paintings, in contrast, were an exercise in subtly and knowing when and where to include more or less details.

Donegal painting

Across to Dunfanaghy SOLD

With all of them, I begin with the sky and work my way down the canvas. As with a lot of my work, I use the paint quite thinly and I find this helps keep the clouds feeling “light”. They are just layers of water vapor, after all. The linen canvas  I use is primed with a clear primer so it is brown rather than white in colour. I find this brown works well as a base for dirty looking rain clouds!

My first two paintings I initially painted the distant mountains a range of graduating purples until I stood back and realised that they had to be lightened a lot. I spent a lot of time holding up my paint covered brush next to my reference photograph to compare the shades. I learned that the mountains had a lot of warm grey in them.

Painting of Donegal mountains

Wild Wind Over Dunfanaghy SOLD

The greens of the mid area and the foreground were much easier to gauge although I still visually checked that my tones were correct by holding the paint next to the reference image. The many walls and varying tones of the fields required a great deal of concentration. This was the most detailed part of the painting. I wanted the viewer to look into the distance rather than be distracted by detailed grass in the foreground. So the grass in the foreground is quite flat with only the odd change in colour to hint at roughness.

By the time I had painted the third, most recent, painting in the series, I had learned from experience to keep the colour of the mountains light. The falling rain over the far mountain meant that most of the tones of the grass and bogland were much more muted than in the earlier paintings. There was a lot of greys and purples in the grass and gorse.

Each of the three paintings, although they are of a similar view, each has quite a different feel to it. They remind me how on some days you can stand and watch the light and colours change second by second in Donegal as the clouds move and showers sweep in from the west. The last one does that the most. I think my next challenge will be to paint a mountain scene without any houses at all, just sky and mountain and resist the urge to add detail! 

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18 replies »

  1. I love these paintings especially “Rain over Dunfanaghy”. I like the skilled way you have captured the subtle transitions from the translucency and mistiness of clouds and mountains in the distance – to the solidity and intensity of colour in the fields in the foreground.

  2. Hi Emma, thanks for you discussion of process and approach in this post. It’s probably what I enjoy reading about most. I was chatting to my husband about this as we were watching painting tutorials last night – all the levels of thought and decisions that go into apainting. I was interested to read about the clear primer. It’s not something that I have used but gives a good result. I quite enjoy seeing a touch of canvas peeking out in a work. Wonderful results in all these works, but I agree that the third one is my favourite.

    • Thank you Leonie. The Linen canvases come with a clear primer. They are joy to paint on. Yes, I am generally happy with the colour of canvas showing through in places but I don’t think everyone does, sometimes people think it isn’t “finished” properly! I always have mixed feelings about sharing process. I suppose it’s because I dont want people to think about the “effort” that went into a painting but just enjoy the end result. Yet, as a painter, other artist’s process is also something I am very interested in too! Figure that out! Is that a form of prefectionism or hypocrisy – lol??!?

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