Painting of Wales Archives – Page 3 of 11

Posted on September 22, 2019October 13, 2019 by emma cownie — 10 Comments

Art of the Protest

My career as a student activist was a decidely inglorious one. I was a lazy student when it came to protests and demonstrations. I think I may have gone on maybe three or four demos in all my time as a student. Some of them were protests about against introduction of student fees and a later one was against the building of the Cardiff Barrage. I caught a bad chill after getting soaked at one demo in London and was ill in bed for a week. Sadly, I never had the courage/organisational ability to make my own poster or banner. That takes thought and effort. So I’d end up holding a boring printed poster made by some radical left-wing organisation that didn’t quite sum up my sentiments. So I am always very interested in what people put on their home made posters. I wrote a some blog posts about Art and Protest in Art of the Protest (also in Germany & China) quite a while ago, but this is about a homemade protest.

On Friday there was the global Climate Strike to protest about the climate crisis. I had no thought of going along until I heard the day before that adults were asked to attend too. There were hundreds of people of all ages in the centre of Swansea. The fact that it was a hot sunny day in late September, just seemed to illustrate what is going wrong with the climate. Extinction Rebellion had a big presence, many of its supporters were carrying homemade drums (made from plastic washing up bowls and dustbins). They have a clever logo which is a clever play on the “X” in Exctintion and an hour glass, implying that we are running out of time.

There is an Extinction Rebellion sticker is at the bottom of the poster

I know a Swansea artist, who has given up painting to direct all her energies into working for this environmental group that believes in non-violent protest. They divide opinion, even amongst environmentalists, who say that their activities may be cause the government to increase anti-protest legislation rather than focusing on tackling climate crisis. Yet, they were only one of many organisations that came to their protest. There were people from political parties, trade unions, the Quakers, the Wildlife Trust, as well just ordinary people. One of the student organisers, who was one of the stewarts, worked with Swansea Trades Council. He said they’d been planning this protest for months and he was delighted at the numbers who had turned up.

Here are a selection of the wonderful homemade posters. I particularly liked the ones made by children. They had clearly spent a lot of time designing and making them.

Made on a pillowcase

Teenagers’s posters tended to be simpler with clear and heart-felt statements

#16 — Just in case you wanted to criticse her for missing school…

The rally then morphed into a march that wound its way through the busy shopping streets of Swansea.

Stopped some traffic…and ended up outside the guildhall where anyone in the crowd was invited to step to say a few words. So they did. Young and old.

Although it wasn’t planned the march ended up inside the Guildhall inside the Council chambers. I think the protesters just asked to be let in and the security guards let them. This was later reported in the local newspapers as the protest “occupying” the council chambers and the police removing them. It was hardly, that. It was a bunch of well-behaved kids, and a few adults. Some of the adults and kids said a few words including part of a speech by climate activitst Greta Thunberg. Although we probably had all had heard her say those words before, they were still moving. We all then filed out, chanting and druming all the way. There were some police near by, chatting to each other, in their van. It was very benign. You can watch a clip of it on the BBC website here. It was much more fun than my student day protests!

So it seems that protests and posters are like a good party. They need a fair bit of preparation. You hope people will turn up. Finally, you probably enjoy other people’s far more than your own!

Posted on June 2, 2019June 11, 2020 by emma cownie — 4 Comments

Playing the Market

I love markets. I love outdoor markets and indoor markets alike. A busy market is fun to visit as a shopper, but even better for an artist. To be honest I often just look at the people and stalls and don’t buy a lot. It provides inspiration. There are lots of things to look at, the light, in particular, is what attracts me, whether it’s indoors or outside, there is always lots of natural light at a market. I also like the distracted people, and also the bright colours of the stalls and the people shopping or sitting outside at cafes (both in summer and winter).

Swansea has a cracking indoor market that was rebuilt after the original market was blitzed during the Second World War. It has a wonderful barrel-shaped roof. The light is a combination of natural light and artificial light. The light in the painting below is natural sunshine that was streaming in from the roof.

Painting of Swansea market — Knick Knack Attack (Swansea Indoor Market)

Outdoor markets are more variable, the rain can make them rather sad places to be in but in the sunshine, they are great fun. The Uplands, in Swansea, has a monthly market.

Painting of People at Uplands Market — Uplands Outdoor Market

Painting of Swansea woman — On a Mission

Painting of Welsh women — Double Trouble (Uplands Market)

I particularly like the dogs that come along too. They are usually on leads but also sitting with their owners at outdoors cafes at and near the markets. The strong winter shadows make for a dramatic composition.

Painting of Dog — Well Deserved Treat (Uplands)

I also like the little “unobserved” vignettes, such as these children playing with a typewriter. I like to imagine the conversation this smart-phone generation might be having about this relic from the last century.

Painting of Children with typewriter — What does it do? (Uplands Market)

There is a Victorian indoor Market in Cardiff too. It reminds me of a railway station, with its steel fixtures, supports, and arches, the huge glass, skylit, two-tone ceiling. They have a record shop upstairs and several cafes.

Painting of Cardiff Market — Overlooking Cardiff Market

Cardiff painting — “Weighing it Up” (Cardiff Indoor Market)

There is a fish stall by one of the two entrances, it gets natural light from the left side. This stall is particularly expansive, the fish and crabs are displayed in a generous display shelf. There is plenty to choose from. Again, it was the light that drew me to this composition. Although we cannot see the customer’s face, only his back, I am speculating on the conversation he is having with the fishmonger. I love that word “monger”. Its a wonderfully old-fashioned word (probably Anglo-Saxon) for someone who deals in a particular trade, there are others like an ironmonger, cheesemonger and more unsavory ones like fleshmonger, scaremonger and warmonger.

My parents live near Stroud, in the Cotswolds and I sometimes visit markets, there’s an indoor market most days of the week as well as an outdoor farmers market on Saturdays. I visited the market last Saturday.

Market at Stroud — Farmers’ Market, Stroud, England

Again, its the dogs that catch my eyes. There are lots in Stroud of different shapes and sizes. You can tell a lot about an area by its dogs. Fashions come and go in towns and cities like Swansea. Huskies used to be all the rage, then smaller dogs like French Bulldogs became popular, more recently cockerpoos are everywhere. When I visit Cirencester I see lots of dachshunds, in Stroud, there’s more a mix from larger lurchers, Jack Russells (my favorite dog), and very cute Chihuahua-mixes with Jack Russells. In Ireland, the towns also favor smaller dogs but in rural Donegal, it’s larger collies and black Labradors that are very popular. So as we drove the length of Ireland, I noticed that little Mitzie (our Dashund/Jack Russell cross) got admiring looks in Wexford but it was Biddy (our Collie cross) who was more popular in Donegal.

Again, it’s the “unobserved” that I am interested in. A dog on its own isn’t as interesting as one with its owners unless it’s looking “out of shot” at its owner. In “Just a Second” the dachshund is obviously hoping its owner is going to produce a treat from her bag. I doubt it somehow.

Two women and their dog painting — Table for Three SOLD

In “Table for three”, my most recent painting, the little pooch looks very much loved by its family, after all, as she has the best seat. I would not be surprised if she has been fed a biscuit or two or a slice of cake. Look, there is a knife, and a stack of plates under the coffee cup on the left, evidence of food eaten. There is a clearly comfortable vibe between the two women, whom I am guessing have been in a relationship for a long time. There are no smartphones to interrupt their revery in the sunshine. The woman on the left has difficulty walking as she has a walking stick in her hand. I love the rich red color of her hair, catching the sunshine. That color says to me I am still young at heart. It chimes with the red stripes of her partner’s top. This painting has caught a moment. It may an illusion. For all I know, they could be having a row, but I really don’t think so. I enjoy looking at the details in the picture and speculating and writing a story about them.

If you want to see more of my people and or animal paintings please click here.

Posted on March 12, 2019May 2, 2019 by emma cownie — 13 Comments

A footnote

Last night I received a lovely present from one of the pupils of Brynmill school who was inspired, after my talk with her class, to paint one of my paintings. I was absolutely charmed and delighted by this gift.

Nia told me in her accompanying note that “instead of paint, I used Sharpie (felt tip pen)”. What really tickled me is that she then added “when you came to my school your advice when doing art was to sketch it first and then continue”. She had followed this advice brilliantly. She’d had sketched the figures in pencil and then added colour in Sharpie pen.

I was really impressed that she had caught the shadows on the men’s jacket & coats. I liked her use of flat colour and the relationship between the figures. There was something “Hockneyesque” about her work! I hope she keeps on creating. An excellent painting from a budding young artist. Great to see!!

painting of three friends — “The Three Amigos” – my version (left) and Nia’s (right)

Posted on March 10, 2019June 11, 2020 by emma cownie — 28 Comments

Back to school!

I was invited to visit my local junior school as part of their St David’s Day week celebrations. I was representing Welsh Art, as I have lived and painted in Wales most of my adult life. Although I had been a Secondary school teacher for 17 years, I was surprised at how nervous I felt beforehand, although I clearly had absolutely nothing to fear from a bunch of 9 and 10 year-olds. I think it was my body getting ready for a “performance” after two years away from the classroom.

Painting of Brynmill Shool — Brynmill School – SOLD

I live opposite this large red-brick school. I hear and see the very little children playing the yard several times a day. Sometimes, they call out to us, asking us to fetch a stray ball for them. I had not been inside this school since 1998, when I had done a week’s observation before I did my Secondary school teacher training. I wasn’t sure how visitors got in these days. I eventually figured out that the school reception was on the opposite side to where I lived. I passed several gates with big padlocks and even the one that opened into the school-yard had a massive unlocked padlock on. Security is a big thing in schools these days and I spent a couple of minutes tapping my details into a screen, having my photo taken and being given a pass with my photo on and barcode to wear around my neck.

I was taken upstairs to a lovely airy hall with a polished parquet floor. I passed tiny children wearing daffodils and wearing tops, one was dressed as a dragon (with a tail an everything). The school building was similar to the Edwardian Primary school I had been to as a child. I think Britain is dotted with variations of these school schools. They have high ceilings and long windows, that let in lots of light but they are so high up so you can’t actually see out the window.

A group of 30-40 Year 5 pupils (9 and 10 year-olds) were brought in quietly and they all sat crossed-legged on the floor. They waited quietly, looking at me with great interest. Their teacher introduced me, one class had been studying my work (I felt humbled by that information) and they had lots of questions.

Then the floor was mine.

Ah, that second before you speak. It may only be time to draw breath, but it can feel like it goes on for ages. I had not prepared what I was going to say, as such. I had some slides on a powerpoint but I only had some vague points that I thought I might make. So in time honored teacher-style I asked them a question.

“Does anyone know what a professional artist is?” A few hands go up, I ask the girl sitting to the side of the class. “It’s an artist who is very, very good and has been painting for a long time”. “That’s a good description, but it’s also someone who makes a living as an artist. They make money at it. It’s their job.”

I then showed them my series of slides with a small selection of my paintings.

Brynmill school Presentation — Slide Presentation Overview

I talked about how I liked to paint what I could see on my doorstep. So that meant places on the Gower Peninsula like Three Cliffs Bay and Swansea Bay.

Then I showed them a few of paintings I’d done of the streets surrounding their school in Brynmill. There was some excitement and laughter when one boy excitedly exclaimed, “That’s my house!” (forth one along)

Paintings of Welsh Streets — They are all somebody’s homes (except the school of course)

Emmma Cownie painting — Time on promotion

My final slide was meant to introduce the other side of an artist’s work. That of promotion. I explained that I spent a lot of my time on social media, online galleries and blogging so that people might see my work.

So this is where question time slot opened up. Lots of hands go up. I was very impressed with their excellent manners (absolutely no calling out) and very thoughtful questions they had. It was a bit like being one of those pop-stars being interviewed by children on Saturday morning telly in the 1980s & 1990s. I will list as many as I can remember. I will give a shortened version of my answers. I did go off on many tangents.

“Do you ever get bored of painting?” – no. I run out of inspiration, however, at times. I don’t like that. I have to wait for my next idea to come along.

“What is your favourite place to paint?” – Gower and more recently, Donegal, Ireland.

“Do you ever make up what you paint?” – no. All my painting are real places.

“Why did you change from being a teacher to being an artist?” – I have them the super simplified version. Being a teacher made me ill so I became an artist.

“What is your favourite painting?” – I have two, one of a Gower pony, and another of the cat that used to live in the DIY shop in Brynmill. They are both in my bedroom.

“How much do your paintings sell for?” – It depends. Anything from £1700 to £20.

“What were the most ever paintings you have sold in a day?” – 8 (it might have been 6 actually).

“What is your favourite colour for painting?” – purple – I use it for shadows. There was quite a discussion on colour here. One of their teachers had pointed out to them that shadows were not black or brown. I talked about looking and seeing colours. I also pointed out that few things in real life are really black, if you really look at them. I used the example of a boy’s black trousers – I said the light makes it look, yellow and grey, maybe very dark brown and dark blue but very little black

“What advice would you give young artists?” – paint as much as you can, every day if possible. The more you practice the better you get. That’s true with any skill. Footballing or painting. One boy perked up here. He was clearly a keen footballer. “Footballers make a lot of money”. “Some footballers make a lot of money, lots don’t” I said. His teacher repeated the point (probably not for the first time). I went on to say, “Some artists make a lot of money, look at Damien Hirst, but most don’t”.

“What did you want to be when you were younger?” – ballerina and then a famous writer! That puzzled them.

“How many days of the week do you paint?” – 6 sometimes 7.

“What was your favorite sport?” – rugby. The football fan’s friend punched the air at this point, this had clearly been a hotly debated point of discussion between them.

“What sort of dogs do you like painting?” – Jack Russells

“Have you I ever painted your own house?” – Yes.

“Have you painted the inside of your house?” – Yes.

Then suddenly the questions dried up and the pupils, whose attention had been faultless until now, started to fidget. I recognized this. “Is it break soon?” I asked one of the teachers. Yes. it was. I was then thanked by a teacher and presented with a box of chocolates! I wasn’t expecting that.

A small group of girls approached me and asked for more advice on painting. They were clearly keen practitioners. So I repeated, my point about painting frequently. I explained there will be many failures on the way (hide them under the bed) but they would need to find their own way of drawing and painting.

Two girls had been appointed to guide me back to reception (I needed their help as I shot off in the wrong direction at one point). I then had to return my ID badge and the computer said “good-bye” as I opened the door. “That’s a creepy portent of the future”, I remarked to the friendly human receptionist, and stepped out into the sunshine as the bell for midday break rang.

But there’s more to tell – click here for the footnote

Posted on May 28, 2018May 22, 2019 by emma cownie — 15 Comments

Proud Poetry – a Swansea painting

Where we live is very important to us. Where we grow up shapes us for the rest of our lives, for good or bad. When I have an anxiety dream its often about moving house. I put this down to the fact that during my childhood we moved many times; Hereford, Newcastle, Whitley Bay and Gloucester. I had been to 9 difference schools by the time I was 11. I carried on moving for my education, first to Cardiff, then to Peckham and Greenwich in London and finally Swansea.

The house where I spent my teenage years in Gloucester no longer exists. It was knocked down several years ago. It was built in 1976 and was gone 30 years later. I find that odd. I have been past the spot where it used to stand and I find its absence unsettling. I think that’s why I love the solid Edwardian terraces of Brynmill, these houses have been here for over a century. The grand mock Tudor houses of the Uplands, built in the inter-war years of the 20th century will last and will, hopefully, last another century.

David Fry bought a painting of mine, “Proud House”, a while back. Imagine my surprise and delight when he contact me to tell me that it had brought back many childhood memories for him and it inspired him to write a poignant poem about it. I thought I’d share it with you.

WHAT I SEE – A Proud House

Join palette with oils tincture and powder to display

The artist draws down with sight and prodigious emotion

As alchemist hails a canvas sharp lined spare skilled too

An affectionate depiction smoothed fine in occult lotion.

What do I see in authentic rendition so germane

A rare gift in practiced thought and summit won

Is this an ethos for other endeavours by artists told?

No…mesmerised true in a story book I am held by this one.

Maybe I glimpsed what was intuition a fable in the making

To bind a time and way to a journeyman’s remembered sight

But mostly I am filled with a bitter sweet regret

From childhood certainty in family life to lonely night.

A house transcends all purpose and design

And paint surpasses in hindsight the record of focussed light

Imbued with lives lived rich and sheltered in wallpaper defined

Something raised above all description a distillation bright.

School friends gone their paths fade in narrow winded days

Histories will reveal life travels worn their purpose long set

Hope boxed my laughter hard with glass at times half full

But the proud house survives still and is well met.

I am taking a break from my Gower walk until mid-June to work as an exam invigilator for the university.

Posted on April 9, 2018July 30, 2024 by emma cownie — 21 Comments

Walking the Gower Coast: Caswell Bay & Brandy Cove

After my adventures on my first walk along (or rather off) the coastal path from Limeslade to Caswell, I was left with legs that were covered with scratches from the sleeping-beauty-brambles that smothered the path I was stupidly trying follow. I didn’t discover these until later on that day when I was in the bath. I looked down at my legs and marveled at all the scratches that I didn’t realise were there. I had walked just under 3 miles but I was very tired and very stiff the next day. My toes hurt, my legs were stiff and my back ached from carrying my rucksack. The going up and down hills is more arduous that you’d think.

It took a weekend’s rest and a sunny forecast to tempt me out again. It was the spring Equinox. The day when light and dark are balanced before the days lengthen into spring. I got up earlier this time and caught the 9.20am 2C bus on Oystermouth Road to Caswell. The same bus driver from my first bus trip to Limeslade was driving this bus.

Unlike the bus to Limeslade that snaked all around the houses Langland before it reached its destination, the bus to Caswell is pretty direct, travelling through the villages of Mumbles and up a hill into Newton then before the long descent of Caswell Road, past the Summercliffe Chalet park with its very expensive chalets (£150K to buy one, if you are asking). There are some very different chalets nearby, tucked away in the woods and easily missed. These chalet fields are Holtsfield and Owensfield. They started as holiday huts but became permanent homes after families were bombed out of their homes during the second World War.

At the bottom of the hill is the beach. Caswell is a very popular beach with locals and tourists alike. In the summer the car park fills up and if you leave too late in the day, they close the car park and you just cannot get in!

When I arrived at Caswell the tide has just turned. High tides make a big difference to how much beach there is here and all along the Gower coast. This is because the Bristol Channel has the second-highest tidal range in the world. The low tides expose vast stretches of golden sands while the high tides flood the bays create cozy bays of sheltered water. When the tide is out there is more than enough beach for everyone.

This morning, however, the high water meant that Caswell Bay was cut into two small bays.

So why are there two bays at Caswell? Apparently it because there are two neighbouring faults, one along Caswell Valley (beneath the car park) and another directly under that ugly block of apartments behind the western arm of the Bay. At the foot of the western cliff (called Redley Cliff) runs a small brook, which starts at nearby spring. In the past water from this stream was stored in a massive concrete cistern and supplied to the houses of the bay by gravity-feed from a wind-pump situated on the top of the cliff. You can just about make out the windmill on the top left hand-side of the old postcard below.

We have a wonderful insight into what Caswell used to look like in the mid-19th century, thanks to photography pioneer, John Dillwyn Llewelyn. John was what you might call a Victorian playboy scientist. He was very rich did not have a “proper job”. His father Lewis Weston Dillwyn managed the family-owned Cambrian Pottery in Swansea. This meant he was in the very lucky position of being able to pursue his interests in science, botany and astronomy full-time. John’s wife, Emma, was the cousin of pioneer photographer William Henry Fox Talbot and this clearly inspired John to take up this new science. John actually became a one of the most important amateur photographers in the 1850s and he took photographs of the holiday home, Caswell Cottage, he built at Caswell.

He was also an inventor of new techniques. One of his innovations was a camera shutter that allowed him to capture the movement of waves at Caswell at approximately 1/25th of a second.

92ec188d812c70914ba2bab41fb04c83--vintage-photos-under-construction

caswell-bay-amp-beach-beautiful-sunny-day-overlooking-caswell-bay-gower-peninsula-wales-uk_4 (1)-001 — Redcliffe Appartmments

These photographs of an unspoilt Caswell make me sad because in the 1960s the local planning authority decided that this beautiful bay would be “improved” by the knocking down Caswell Cottage to make a car park and also knocking down Redcliffe House (once home to the family of Dylan Thomas’s poet friend Vernon Watkins) to build the brutalist-style Redcliffe apartment block. As my husband says, “I like 60s’ architecture, but it’s like an office block has been randomly dropped into the countryside”. This makes painting nice paintings of the bay difficult because the 1960s block, in my opinion, is not very pretty. It might be great to live in, with lovely views, but its not great to look at, or paint.

Bay House Caswell.jpg — Bay House, Caswell

Still, at least we are still left with the handsome Bay House. Three sisters Emma, Agnes and Alice Morgan built and lived in this house in 1877. The sisters also planted many of the bay’s distinctive pine trees.

If you look closely at the photo to the right you may well be able to spot a helicopter. This house is currently owned by the flamboyant boss of the Welsh supermarket chain “CK’s” who is a keen helicopter pilot. He’s got into trouble a few years ago when he flew his helicopter into Heathrow airspace and caused a security alert. In Chris Kiley’s defense he was late for lunch at a nearby country house, and although he’d been given directions he didn’t have coordinates! Its seems that he’s gone off living Caswell because the house is up for sale for £2.5 million (that’s around $3.5 million dollars).

Today, the tide was in, so I had to walk along the road, to find the coastal path. Usually I’d walk across the beach and climb up the cliff path, which is what I did in 2016 (see photos below).

I decided to take the higher path and this time I was determined to follow the map. I find it hard to follow instructions, I don’t know whether its my sense of curiosity, laziness or plain stupidity that makes me think I know a better way. Mind you, looking at my Pathfinder Guide, I realise why I find it so difficult. Although the maps are useful, the rest of the page is pretty much solid text, no gaps, bullet points, paragraphs, so its difficult to follow. No wonder I just look at the maps!

Not today. My coastal path map (picked up for free from one of those information points in Swansea) has no instructions just a big map on both sides of the page. That suits me just fine. The map tells me that the path joins the road further up the hill so I start walking. This road, however, does not have a pavement for pedestrians for much of its length so I have to keep stepping back onto a narrow grass verge when cars pass by.

Eventually, towards the top of the road I find the path and follow it although it did not feel very “coastal”. In fact the path takes a short cut across Redley Cliff and down a long flight of steps cut into the earth to Brandy Cove. I love going down steps like these.

The woods on the way from Bishopston to Brandy Cove inspired an early painting of mine; Brandy Cove Stile (see below).

Brandy Cove Stile.jpg — Brandy Cove Stile

Writer Wynford Vaughn Thomas called the Gower Peninsula “a secret people hug to themselves”. Brandy Cove is bit of a secret places in Gower because you can only get here on foot. You can walk down narrow lanes and paths from Bishopston village or via the coastal path. It is a little cove that is made of mostly pebbles and rocks at high tide but at low tide looks very different as golden sands stretch out into the Bristol Channel. Its a lovely place to swim in the summer and usually deserted.

I had read somewhere that it used to be known as Hareslade. All the locals call it Brandy Cove, however, thanks to the pirates/smugglers who used to maraud the length of the Bristol Channel and unload their illegal tobacco and alcohol goods here during the eighteenth century. Think Ross Polark with a Welsh accent and you’d be about right.

In the 19th century Brandy Cove was later home to a silver and lead mine, although mining had probably taken place in this area in Roman times.

One of the mine shafts was put to a much darker used in the early part of the 20th century when the dismembered body of Mamie Stuart were dumped by her murderer. Mamie, from Sunderland in the industrial North East of England, was dubbed a “chorus girl” by the local press. She had been used to a life on the stage but she’d given that that up and married Cardiff-born George Shotton in 1918 and moved to Swansea. The marriage was mistake. It was a very unhappy one and Mamie wrote to her parents complaining that her new husband beat her. After these complaints they heard no more from her. She vanished.

Her suitcase turned up in a Swansea hotel. Despite a national serach, she was never heard of again. It turned out that there was already a Mrs Shotton who was living in Cardiff with a daughter. George did 18 months’ “hard labour” in prison for bigamy, but the cad got away with murder because by the time her remains were discovered in Brandy Cove in 1961, he had been dead three years. Poor Mamie.

In my next post I carry on and visit one of Gower “hidden” villages and visit a Gower bay that many people have never heard of.

Buy Gower Print

See Gower paintings

Commision a Painting

Posted on March 12, 2018May 21, 2019 by emma cownie — 18 Comments

Waiting for the Tide

Before I visited Tenby, on the Pembroke coast, I had this vague idea that it was something like Barry Island, on the Glamorgan coast near Cardiff. If you have never heard of Barry Island, it was a Victorian holiday destination for day trippers from Cardiff and the South Wales Valleys. It had a “Pleasure Park” with rides and lots of shops selling rock and candy floss and it also had a Butlins holiday camp but the rides and the holiday camp are long gone now. It has a nice beach but its not as popular as it used to be.

Well, Tenby is nothing like that. It’s tasteful, historic, and enduringly popular. I love Tenby’s real name. That is it’s Welsh name which is “Dinbych-y-pysgod” meaning fortlet of the fish. It still describes the old town well as as it’s solid town walls still survive as well as its harbour. Its a delightful place to visit with pretty Georgian houses and two large beaches.

Tenby has a special place in my heart because in the midst of my PTSD breakdown and recovery I painted a picture of Tenby harbour.

I was very emotionally fragile at the time and I really I enjoyed painting the pastel colours of the harbour buildings. I get a lot of pleasure from colour. Other people got pleasure from it too because it was one of the very first paintings I sold as a semi-professional artist. The collector who bought it later told me that she was going to redecorate her lounge to match the painting! I was so touched by this. I had so little confidence at the time that it meant a great deal to me. I also sold many prints this painting. As you can see I did many paintings of Tenby Harbour but I eventually moved on to other subject matters and different challenges. I particularly focused on people portraits closer to home in Swansea and paintings of Gower peninsula, closer to home.

So last month, I decided that Tenby was overdue a visit. I had been watching the weather forecast for weeks. Eventually the forecast was for a day of wall-to-wall sunshine. The only problem was that it was very cold with a bitter wind. Never mind. I wrapped up well with thermals and two pairs of socks and got up early to catch the 7.50 train from Swansea to Tenby, arriving at 9.30.

I had set off early because I like to catch the morning light with its long shadows. I also wanted to see the harbour at high tide with the boats in the harbour. The only problem was that as soon as arrived at the harbour I could see the the sun was in the “wrong place” and most of the boats had been pulled ashore and covered up! The previous times I had visited Tenby was in the summer, later on in the day.

So, I had to wait. So did. I waited in the way I usually do, by moving. I walked and walked. In the end I walked around Tenby for 6 hours, taking photos of the shadows and the people. Despite it being mid winter it was the school mid term break in England (not in wales) and Tenby was full of families, wrapped up, despite the biting wind, and enjoying the sunshine.

I had chips for lunch watched by three beady-eyed seagulls and a chocolate ice-cream. I had to think about that as it was so cold but in the end I gave in had one – it was delicious. I had intended to catch the 1.40 pm train back to Swansea but i could see that the light was changing and I knew that it was low tide at 4pm so I tried and waited some more. I walked up the habour walked and climbed half way down the steps to take photos of the four or so boats that were in the harbour. It was strange waiting for the tide and light because they eventually changed faster than I thought they would. All of a sudden the tide had retreated far enough for me to walk out into the harbour and take photos of the reflections. Bingo. This was what I was after.

And then, almost miraculously the tide revealed the sandbanks on the far side of the harbour, by the end of the harbour wall and I could gingerly climb down some seaweed-covered steps and see the harbour in it’s full glory. I don’t think I took off my fingerless gloves once in Tenby, and I did appreciate the heating on the little train back home. I just made the 4.40 pm train back to Swansea and get home in daylight.

My day in Tenby was all about patience and waiting for things beyond my control. Looking at this, my most recent painting of Tenby harbour I can see how much my work has changed, and hopefully how much I have recovered from those incredibly difficult times back in 2012-13. The painting is much larger and calmer and more confident than any of those I painted before. Large paintings, almost by definition require confidence. The winter tones are less vivid than the summer ones, despite the bright winter sunshine. I will be back for the summer light.

See my coastal paintings for sale here

Posted on March 3, 2018May 6, 2019 by emma cownie — 11 Comments

International Women’s Day

International Women’s Day is a worldwide event that celebrates women’s achievements – from the political to the social – while calling for gender equality. Its roots can be traced to 1908, when 15,000 women marched through New York City demanding voting rights, better pay and shorter working hours. The first time there was an a “Women’s Day” it was a year later, on February 28, 1909 in New York. March 8 was suggested by the 1910 International Woman’s Conference (attended by more than 100 women from 17 countries) to become an “International Woman’s Day.” In 1911, it was celebrated for the first time in Austria, Denmark, Germany and Switzerland on March 19. In 1913, it was decided to transfer IWD to March 8, and it has been celebrated on that day ever since.

240px-Frauentag_1914_Heraus_mit_dem_Frauenwahlrecht.jpg — Frauen Tag 1914

After women gained the vote in Soviet Russia in 1917, March 8 became a national holiday there. It was also celebrated by the communists in China from 1922, and after founding of the People’s Republic of China in 1949. Mao Zedong declared that ‘women hold up half the sky’ and March 8 was made an official holiday and women were given a half-day off. One can help but wonder that if it had been a international Men’s Day they’d have been given a whole day off! IWD was finally adopted by the United Nations in 1975.

The original aim – to achieve full gender equality for women the world – has still not been realised. A gender pay gap persists across the globe and women are still not present in equal numbers in business or politics. Figures show that globally, women’s education, health and violence towards women is still worse than that of men.

In Swansea there will be an exhibition of Swansea-based female artists’ work at Cinema & Co. It is meant to show case the work of female artists, myself included. My painting “Former Cricketers” (above) is included. It is from my “Hollowed Community” project which focused on theme of declining community and the lack of sustainability (that means families with children) in areas such as Brynmill in Swansea due to (pretty much) unchecked studentification. The exhibitions will run from March 8th to 20th. There is an opening event on Thursday March 8th 6 pm to 8.30 pm. There will be performances, paintings, films and some “extra surprises”.

If you want to read more about the “Hollowed Community” project click here.

Posted on February 21, 2018May 6, 2019 by emma cownie — 21 Comments

Time to Call it a Night?

I woke up a bit earlier than I usually do this morning. It was just before dawn. The night was no longer inky black but had a bluish tinge to it. The light has been changing ever since. Now it is mauve. It will lighten until the light is pinkish, then finally white. Throughout the course of the winter I have been used to waking in the dark and waiting for the sun to rise. No so much recently. The days are lengthening noticeably. Instead of night arriving unexpected at 4 o’clock it now holds off about tea time. This gradual lengthening of the day has a natural rhythm and logic.

The sudden arrival of British Summer Time (BST) or Daylight Saving Time (DST) when the clocks are turned forward an hour in late March does not. It feels like we are catapulted into the summer with more light than we know what to do with. I find it odd that I am sad at the arrival of BST because all that extra daylight means I can paint for longer. I should be happy. I am happy but the abrupt lengthening of the day feels wrong. The “loss” of an hour is also tiring. It’s much worse in the autumn. Instead of easing into winter we are hurled into the darkness. Others feel this way too.

The EU is debating this right now. There have been calls for the European Commission to launch a “full evaluation” of the current system and come up with new plans, if necessary. In Europe, currently, EU law sets a common date in spring and autumn on which clocks must be put forward and back by one hour in all 28 member states. Supporters of the DST say it saves energy and reduces traffic accidents but critics argue it can cause long-term health problems and studies have generally failed to show significant energy savings associated with the shift.

They hate it in Finland. More than 70,000 Fins (out of 5.5 million) signed a petition asking the state to give up the practice. French MEP Karima Delli argued that moving clocks forward to summer time left people tired and led to increased accidents”Studies that show an increase in road accidents or sleep trouble during the time change must be taken seriously”, the French MEP said, adding that estimated energy savings were “not conclusive”. Belgian lawmaker Hilde Vautmans, however, said that changing daylight saving could mean either losing an hour of daylight every day for seven months in summer or sending children to school in the dark for five months over winter.

I was surprised that the USA also uses DST. I assumed that with so many time zones, nine, that they would not have wanted the added complication of DST. It was introduced during the Second World War and most mainland states areas still have DST except Arizona (although the Navajo have DST on tribal lands). Many studies have been done in the US that show the negative effects of the biannual shift to DST. Losing that hour’s sleep in spring affects health; strokes and heart attacks are more likely, there are more traffic accidents and it affects relationships, tiredness causes more arguments.

Interestingly, one big country has tried life without DST. In 2011 Russia (who have on less than 11 time zones in their massive country) first tried clocks on year-round summer time but that proved unpopular then in 2014 switched to permanent winter time or “standard time”. Russian MPs said permanent summer time had created stress and health problems, especially in northern Russia where mornings would remain darker for longer during the harsh winter months. However, I have yet to discover whether the return to permanent “winter time” is popular with the Russian people.

So if I want to avoid this biannual lurch forward and back in the day, I can move to Russia, Arizona or one of the other 70 countries that don’t bother with it including Japan, India, and China.

Posted on January 27, 2018July 12, 2022 by emma cownie — 29 Comments

Frank Brangwyn and Brangwyn Hall

You cannot miss Frank Brangwyn’s name in Brynmill, Swansea as there’s a huge hall that takes his name. These past two weeks or so I have worked as an invigilator for Swansea University. One of the venues used for exams is this beautiful hall. The murals that adorn the massive walls are stunning.

Frank Brangwn was born in Bruges, Belgium (Welsh father, English mother) in 1867. His father was a church architect and craftsman. Frank was largely self-taught but that did not stop him from becoming a painter, water colourist, engraver, illustrator and progressive designer. In his youth, Brangwyn had joined Royal Navy Volunteers and travelled extensively including Russia and South Africa.

He was an astonishingly proflic artist. As well as paintings and drawings, he produced designs for stained glass, furniture, ceramics, table glassware, buildings and interiors. He was also a lithographer and woodcutter and was a book illustrator. It has been estimated that during his lifetime Brangwyn produced over 12,000 works. His mural commissions would cover over 22,000 sq ft (2,000 m²) of canvas, he painted over 1,000 oils, over 660 mixed media works (watercolours, gouache), over 500 etchings, about 400 wood engravings and woodcuts, 280 lithographs, 40 architectural and interior designs, 230 designs for items of furniture and 20 stained glass panels and windows.

Known as the British Empire Panels Brangwyn spent a total of 7 years producing 16 large works that cover 3,000 sq ft (280 m²). When you see the size of the murals you can understand why they took 7 years to complete.

In 1928 the House of Lords was commissioned Brangwyn to produce a series celebrating the beauty of the British Empire and the Dominions to fill the Royal Gallery. Lord Iveagh tried to secure Brangwyn full artistic freedom to design and paint the commission his way. Unfotunately, Lord Iveagh died in 1927. After 5 years of work the panels were displayed in the Royal Gallery for approvial by the Lords, but the peers refused to accept them because they were “too colourful and lively” for the place. It was worse than that. Some of them mocked his work in the national press. Lord Crawford, a Tory Peer, wrote in a “The Daily News” that the painting would be more suited to a night club than the House of Lords: “Just imagine five feet long bananas and grinning black monkeys looming over them!”

East Indies.jpg — One of the Panels that Lord Crawford criticised

It has been suggested that, this was rejection was part of a increasing restriction on artiostic expression that accompanying the birth of totalitarian movements across Europe. Fortuantely for the people of Wales and Swansea in partricular 1934 the panels were purchased by Swansea Council in 1934 and were housed in the Brangwyn Hall, Swansea.

_76424653_brangwyn2 — Brangywn Hall, inside

The House of Lords’ loss is Swansea’s gain. These panels are absolutely astonishing. They are massive, colorful and packed to the gills with detail. Apparently, the height of the Hall’s ceiling had to be increased slightly to accommodate the tallest of the panels. They dominate the very large hall and the photographs fail the capture the huge scale of the panels. The are a true feast for the eyes.

The Glynn Vivian Gallery and Brangwyn Hall has on display quite a few of Brangwyn’s beautiful preparatory cartoons. He was a brillant draughtsman.

Interestingly Frank Barngwyn used modern technology to aid him; photography. The squaring up technique is one that artists have used for centuries, and is still used today by many (including me). If you look closely at the murals you can see the feint pencil lines of the grids he used. (Brangwyn photographs courtesy of Paul Cava Fine Art https://paulcava.com/frank-brangwyn)

Sir Frank William Brangwyn (British (born Belgium), Bruges 1867–1956 Ditchling, Sussex) [Study for Missouri State Capitol Murals], ca.1914 Gelatin silver print with graphite; Image: 21.4 × 16.4 cm (8 7/16 × 6 7/16 in.) The Metropolitan Museum of Art, New York, Twentieth-Century Photography Fund, 2013 (2013.269) http://www.metmuseum.org/Collections/search-the-collections/307068

The animals and people are incredible but the foilage of each country has also been painstakingly researched. I initally thought that the mass of green were sort of generic foliage but when I looked athe panel for England I was blown away when I realised that I recognised every type of leaf and flower; oak leaves, horsechestnuts, sunflowers, pears, apples, foxgoves, irises, blueblues. This is true for all the panels.

I particularly enjoyed the details at the bottpom of the panels as they were at eye level. There were lots of tortoises, rabbits, bugs, butterfies and reptiles. The only thing thatappeared to be missiong were fish and aquautic mammals! In the 1930s, before colour television and nature programs (and the nearest zoo in Bristol) this riot of creatures must have been quite a relevation for the people of Swansea.

Frank Brangwyn’s evident enthusiasm for the British empire was somewhat out-of-step with the increasingly introspective times of the inter-war years. Interestingly, his treatment of the different and diverse peoples of the British Empire was powerful and energetic. There are plenty of impressive female breasts but the women are strong and vital figures, not overtly sexualised. Perhaps, his celebration of empire makes for uncomfortable viewing in a post-empire world. Yet, the men and women of the Empire are depicted with dignity and sympathy, and the accent throughout is on the people, animals and plants of the conquered countries rather than on the activities of the conquerors.

Sadly, the rejection of the Panels by the Lords devasted Frank Brangwyn and it caused lasting depression in him. He became increasingly pessimistic and a hypochondriac and began disposing of his possessions during the 1930s. This is so sad as these murals are so wonderful!

Was this grinning monkey Lord Crawford objected to?

Brangwyn, Frank, 1867-1956; British Empire Panel (14) Australia — Australia

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