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The Art of the Large Landscape Painting

Landscape painting Ireland

Failures are always a challenge. When I used to be a Secondary school teacher, I always learned more about teaching when I faced a difficult class than a nice docile one. They made me go away and think about what I was doing and how I could do it better. Painting is no different.

 

I have been thinking about the composition of larger paintings. When I used to think about painting a scene I used to think in terms of  “that’s a small painting, it won’t “stretch” to a larger canvas”, or “That’s a mountain, definately, therefore, it’s subject suitable for a large canvas”. I am parodying myself somewhat but generally, I have this feeling that small birds belong on small canvases and big landscapes belong on larger ones.

My thinking was challenged by a commission I did in the summer where a client asked for a very large version (120 x 90cm) of a relatively small painting (41 x 33 cm). So I scaled up and despite my anxiety, it worked. This was important as my confidence had been dented by a previous large landscape painting that hadn’t work out for me.

Painting of Gola, Donegal
Small and Big Versions

It got me thinking about composition. I understood the basics and had looked of compositional grids in Artbooks as a teenager and thought I’d internalized them. I realized that I had got sloppy. I’ll explain.

A Beginners Guide to Composition
A Beginners Guide to Composition

I am not going to do an information dump about theories of composition here (I have added links to some good blogs on the subject below) but the “rule of thirds” is one that springs to mind here.  The idea that you should look for naturally occurring in divisions of thirds in a scene and try and locate points of interest at the intersection of the “Golden section”.


I had been influenced by ideas of composition from photography and the work of artist-turned photographer, Henri Cartier-Bresson,in particular.

Rule of Thirds - Henri Cartier Bresson
Rule of Thirds – Henri Cartier Bresson

I liked his use of diagonals in particular, and this has influenced my paintings of urban scenes.

When I came to Donegal I was so blown away by the vast overarching skies and majestic landscapes. I got very excited by everything I saw. I tried to capture everything. The houses, the mountains, the sea, and the sky. Most of the time it worked.

You can probably look through these paintings and tick off the composition approaches I instinctively used; the diagonal, the pyramid, the rule of thirds and so on. They all worked.

Then, it really pains me to admit it. I lost it. I got carried away and overreached myself and painted this big beast.

Painting of Donegal Coast
Sailing By Edernish

What was I thinking? There is far too much sky in this painting. Worse than that, it was a large canvas. There are things I like about the painting, the light on the island in the bottom half of the painting, but the sky was just too vast. It pained me that I had such a large reminder of my errors of judgment. I don’t mind screwing up every now and then but I hate waste and that was an expensive canvas. It’s no coincidence that I am planning a blog post on reusing stretcher bars to stretch my own canvases.

My confidence was dented. It put me off large paintings for quite some time. It wasn’t until I did the commission I mentioned earlier, that I got thinking about what had gone wrong. I realized that I had to rigorously apply the same rule of composition to large canvases as I instinctively did to my small ones. So I tried an experiment, I took a successful composition of a medium size painting and did a much larger version of it.  This composition was based on a compound curve.

Over to the Rosses
Over to the Rosses 60x40xm
landscape painting of Ireland
View From Arranmore, Ireland 92x73cm

It wasn’t a copy of the smaller painting. It wasn’t meant to be, although it was meant to encapsulate the same feel of the smaller work, with some adjustments. I have included some more detail, changed the tree, and added a shadow and a ditch in the bottom third of the painting. I think it worked.

I have since done another small oil sketch of another composition before I scale it up. It’s another diagonal composition. Although, the larger version will not be “portrait” format but my usual “landscape” orientation.

I will add the larger version later in the week. So you will have to wait to see if that composition works as well as this smaller one. Watch this space!

 

Blogs on composition

http://photoinf.com/Golden_Mean/L_Diane_Johnson/The_Basics_of_Landscape_Composition.htm

http://www.workovereasy.com/2019/06/13/a-beginners-guide-to-composition/

https://feltmagnet.com/painting/Value-Pattern-Painting-Composition

 

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Cottage in Roshin Acres, Ireland

Painting of Irish landscape

This is only a short post because my cold from hell isn’t shifting and I have been ordered to rest by Séamas, which as you see, I am failing to do!

I like red and orange. Especially in winter. I have noticed that I like to paint red and orange things in wintertime. I previous years it has been red coats on the harbor beach at Tenby, or grandparents buying ice-creams in Brynmill Park. This year it’s the autumnal orange foliage of Donegal.

Painting of Cottage in Donegal, Ireland

Cottage in Roshin Acres, Ireland

I painted this small painting over a number of days, over Christmas. I would usually paint a picture like this in one day but the light kept going and I wasn’t very energetic so I decided not to rush it and wait until the next day. I think my patience was well-rewarded.

I have painted this house before, in a much larger painting. It’s interesting how the more distant view produces a cooler more airy painting. 

Painting of Donegal landscape, Ireland
Roshin Acres, Ireland

 

 

 

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The Burtonport Old Railway Walk, Ireland

Paintings of Ireland

Autumn brings incredible colours to the west coast of Ireland. As the grass and bracken die off, they turn a fantastic shade of orange and pink. The pink granite rocks that litter the landscape accentuate the warm colours. They have provided me with much inspiration for my landscape paintings of Donegal, Ireland.

Painting of Donegal Ireland
Autumn in the Rosses, Ireland

This series of paintings has been inspired by the Old Railway Walk which starts near Burtonport, near Dungloe in Donegal. There are no railways in Donegal anymore. There used to be. The line to Burtonport was built in 1903 as a joint venture by the British government and the Londonderry & Loch Swilly Railway Company to attempt to alleviate poverty in north West Donegal.

Steam train at Burtonport, Donegal
Steam trains at Burtonport, Donegal

The trains used to carry fish from the port at Burtonport in Donegal to Derry, in the neighboring county. It also carried many seasonal workers to and from Derry and Scotland.  After 1922 the line crossed from one country into another; from the Irish Free State into Northern Ireland.

Donegal Railways in 1906
Railways in 1906: Credit: Donegal Daily.com
Gweedore train station (Mount Errigal in the distance)
Gweedore train station (Mount Errigal in the distance)

In the 1940s, however, the Irish government decided to close down the railways in Donegal. I have never really found a clear explanation for why this happened but I am going to assume that the cost of running the line was an important factor. There were also concerns about the safety of the line.

Owencarrow Viaduct, Donegal
Owencarrow Viaduct, Donegal

In January 1925 disaster had occurred on the at the Owencarrow Viaduct when winds of up to 120mph blew carriages of the train off the viaduct causing it to partially collapse. Four poor souls lost their lives.

Owencarrow Viaduct
Owencarrow Viaduct

After the Second World War, the Irish government presumably decided it would cost too much to continue the maintenance of the line and it was closed in 1947. The Burtonport-Gweedore section closed in 1940. There is a great graphic on the Donegal Daily here illustrating the shrinkage and disappearance of the railways. Donegal became a very remote part of Ireland, with no railways and no (still) motorways. Communication with the area improved in 1986, however, when Donegal airport started operations.

Painting of the Rosses, Ireland
The Railway Walk, Ireland

It seems that for half a century nothing much happened on the old railway line. In 2009, however, there was a heavy snowfall, and some of the old railway line was cleared to access water mains that needed repairing. The remaining section was later cleared and gradually developed as a walkway with the support of the local community. A massive effort has gone into creating this beautiful and peaceful walk.

The Burtonport Old Railway Walk
The Burtonport Old Railway Walk

Here are some of my paintings inspired by my husband Seamas’s photographs of the railway walk.

Painting of Donegal landscape, Ireland
Roshin Acres, Ireland
Ireland landscape painting
Long and Winding Road, Ireland

There are many features of the old railway remaining which you can view along the way such as stations, gatehouses, accommodation crossings, lots of pillars, cuttings, embankments, a bridge and rusty gates. There are also lots of shelters for walkers to hide from passing showers to use.

Photo credit: James (Seamas) Henry Johnston

Youtube video- Siúlóid an tSean Bhóthar Iarainn—The Old Railway Walk by Ralph Schulz.

Find out more about the Railway Walk by clicking on the links below:-

http://www.therosses.ie/walking.html

https://www.ireland.com/en-gb/what-is-available/walking-and-hiking/walks/destinations/republic-of-ireland/donegal/burtonport/all/1-94786/

http://www.walkingdonegal.net/article/walking-the-line/

http://magherycoastaladventures.ie/sli_na_rossan.html 

Getting here: From Letterkenny and Dungloe – SITI Rural Transport – Tel 0749741644. From Dublin – Bus Eireann@ www .buseireann .ie From Scotland & Northern lreland – Doherty Travel (00353) 749521867

https://www.donegalairport.ie/  There are twice-daily flights from Dublin and Glasgow to Donegal airport via Aer Lingus and Logan AirDonegal Airport : 00353(0) 74 95 48284.

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In the Glynn Vivian Open Exhibition

Exhibition - Emma Cownie 2019

The Opening night of an “Open” exhibition is an affair full of nervous energy! This is because 90% of people in the room are artists who are all relieved/happy to have their work included in the exhbition in the first place and secondly have come to see where their painting/s have ended up? Are they in a corner? Can they be seen?

Open Exhibition is where the organisers invite or “call” for artists to submit their work (for a small fee). The best works are then selected to be included in the exhibition. There are massive national exhibitions (like the BP Portrait Prize) that are so massive that they have a preliminary round where digital photos are first sent for consideration. The Glynn Vivian, does it the old fashioned way by requiring artists to bring their paintings to gallery for submission. You can submit up to two works each. As, it’s only open to artists living in the Swansea area, it’s not too onerous to drop in the paintings.

 

All artists fear rejection. We are sensitive souls. So to have to face the prospect of being rejected (one or two paintings) isn’t pleasant. Inclusion isn’t automatic, even if your work has been included before (I was in 2017), especially as the people doing the choosing (or “curating”) change every year. This year’s curators were Richard Billingham and Durre
Shahwar. Richard is a photographer and filmer maker who was nominated for the Turner Prize in 2001. Shahwar is a writer, editor, and creative facilitator. Thankfully they chose both of the works I submitted.

I had deliberately decided to arrive an hour into the Opening party as I remember it being very crowded to last time I came in 2017. It was still very crowded at 3pm and the numbers only really thinned out after 4pm. There were 245 pieces in the exhibition. The two rooms in the gallery were filled to the brim with paintings (and artists). were overwhelmingly 2D art. Paintings, sketches and prints, but there were films and sculptures too.

Crowded Glynn Vivian Open
Crowded Glynn Vivian Open

Of course, the first thing I did was try and find my paintings. They were in the second room. I was initially surprised to see that they were not together but had been arranged separately as part of themed groups of colours. I thought that the arrangement worked well. It’s a funny feeling seeing your paintings in amongst lots of other paintings. It’s like a familiar face amongst a crowd of strangers.

There’s no way I can get a photo of both paintings, I thought. Actually, for a long time, I could not get a photo of each painting as the gallery was so crowded.

Spring Light on Gola (top centre)
Spring Light on Gola (top centre)
Spring Light on Gola (top centre)
Spring Light on Gola (top centre)

For some reason, people stood in front of my second painting, Autumn in the Rosses for the longest time.  Different groups of people too. So I had to wait quite a while to get a photo of it and even then I had a person’s shadow on it!

Spot my painting?
Spot my painting?
Autumn in the Rosses (top left)
Autumn in the Rosses (top left)

It wasn’t just me trying to get a photo of my work. These artists were very excited about being in the exhibition. Their joy was a delight to see.

DSC_0040-001.JPG

"Textile Bouquet" by Eleanor Anne Owens
“Textile Bouquet” by Eleanor Anne Owens

There was so much to look at in the exhibition. There was such a variety of work too. Here are just a few that caught my eye. The most affecting work were the two bird sculptures by Mike Hill. One was made of fishing tackle detritus and the other was in the shape of a cormorant smothered in tar.  In fact, the tar-bird was so affecting that I had to fight back the tears. There were quite a few works that touched up the climate emergency and waste but these two, in my opinion, were the most powerful ones.

What are we Doing? What Have we Done? No.1 and No2.
What are we Doing? What Have We Done? No.1 and No2.
What are we Doing? What Have we Done? No.1 and No2.
What are we Doing? What Have we Done? No.1 and No2.
DSC_0044-001
Dafydd Williams “A Coded Reverie”
Steve Pleydell "Margot"
Steve Pleydell “Margot”
Amanda Puleston "Doolin, Ireland"
Amanda Puleston “Doolin, Ireland” – It’s knitted art!

 

I particularly liked the animal/nature themed wall.

I also really liked Myles Lawrence Mansfield ” Rejections/Acceptance Machine”. I liked it even more when it was explained to me that it moved when you turned to handle! I always like things that do something. Thinking about it now, it may well have been a comment on the life of an artist!

DSC_0082-001
Myles Lawrence Mansfield ” Rejections/ Acceptance Machine”

I had to pleasure of meeting fellow artist Wendy Sheridan in real life (after many online interactions via social media).  She very kindly took my photo!

Emma Cownie Exhibition
Me at the Glynn Vivian

I would highly recommend visiting the Glynn Vivian to see all the works in the Open Exhibition. It’s on until 23rd February (closed on Mondays) and is free!

Find about more about the Open Exhibition here 

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A Donegal Year

It was a year ago that I painted my first painting of Donegal. Here it is. It is a small one.
Old School, Owey Island
Old School, Owey Island
It’s quite a modest painting. You could say that I started off tentatively. I was feeling my way. The light in Donegal is very clear and the scenery is beautiful. That’s an overused word in this age of social media, but it is beautiful. My husband, Seamas (he likes counting things) tells me that I have painted over 50 Donegal paintings (including 3 commissions). That pretty much averages out at one a week. I am pleased to say that I have already sold over half of them. I discovered that I had to use a different palette from the one that I use in Wales. The greens and yellows were more yellow ochre than lemon yellow and the sea was more turquoise (but not quite as turquoise as I first painted) thanks to the clear water.  I loved the rocky landscape of the Rosses. It was a landscape like no other I’d seen before. Someone has said to me that it’s quite alien, like a moonscape in places. I love the granite rocks. We have a massive one behind our cottage in Donegal. I feel very affectionate towards it. It’s a protective presence, especially when it’s windy. Of course, when you are in a different country to the one you were brought up in, everything seems fascinating. I have loved painting both the modern Donegal houses as well as the old cottages. I will freely admit I am quite obsessed by landscape spotted with old cottages on the Donegal islands, on Arranmore and Gola in particular.
donegal painting of Gola, West Donegal.
Spring Light on Gola
I haven’t really got to grips with the mountains of Donegal. What I mean is that I need to visit them a lot more, walk up them and get to know them better. So far I have just admired the “Seven Sisters”, including Mount Errigal and Muckish from a distance.
Painting of Irish mountain
Swirling Clouds Round Errigal
Of course, the real joy of Donegal is the clouds. The changes skies. I am used to it raining, (I have lived in Wales for over 25 years) but the light is different by the North Atlantic Ocean. It is often more slivery, and more changeable.   I think about Donegal every day when I am in Wales. My husband will place his current favourite Donegal paintings in the bedroom and in the lounge so he can look at them whilst we still have them. Here’s my most recent painting Donegal painting. I am currently working on a painting of Arranmore Island, unfortunately, it rained so much here yesterday, the light went and I have yet to finish it.
Donegal painting
Back Road to Burtonport