Delighted to announce My Summer Sale on Artfinder – 25% off 25 paintings which lasts for 4 weeks only.
“People and Places” – Oil Paintings of various places, mainly in Wales, UK and portraits of some of the people who live there. https://www.artfinder.com/artist/emma-cownie/sale/
Just in case you didn’t know I also paint commissions of animals and places, e.g. houses, landscapes etc
Contact me with the high quality photographic image you would like me to paint and we can discuss details from there?
The rates for a commission are listed below and are rated both per size of the canvas and the complexity of the image to be painted. The prices per canvas size are normally:-
50×60 cm – £295 (Approx 19.68 x 23.6 inches – US $390)
50×70 cm – £345 (Approx 19.68 x 27.5 inches – US $455)
80×60 cm – £395 (Approx 31.49 x 23.6 inches – US $529)
A new painting – “Cat Patrol” – Oil painting of my two cats, Hattie and Bingo, doing their allotted cat patrol on the lane at the back of my outside art studio. Beyond the back lane are the Swansea city areas of Uplands, Mount Pleasant and Townhill, imperious on the far hill.
Delighted to say I have just SOLD this oil painting “Before the Rush” via Artfinder
“This is an oil painting of the interior of the eatery “PIES” on St Mary Street Cardiff, in a lull period before the anticipated rush of customers to come. I was drawn into this eatery by the scores of light bulbs hanging from the ceiling which made it very light and attractive and luring from outside the shop. Hence I ventured in…”
This is a new painting – “Lady Sheep” – a sheep of the manor overlooking a beautiful hilly estate in The Cotswolds, Gloucestershire. My parents live in the Cotswolds, which is delightful place.
I am always surprised by the amount of buildings stuck into the hills and valleys. I also love the homogeneity of the stone work in these building, similarly sand stoned and often with jade coloured doors. Beautiful place.
New oil painting – “Uplands from Swansea Beach” – 60 x 50 cm – £295
“The title of this painting has a double meaning as Uplands also refers to the area of Swansea in the background of this painting as well as being upland from the beach, up the snaking road from Bryn y Mor. I loved painting the variety of colours in this painting, all the sudden spring colours of April. The lime and blue greens, purples and burgundies of newly sprouting leaves on various types of trees, the light pinks and oranges of fragile, floating cherry blossoms. Swansea is a leafy city and trees sprawl across the many sea facing hills of Swansea. I tried to contrast this light, fragile, often transient colouring with the that of the more concentrated, weighty, more permanent huddled terracotta houses and in turn with the sandy changeability of the sandy beach and wispy blue and white of the sea. “
Unmounted prints of this painting are available here
“This is another oil painting inspired by Ilston Cwm in Gower, near Swansea, Wales. It is a refractionist painting of the clear winter morning light falling on Ilston Cwm from the Parkmill entrance behind the public house, Gower Inn. It is a painting of early morning when the light is clear sharp, crisp and brilliant as reflected in the mirror like reflection of Ilston Brook, as it meanders through the leafless trees of the woodland.”
The painting has sold but you can buy a large limited edition mounted print here
Delighted to say I have just SOLD this golden oldie “Rainbow Wood” via artgallery.co.uk!
This is another refractionist/cloissionist painting where I attempt to break down the light streaming through the leaves of the trees in to blocks of colours. My painting has two prominent motifs which are to 1. create or animate light via my use of colour or 2. conversely, to break down light into component colours, in order to show light being ‘refracted’ through different materials, such as the leaves of the trees in this painting. The wood floor is illuminated by the light and I wanted to create an effect of movement of colour sliding along the ground and also sweeping, almost windswept across the trees like colour on the wind.
I like that pre-perceptual fleeting moment before our brains ‘construct’ images before colours and light are burnt into conscious representation. I love woods and trees because they capture the light in many ways and translate this light into numerous colours, too many to paint. I attempt to catch that fleeting fluidity, that becoming an image, not fully formed, more sensation than perception. I hope this vibrancy recreates that feeling of awe we feel in nature’s beauty, before our brains explain it away. To return to the fluent, heart-filled child-like wonder that sometimes ossifies with age.