The west coast of Ireland is dotted with islands, big and small but also plenty of sea stacks. Perhaps, they were once sea arches, I am not sure. If they were the crown of the arch fell in to create these majestic pillars. They can be seen from miles away. Even on misty days. This one, Tormore (in the painting above and below) is miles away, near a very remote location called Glenlough Bay. There is something exciting and other worldly and timeless about it.
Rossbeg (sometimes spelt Rosbeg) is a tiny townland on the west coast of Donegal, just three miles south-west of Portnua and Nairn. This is the Dawros Peninsula. There is a pier and a scattering of houses, some are modern, but many are old cottages, probably used as holiday lets.
There is another beach around the corner too.
The beach and the view is just perfect. The water is so very clear that the rocks and seaweed are visible from quite some distance from the shore.
Here’s my summer newsletter. I am shutting up shop for a month from 20th June to 20th July. All going well, we will be safely installed and open for business (online at least) in Donegal by mid-July. I am already longing to get back to my painting routine. I can’t quite believe that after being ground so long by my broken leg and the pandemic that we will actually move house/studio to another country by then. It’s a huge step! Fingers crossed it all goes smoothly!
I recently join the Stair Árrain Mhór – Árrain Mhór History Facebook group and was overwhelmed by the positive response I received from the members when I put my most recent post online there. I was asked if I had any more paintings of Arranmore for them to see, so here’s a collection of all my paintings of the Island that I have completed in the last two years.
Where it reads (Private Collection) it means that the painting has been sold. I hope you enjoy looking at them.
Oil Painting of Three Cliffs Bay, Gower, Wales. This is an unusual view from Three Cliffs Bay in Gower, Wales, looking back towards Parkmill from the top of granite rock monuments of one of the three cliffs.
I loved the array of colours and found it an arresting view, away from the bustle of the waves and shouting exuberance, to the calm and reflective.
However, when I came to write this post this morning, I was suddenly seized by the terrible thought that I might have been guilty of getting a Gower place name wrong. I thought so anyway. I have been calling Three Cliff Bay, Gower, Three Cliffs Bay. So what? However, I have noticed last week that a local artist and blogger called it Three Cliff Bay, with no “s”. So I decided that I had been erroneously been adding an extra “s” to the cliff part of the name. Entirely understandable because you would assume that if it’s in the plural, it would have an “s” at the end. Perhaps I not been paying close enough attention! I felt bad, that I had got it wrong. I’d be a poor landscape artist if I couldn’t get the name of the place I had painted correct!
However, I decided this need further investigation. Trying to check this on the internet, did not clear up the matter. Plenty of others also call it Three Cliffs with an “s”. The Visit Swansea Bay website for one calls this area Three Cliffs Bay as does as Trip Advisor and the local campsite, which calls itself Three Cliffs Bay Holiday Park! You think they would know what its called, as they live there?
However, I think it’s a little more complicated than that. Google Maps actually has both names. But when I studied their map a little closer – it seems that they use Three Cliffs Bay for the tidal beach and Three Cliff Bay for the sea part of the bay. The Ordnance Survey just has Three Cliff Bay for the sea part of the bay. So finally, I turn to my trusted authority on all things Gower related – a book. Wynford Vaughan-Thomas’s 1976 edition of “Portrait of Gower” which is full of facts, stories and gossip about old Gower and its people (Wynford was a Swansea-born Historian who was taught English at school by Dylan Thomas’s father).
His section on what he calls “one of the great Gower views” he calls it Three Cliffs Bay. So there. Phew! That’s good enough for me. I have worried about nothing and wasted half an hour fact checking.
It is called Three Cliffs Bay. Unless you happen to be out at sea and then is Three Cliff Bay! Unless you know better!
Before our visit to Fall Bay, Gower, I’d read online that it was “one of the hardest bays to reach on the Gower Peninsula”.
My curiosity was piqued. The walk from old Great Pitton Farm, to Mewslade seemed easy enough. The coastal path climbed up past Jacky’s Tor, Devil Truck and Lewes Castle until it reached Fall Bay. Not so difficult, I thought. That was until I attempted the climb down to the beach!
The beaches at Brandy Cove and Great Tor Bay also require you to clamber down some limestone rocks before you reach the sandy beach. This path, however, was much more difficult to navigate, though. The way became very narrow and I had to wait several minutes to let two energetic families come past. Still, I have this idea that one must suffer to some degree in the creation of your art so I carried on. As I started my climb down, the “path” became much tighter and steeper as the way down twisted and the rocks were worryingly smooth. The final descent was very difficult, made much more treacherous by slippery rocks. I was amazed that I didn’t twist my ankle! So no wonder, the “beach is never crowded”.
The day had become overcast by the time we reached the beach. Tears Point rises above the beach at the west end. Worm’s Head and Rhossili, is just round the corner, but out of view. The grey light meant that the waves looked greener and the cliffs more red/orange. I was drawn to painting the light through the breaking waves, where the sand and sky is reflected in the narrow part of the wave. I also loved the chunkiness of the cliff where it meets the sand and how the surf swirled around it. I got my feet and trousers wet more than once!
Thankfully, it was much easier to climb back up the path than it was coming down.
“This is an oil painting of the Table Mountian in Mid Wales.
I painted this because I loved the colours of blues, turquoise and purple which blend pleasingly with the blue-greens and terracottas of the trees and land.
Nature unearths such lovely rich colours and casts them wide in lovely complementary chromatic patchworks.
I would say this painting is inspired like so many of my mid-Wales landscapes by one of my favourite painters, Robert Bevan, whose landscapes have influenced how I paint this type of hilly upland landscape as opposed to the landscape I paint of Gower Peninsula which is usually in my own unique refractionist style which in itself influenced by expressionism.
I love the idea that colour expresses emotion, transports and alleviates the self and a creates an emotional response to a place depicted in a painting. Ideally I like to transport the viewer to the place so that the viewer somehow feels they are there or have been there in some sense. That is somehow familiar to them.
In this painting I hoped to transport one to soft lazy warmnesss of summer in the fields of Mid Wales. The velvety feel of the Table Mountain helps heighten this feeling of softness. The warm summer breeze can often give this sense of snoozy softness and I hope some of this is conveyed in this painting with the manicure trees like hairdryed Bouffants and the dusty dryness of the terracotta.”
One day my husband and I walked up this steep hill overlooking Cheriton in Gower Peninsula and when we arrived at the top we were amazed at the view which was a view of practically all of Gower.
We walked on and on and eventually walked to where we could see the world famous “Worms Head” peaking it’s head and neck out of the water like a rising dragon, with it’s humped back submerged behind.
I thought this would make a lovely and unusual painting, this view and perspective.
Most paintings of Worms Head are from the perspective of glorious Rhossili or from the great beautiful expanse of Llangennith beach but this view has something else. It looked like Worm’s head was a great beast swimming round the corner of the hill in the distance. I loved the patchwork of fields and colours, especially how they flowed down the hill and twisted around it, giving a really pleasing fluidity of movement. I tried to catch this fluidity in this painting.
This oil painting is of Ilston Cwm and the bridge, over The Killy Willy, leading to Parkmill. I have painted this bridge in a number of paintings previously sold on Artfinder but this is the first painting from underneath the bridge.
What a spectacular scene there is under bridges as the sun lights the water and this reflects on the underside of the bridge. Here it also illuminates the river bed through which we see an array of autumnal colours through the translucent, rippling water. It is a magical sight and I hope I have caught some of this visual excitement in this painting.
Delighted to say I have just SOLD this painting “The Bridge to Parkmill” via Artfinder – now off to live in Lancashire England
“This is another form the Ilston Cwn series of expressionist, “refractionist” paintings. This bridge has featured before in the best selling “Bridge series” from 2014.
This time I have painted the bridge from a different perspective rather than “head on” so to speak. I just loved the rainbow of colours reflected in the water and the grassing and variously textured river bank.
There was such a spectrum of colour in this scene with the winter sun illuminating a tapestry of colour from the foreground to the back.
Again it is almost surprising that winter yields the clearest, illuminating light and the greatest palette of nature’s colours.”
A return to the Black Mountains of Mid Wales for inspiration and an oil painting of a mountain top, wreathed in red-mauve heather and yellow gorse. This contrasts with the descending fields of “Welsh green”.
I am very excited to have an article in today’s Irish Independent on Sunday about me and work by Niall McMonagle. Below is my expanded Q & A interview that was much edited to feature in Niall McMonagle’s What Lies Beneath feature . It’s interesting to see that the online version had a different […]
This is the second part of my expanded Q & A interview with Niall McMonagle of the Sunday Independent. Read part one here This section is more about how I work, my style and influences. Q: How do you choose your places to paint? And is there a particular time of year that […]
I am delighted to have another of my painting adapted for a novel cover by an Irish writer. This time my painting “Cottage on Bunbeg Harbour” (2019) has been used for the Spanish translation of Donal Ryan’s “Strange Flowers” or rather “Flores Extrañas”. I have started reading the original and I am thoroughly enjoying it. […]
New Work & Recent Sales
Washing Line, Arranmore _Emma Cownie
Inishcoo (To The Fore of Arranmore) – Emma Cownie
Kinnagoe Bay (Inishowen, Dongal)
Over Glenlough Bay, Donegal-Emma Cownie
Still, On Gola (Donegal)
An Port, Donegal_Emma Cownie
House on Ishcoo, Donegal-Emma Cownie
On Rutland Island, Donegal -Emma Cownie
Spring on THree Cliffs Bay, Gower_Emma Cownie
Sun on the Reeds (Glentornan, Donegal)-Emma Cownie
View from the Pier (Portnoo)-Emma Cownie
From Port to Glenlough (Donegal)
Fishing Boat at Port Donegal-Emma Cownie
Portnoo Pier, Donegal_Emma Cownie
Down to Rossbeg Pier, Donegal
Errigal reflection (Donegal) _Emma Cownie
Errigal from Cruit Island. Donegal _ Emma Cownie
Over to Fanad Lighhouse (Donegal) _Emma Cownie
Errigal painting – A Commission 2022
From Arranmore (Donegal)- Emma Cownie
Abanoned (Glentornan, Donegal) -Emma Cownie
Ferry Home (Arranmore, Donegal) by Emma Cownie
Summer Morning on Pobbles Bay
On the Way to Kinnagoe Bay (Drumaweer, Greencastle)
Down to Doagh Strand (Donegal)-Emma Cownie
Lambing Season at Fanad Head
Fanad Lighthouse (Donegal)
Down to the Rusty Nail
Carrickabraghy Castle, Inishowen
Upper Dreen_Emma Cownie
Portmór Beach, Malin Head, Donegal
Down to the Rusty Nail, Inishowen
The Walls of Derry
Painting of Derry City
Derry Walls by Emma Cownie
Shipquay Gate by Emma Cownie
Over to Owey Island (Keadue) Donegal
Lighting the way to Arranmore
Old Stone Cottage in front of Errigal (Donegal
Boat at the Pier, Gola
House on Inishbofin, with distant Seven Sisters (in studio)