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Spring Newsletter 2021

Newsletter Cover

Here’s my spring newsletter which you will see is heavy on the visual and very light on the text!

Spring Newsletter 2021 Page 1
See more Gola paintings 

 

Spring Newsletter 2021 Page 2
See Large paintings 
Spring Newsletter 2021 Page 2
See  All Recently Sold Work 

 

See! That was easy to look at. If you wish to get regular (no more than once a month) updates about my work and news about exhibitions sign up here

 

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Back in the studio!

Finally, I managed to scale the steep steps to my attic studio! One step at a time. Holding on the handrails.

Ah, what pleasure it was to be back in the attic. It has a view out the back of the house. It is a great pleasure to look at the wooded parks and hills of West Swansea instead of the unrelenting concrete streets and terrace houses out the front of the house. I have a number of commissions to fulfill but I wanted to “warm up” with some small paintings first as I have been working with watercolours for the past two months. Here’s a selection:-

My first reaction to oil paint was how slow it all is in comparison with watercolours. With watercolours, most of the effort goes into planning and preparation and then the execution of the painting itself is quick. Putting oil paint on the canvas was more laborious that watercolours. I also had to rummage around for looking for the right sort of paintbrushes, a few times. I could not quite lay my hands on what I needed. But,  ah! The paint did what I thought it was going to do. What joy! If I changed my mind about a composition or decided that something did not work I could wipe it off the canvas. It did not reproach me for making a mistake by showing it to the world for ever! Nice!

Anyway, I sat down and started a series of new Donegal paintings. Here they are.

Painting of Donegal Cottage
Wee House on Gola, Donegal (SOLD)
Painting of Storm Clouds Over Inshbofin, Ireland
Storm Over Inshbofin, Ireland (SOLD)

Painting of The Two Tin-Roofed Sheds, Ireland

The Two Tin-Roofed Sheds, Arranmore, Ireland

Painting of house on Gola, Donegal, Ireland
Blue Door, Gola (SOLD)

Landscape Arranmore Ireland

The Old Stone Shed Arranmore Ireland

These paintings are from the past few weeks. I have also worked on two commissions. It has been slow work at times as I often need a lunchtime nap to keep my energy levels up. I do my rehab exercises several times a day which can be very tiring. On a positive note, I finally got to speak to a physiotherapist, Josh, who has been very helpful. He has posted exercises to me and giving me guidance on how much to do.  I can walk upstairs reasonably well, but downstairs one step at a time. When I get tired my ankle gets sore and I limp. I try and avoid that if I can.

What did I learn from watercolours? That I can and should edit and play around with compositions more. I simplified my images as much as I could. I changed the skies or left out an inconvenient house. I found this freeing and I brought an element of this to my oil paintings. For some reason, I have felt to need to be truthful to the real-life locations I painted. I realise now that I don’t have to. I can happily leave out a telegraph pole or a lamp post if it confuses the composition.

What do I miss about watercolours? The tidiness. Clean clothes and hands. The lack of chaos. The speed. The brushes that don’t wear out by the time you have finished a large painting. The lightness. They convey the lightness of birds better than oil colours. Also the convenience, I could pack away all my paper, paints, and brushes in one big bag. I am looking forward to using them outside when I can walk much longer distances!

Emma Cownie Artist
Painting in the studio with my leg up!

 

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Still life paintings

Still Life Painting
Private Conversation

This will be a short post as I am nursing a painful left elbow on an ice pack. I developed bursitis on Friday, I am not sure why as I didn’t hit my elbow on anything but too many sun salutations in yoga is my number one suspect.

We have had a lot of really bad weather lately. We seem to be cantering our way through the alphabet of storms: Atiyah, Brendan, Ciara, Dennis, Ellen, Francis etc. This means I have rarely left the house, except to buy food, walk the dogs in our local park or to go to a yoga class, although yoga will be out of bounds until my elbow recovers now.

So, whilst Storm Ciara was blasting her way overhead, a couple of weeks ago, I decided to set up a number of still life compositions to work from. I had painted a number of largish canvases (80x60cm) and felt in wanted to paint something smaller for variety’s sake, and also something that I could complete in a short (gloomy) day.

My past forays into Still Life painting explored paleness/whiteness, and they were largely inspired by the work of Morandi. These were medium-sized paintings. I liked the calmness of the plain backgrounds.

In this short series of paintings, I was more interested in colour. I was particularly inspired by a patterned cloth that my husband, Seamas, had found in a charity shop many years ago. I liked the warmth of the colours.

This was my first painting. I liked the way the colours of the flowers chimed with the fruit on the plate.

Still life with Patterned Cloth
Still life with Patterned Cloth

I think my second painting was better probably helped by better light on the day that I painted it.

Still life with patterned cloth #2
Still life with patterned cloth #2

Then I decided to focus on the fruit. A tiny slice of it!

#3
A Slice of Lemon (SOLD)

Then finally a more traditional composition with a cup and red cloth. I have noticed before how I am drawn to painting reds in winter.

Blue cup with Lemons
Blue cup with Lemons

The bright colours in these paintings cheered me up. Having completed this short series I felt ready to return to large canvases and more muted tones.

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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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Over to Inishkeeragh, Ireland

I love looking at maps and finding out the names of places. This is particularly true of the islands that litter the coast of West Donegal near the Rosses. I am always asking my husband, what island is that? He’s usually pretty good at knowing the names (I check on a paper map later). In the summer I spotted a house on a tiny slip of an island to the south of Arranmore.  Can you see it in this photograph below?

View from Arranmore

View from Arranmore

Closer. See it now?

Inishkeeragh

Inishkeeragh

I thought it was just one lone house (was that another house at the other end of the island, maybe?). What glorious solitude! What must it be like to stay on that island all with the spray of the sea so close looking at big Arranmore? This is my painting of the island.  I was curious about the feint outlines of ruined houses I could see either side of the restored summer house. I wondered about them and their families.

Inishkeeragh-001
Over to Inishkeeragh (SOLD)
Map of Inishkeeragh (Google)
Map of Inishkeeragh (Google)

This is Iniskeeragh. Ireland (like Wales) is rich in descriptive place names. They usually describe are named after features of the landscape, such as hills, rocks, valleys, lakes, islands, and harbours. In Irish, its name is “Inis Caorach” which means “Sheep or Ewe Island”. So either sheep were kept on the island (it seems pretty small for that) or its a shape reminded people of a ewe, which might be more likely?

Inishkeeragh (Google)
Inishkeeragh (Google)

After some research (online and in books) back home I discovered that the island had at least 12 families living there permanently, it also had a schoolhouse. I find this incredible for such a small, lowing lying island. It’s 650m x 300m (2132ft x 984ft) in size. I tried to work that out in football pitches. It’s the equivalent to 40 football pitches, so maybe its not as tiny as I think. It is very low. It’s no higher than 11 feet above sea level. Yet you can read their names in the 1901 census here. The family names of the farming families are familiar Donegal ones: Gallagher, Boyle, Sweeney, Rodgers, O’Donnell and a sole Bonner, Grace (35) who was listed in the census as a knitter, she was one of only 2 knitters on the island. 

Ruins on Inishkeeragh:- Photo credit Roger Curry
Ruins on Inishkeeragh:- Photo credit Roger Curry

These Donegal islands may seem remote to modern eyes, but they played their part in the culture and history of modern Ireland.  Gola Island, Gweedore, may well have served as the model for Robert Louis Stevenson’s Treasure Island. Two men from Gola, Patrick McGinley and Charles Duggan, were aboard the Asgard, the yacht that brought arms into Howth in north county Dublin in 1914, in preparation for the Easter Rising of 1916.  Tiny Inishkeeargh also had its connection with the wider world. Writer and political activist Peadar O’Donnell (1893-1986) was a for a time teacher’s assistant at the school on the island and he set his second novel, The Islanders, here.  Peadar went on to become one of Ireland’s foremost radicals of the 20th-century.

School House:- Photo credit Roger Curry
School House:- Photo credit Roger Curry

Life was tough on the island. Roise Rua described her work on the island kelp-making as “tedious and exhausting”. The tenants had to pay rent of £50: £26 for the use of the land and £24 for the use of the seashore – making kelp, picking winkles or shellfish, dulse and the like.” Sadly, like many other Donegal island communities, such as Owey and Gola, the people of Inishkeeragh was forced to relocate to the mainland in the 1950s.

Inishkeeragh Village:- Photo credit Roger Curry
Inishkeeragh Village:- Photo credit Roger Curry

Sea levels played a big part as at least twice in the twentieth century an exceptionally high tide coinciding with a bad gale forced the islands to take refuge in the two houses that had lofts. They apparently spent hours “in terror, fearing the overloaded floors would collapse.” A storm in 1953 washed away the pier and the government of the day would not pay for it to be repaired. This meant that subsequent storms swept through the houses and within 5 years all the families were forced to leave the island.

Photo Credit: Roger Curry
Inishkeeragh – Photo Credit: Roger Curry

There was a reunion of Inishkeeragh families and their descendants in 2015 on the island. Internationally renowned Country singer, Daniel O’Donnell, was part of the celebrations (his mother was born on nearby, Owey Island).

Daniel O'Donnell and Inishkeeragh
Daniel O’Donnell and the Inishkeeragh Reunion

You can see the photos of the day on their facebook page here. You can visit the island with Arranmore Charters, be sure to book beforehand.

Addition sources for Inishkeeragh (Inis Caorachin) came from:

Atlas of County Donegal, Jim Mac Laughlin and Sean Beattie (2013)

Donegal Islands, Ros Harvey and Wallace Clark (2003)

Roger Curry’s Donegal photos can be found at https://pbase.com/rogercurry/image/51657229

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Home from Home

Painting of Irish Landscape
Painting of Donegal, Ireland
Over to Kincasslagh SOLD

I am winding down the social media for a while because we are leaving the UK to spend some time in our house in Burtonport, Donegal, Ireland. The internet will be available on a very limited basis so I won’t be able to post on here until mid-April. I will be checking my emails but I won’t be posting much, if anything, on Facebook, Twitter & Instagram.

I have mixed feeling about the enforced “break” from social media. On the one hand, I hate the way how it sucks up all your spare time and energy and how FOMO (fear of missing out) has you checking updates. There’s always the fear that if you stop “spinning all the plates” that people will forget about you! However, I am certainly looking forward to reading books, listening to the radio (there’s no TV either) and sketching and painting for fun (not oils but watercolour sketches).

I am very excited/nervous about the whole thing because I am driving there and it’s a long, long way.

Please be aware that any artwork purchased after 25th March will only be shipped after 12th April.

IMG_20181103_100343971_HDR
My home in Donegal
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Painting an Ancient Woodland – a Gower painting

Painting of trees
Emma Cownie in the Gower Woodlands
Me at Work (with Mitzy)
This blog is made up of 5 photos/images that represent the stages that go into the process of creation of a woodland painting. The first photo is the most joyous. Wandering around the woods (read more about this very special place here), taking photos and marveling at the light. On this day the light was perfect. I was delighted by the way it illuminated the leaves, the moss, and the grass. I was also excited by the fact the woods and stream were flooded with light in a way I had not quite seen before. The time of year and the time of day all affect conditions. No two days are the same. Enjoying the sunshine was the easy part. Woodland Painting Work in Progress #1 Now for the hard work.  My woodland paintings are different from my other paintings. I paint them in a different way. They are more of a semi-abstract construction and less organic than my paintings of clouds, coasts or people. I can’t exactly explain how I ended up doing this, I think it was when I was in my fauvist/refractionist phase. It sort of like constructing a giant puzzle and my head usually aches afterward! So I sketch out the basic position of the trees, stream and the main shadows. Painting is a lot of problem-solving. I have to decide which order to paint different sections of the canvas. Some parts I want to dry and then go back and add detail. So I start by flipping the canvas “upside down” and painting in the light blues and mauves of the sky.  I also need to convince myself that this painting will work so I paint in the tree trunks to “anchor” the painting. I look at the painting in a small mirror – this is a way of allowing me to see it in reverse, and trick my brain into seeing it like other people do (rather than what’s in my head). That’s day one of painting. Woodland Painting Work in Progress #2 On my second and third day of painting, I spend a lot of time thinking about colour and how to mix the right shades. Getting the different greens right is vital, from the fresh yellow greens to the very dark hues.  The hazy trees in the middle distance are difficult to gauge as mixing green with purple makes a dreadful sludge on my palette and nothing like the colour I want. I am anxious about the dark green on the opposite river bank on the left hand of the painting. I worry about getting it right. I have to be able to represent the damp dark greens effectively, without drawing too much attention to them. I mark in the darkest part of the bank and leave them for the next day. It is slow work.
Woodland Painting
Work in Progress #3
On the final day of painting, I pick up speed and tackle the far river bank. I attack the most interesting part by painting in the light on the leaves and the purple shadows at the top of the bank. The purple shadow then blends into the green and by the time I have finished with the bank I am pleased with it. The part of the painting that frightened me the most makes me the happiest. Ironically, no will notice probably it. That’s how exactly it should be. Painting of Woodlands “Path by the Stream” The final stage of the painting is solving the showed foliage in the lower centre of the painting. This I simply into blocks of colour. I want to focus of the painting to be the hazy light at the top part of the painting and I don’t want to draw the eye to the foreground at the bottom of the canvas. In my mind, I struggle with this process. There is alot of indecision. The literal part of my head wants to paint it “as it is” but my artist’s head is trying to reduce the colours into blocks. To help in this process,  I move my reference photo onto a chair so my myopic vision can no longer see the details. I push on and eventually, the canvas is covered. I then will leave the room to make a cup of tea and return with the express purpose of “surprising” the painting. This way I can see it with fresh eyes from the other side of my studio and decide if I am happy with it. I am.  
Painting of woods
From further away
I am delighted to report that I sold “Path By the Stream” to one of my most valued collectors, who has bought many of my works, in beautiful Kent, England.  

I have started my next woodland painting, if you want to follow its progress like & follow me on Facebook.  

Woodland Print
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Wonderful Welsh Woods

Woodland paintings

It’s that time of year again. When the slanting sun makes you believe that spring is just around the corner. Snowdrops and crocuses are flowering in parks and in the woods. We spent the last two days revisiting my favourite stretch of Gower woodland. It follows the stream that meanders from Ilston along the Ilston Cwm to Parkmill (the stream then it crosses the A4118 and winds its way into the sea as Pennard Pill). You can see it on an interactive map of Gower here .

Map of Gower
Ilston to Pennard

Yesterday, we revisited the Parkmill end of the woods (you can read about the Ilston end of the woods here). These trees are technically part of Kilvrough Manor woods, although Kilvough Manor itself, is quite a distance off on the other side of the A4118.  The woods have been here for hundreds, if not thousands of years. The trees are “ancient semi-natural and broadleaved, made up of a canopy of Ash, Oak, Beech, and Elm, with a Beech plantation”.  They have given me years of inspiration for painting.

Photo of woodland near Gower Inn
Woodland near Gower Inn

Very early spring is my favourite time of year because the sun cuts through the bare branches and illuminates the ground. The shadows create an exciting combination of colours; the beech leaves on the ground are an interesting orange and mauve, and the rich brown earth is almost a dark purple, that reminds me of a dairy milk wrapper.

Cadbury's Dairy Milk
Diary Milk purple

In the past, I have usually visited this part of the woods in the morning. I feel almost stupid when I see how different it all looks in the early afternoon.

Painting of Gower Woodlands

Of course, nature is a giant sundial. The trees cast shadows in different directions, depending on the time of the day and the time of the year. If you come too early the trees nearest the car park lies in darkness, as the sun has not risen above Pennard.

Painting of woodland
Pennard Pill

If you come too late the same trees are in the shadow of the hill that rises up beside the stream to the west. When the trees are illuminated it’s very exciting. It’s like an incredible show that is switched on and off, depending on the light.

Painting of woodlands
One impulse from a Vernal Wood.

As the river meanders along the valley the path crosses it by a number of sturdy bridges. I have painted many of these over the years. There’s the 1950s concrete and metal railings one, nearest the Gower Inn.

painting of woodland bridge
Bridge Over Ilston River

From both sides, if the light allowed it.

Painting of Bridge in woods
A Bridge in Ilston Cwm

There is a beautiful wooden bridge, further along, that resonates with walkers’ footsteps as the stride across it.

Painting of woodland bridge by Emma Cownie
The Bridge to Parkmill
Oil Painting of woodland bridge
The Bridge

In the summer, when the stream is low, I have waded through the water under this bridge and listened (troll-like) to the sounds of people walking above.

Yesterday was a day of epiphanies. I stood listening to the wonderful cacophony of birdsong and soaked in the sight of the light catching the leaves I realised that what made this place so special was its sheer age.  People have walked along these paths (and crossed older, long gone bridges) to reach the places of worship for many many years. Over 300 hundred years ago a Baptist chapel was built by this bridge by John Miles and people travelled from miles around to reach it. At Ilston, much further along the stream, there has been a religious cell, or church since the 6th century. These woods have been a place of contemplation for centuries, and it feels like it. Modern people may or may not contemplate religious matter, but it is difficult not to get drawn into contemplating the rhythms of the natural world.

Gower Woodland
Light Catching the leaves

For me is the moss that marks this woodland apart from others.  The moss catches the slanting light and the trees almost look like they are wearing halos.

Trees of Parkmill Valley
Light Catching the Trees

In some parts of the wood, the moss is so thick they cover the tree like padding.


Gower Moss
Thick Moss

Moss is odd stuff. It is a plant, with stems and leaves, but no true roots and no flowers. It needs damp conditions to reproduce. The moss grows so thickly here because it’s very damp in South Wales, it rains a lot. The stream also creates a lot of dampness. The moss absorbs huge quantities of water. It actually helps to soak up rainfall and create a locally humid environment. There’s also lots of lichen on the trees. This is a good sign as it only grows where there is clean, unpolluted air. Lichen, apparently is not a plant, although plant-like. Its sort of fungi.  Lichens amazingly are some of the longest living things on the planet. They grow very slowly and live very long lives, a bit like the ancient yew tree in Ilston churchyard.

Lichen in Gower
Lichen
Yew Tree in Gower
Ilston Yew Tree

To give you a feel for the beauty of the place I have uploaded a couple of short videos. The splashing you can hear in the first clip is my dog, Biddy walking in the water, hoping that I will throw a stick for her.

Here she is!

Biddy
Biddy (Look I have found a stick for you to throw!)

 

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Christmas at Clyne

Emma Cownie Art stall Swansea
Emma Cownie Art stall Swansea
Emma Cownie Art at Clyne Christmas Market

Once-upon-a-time I worked full time as a teacher in school of just under 2,000 pupils and I would teach approximately 150 pupils in a day. That’s a lot of faces to put names to every day. I was pretty good at learning all those names too. These days, however, I might only speak to a handful of people in a day; my husband, my neighbour and local shopkeepers. So, when presented with an opportunity to met with and chat with to new people I relish it. Clyne Christmas market gave me a lovely opportunity to talk to all sorts of people.

I am pretty new to running a stall, I did it once about 4 years ago. I really enjoyed it back then but teaching commitments meant that I did not have the energy to keep doing it. That has changed now. I have the energy and the time to pursue this and yesterday I had a stall at the first Clyne Farm Christmas market. I realise that I have a lot to learn.

Clyne Farm sits on top of Clyne Common, high up above Swansea. It has sweeping views towards the sea-side village of Mumbles and across the massive Swansea Bay.

View From Clyne Farm Towards Mumbles
View Towards Mumbles (from the car park)

Once upon a time it was a riding stables but in recent times it has transformed itself into an top-class accommodation and activity centre.

 

Sparkly Bow Stall
Sparkly Bow Stall

Yesterday was their first Christmas Market and we were blessed with sparkling crisp sunshine. The photos above were taken in the first half an hour before it got busy. The crowds ebb and flow. After a quite half an hour, it is quickly jammed with families carrying babies wrapped up to the eyes in jump suits and bobble hats. The little girls are drawn to the “Sparkly Bow” stall further down my aisle. The table covered in glittery objects is exactly the right height to catch a 5-year-old’s attention – at eye-level.

This first onslaught is followed by another wave of families with dogs on leads, and in carried in their arms. There are lots of woolly coated “cockerpoos”  (Cocker Spaniels Crossed with Poodles) and some sharp-eyed border collies. They take in everything. Later as people leave for lunch in the other hall, it becomes calmer. People are clutching bags with their purchases. I recognise some people who came around earlier return to buy. It’s in the post-lunch calm that I make most of my sales. I chat with many of the people in the hall. My cards of Mumbles Pier starts a number of conversations about a controversial development of the Pier Head area that the local community (Mumbles Action Group) are currently fighting.

Clyne Christmas Market (with dog)
Clyne Christmas Market

I manage a quick break and visit some of the animals on the farm. I’d met Ted the collie and Flo the goat and her surrogate daughters, the sheep Brillo and Lucy, yesterday.

 

Ollie at Clyne Farm
Ollie the colt (6 months old)

Along a muddy tack there children’s pony rides on offer. I had to make a special journey along a different muddy path to see Peggy the Pig. She is massive. I give her a pat on her broad back and was surprised that her back was covered in bristles, not wiry hair. Her floppy ears cover her eyes, like nature’s sunshades, but it can’t be easy for her to see. I was told by Sarah who works at Clyne, that Peggy is pretty laid back and is a “morning” pig. She is active in the morning and spends her afternoons sleeping. Someone speculates that she’s a Gloucester Old Spot. I assume that they have only one big spot but looking it up later it seems that they were probably right and she’s an “Old Spot”.

Peggy the Massive Pig
Peggy the Pig at Clyne Farm

The hall is filled with bright sunshine but by the late afternoon, I’m starting to feel the cold. Although there’s carpet in the hall the concrete floor underneath is cold. I run to my car to fetch my woolly hat. As the afternoon wears on I notice that the tip of my nose is numb! After 5 hours in the hall, my feet are starting to feel like blocks of ice. The girl opposite me is wearing thin daps and ends up sitting on her chair with her feet tucked under her. At four o’clock the sun is low in the sky and someone mentions that there’s Christmas Parade in town at 4pm. That seemed to be the signal for the stall-holders to pack up and within minutes the hall is bustling with activity as the stalls are rapidly dismantled. I drive home with the sun setting over Clyne Common.

Emma Cownie at Clyne Christmas Market
Me and my stall at Clyne Market (my bag handles have just snapped!)

What I learnt

  1. Get new cash bag – my beautiful leather cash bag handle snapped as soon as I put it on. Although I tried to tie a knot in it, it kept coming undone.
  2. Thermal socks are needed (possibly 2 pairs).
  3. Clear prices on each rack. We had a price list but it was difficult for people to read it. Bull-dog clips or cardboard luggage labels are good for this.
  4. Paper bags for purchases – brown or white. Environmentally friendly and they look cool
  5. Camping chair – a wooden chair was hard to sit on all day.
  6. Paypal card reader or izettle for mobile payments. Not everyone has enough cash on them and you don’t want to lose sales
  7. Presentation is vital. Rustic chic is cool – I had wooden racks and a table easel but more wooden boxes for cards would be good. I learned a lot from Ed Harrison at Minnow across the hall. His presentation was excellent.

    Minnow at Clyne Market
    Minnow at Clyne Market
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Painting Cows

I am delighted to have sold “Koei 1509”, a painting of a South African cow, to a collector in Oxfordshire, England. The painting was based on a photograph by talented photographer Herman von Bon, who generously allowed me to use his image. Herman photographs the South African landscape along with its people and animals. I particular like his wildlife photography.

Oil painting of a Cow by Emma Cownie
Koei 1509

I like cows. I love all animals. I come from a family of animal lovers. I get pleasure from just looking at animals. I really enjoy painting them but I find it hard to part with my animal paintings.

Cows are the reason why I stopped eating meat a long time ago. When I was a post-graduate student at Cardiff University in the 1990s I spent a day cycling along the the flat marsh road that lies between Cardiff and Newport. It’s about 10 miles. On my way back, I stopped at a gate for a rest. I group of curious youngsters, Fresians, came up to gate to investigate me. They were cautious but seemed to egg each other on to come closer and stick out their noses to me. They amused me. I thought they were funny and sweet.

I stood for quite a while looking at them. Listening to them breathe. Cows have intelligent eyes. Big brown eyes. They weren’t essentially any different from the many animals my family had kept as pets over the years; cats, dogs and rabbits. Suddenly the thought came to me “I eat you and your friends”. I felt awful. Very guilty.

It felt very unnecessary.  I don’t need to eat meat. So I decided to stop. I’d been thinking about for for some time. People sometimes ask why I am a vegetarian and I could mention things such as the cruelty of factory farming, the environmental cost but I have never felt comfortable eating sentient creatures. I always felt a hypocrite for eating Sunday roast, no matter how tasty it was.

Oil painting of Hereford Cow by Emma Cownie
Hereford Red (Sold)

 

Many of my university friends were veggies but I didn’t like many vegetables (potatoes and peas was about it for many years) and I wasn’t sure what I would eat. To be honest, I was lazy. I had to learn to cook vegetarian meals. I started with a lot of pesto and pasta. A friend of mine recommended a Rose Elliot cook book and I painstakingly read the recipes (there were no photos in the book) and I eventually learnt a few recipes off by heart.  It was a bit of a slog but I felt much better for it, physically and mentally.

 

Although I don’t think that I paint cows all that often, they have added up over the years. I love Hereford cattle in particular. I was born in that English county and I love the russet red of their coats. You don’t see that many of them on Gower.

Colourful Painting of cow
Punk Cow (SOLD)

I seems to have painted Frisians the most – probably because I like the contrast of their black and white coats.

Oil painting of black and white cow in Gower landscape
Gower Cow (SOLD)

Gower Cow

I never paint “generic” cows. These are all real cows. All individuals. I found Gower Cow on the slopes of Cefn Bryn at the Penmaen end. She was chewing the cud with a small group of friends.

Painting of Cow at Pwll Du, Gower
Grazing at Pwll Du

The cow at Pwll Du was also with a group of friends, small herd I suppose, who came out of the undergrowth and started grazing on the grass by the stream at Pwll Du.

 

Writing this post got me thinking about the History of the cow in Art. There’s a lot to it so I have decided to save that for my next post.

 

Painting of black and white cow by Emma Cownie
On the Move

 

To see available animal paintings click here

To see large mounted animal prints click here