original oil paintings

There is a definite shift in the seasons. In summer here, the light seemed to stretch on for eve; well past 11pm. Suddenly the days have started shortening fast. It is now dark before 9pm. It has rained solidly for the last two days. In typical Donegal fashion, the sun has come out and everything is bright and fresh.

Artimus (aka Artie) our Donegal rescue cat has just passed me to go outside in the catio to smell the breeze. He used to be a stray. It’s hard to believe as he’s so beautiful and such a softie. He now enjoys the warmth and comforts of indoor life (especially hiding under the towel rail) but he still enjoys the smells and sounds of rural life outside. We lost three pets in the last year (two cats and a dog) and I am not letting him outside when there’s a busy road at the bottom of the garden. I cant face the heartache, if I dont have to. So Séamas, built a catio. Or the cat veranda as I like to call it. Both of our cats, enjoy it but Artie, especially so but not when it’s cold. He’s been in and out of it four times in the last twenty minutes. I think he wishes it was warmer. He must have found life as a stray really tough!

Catio - aka cat veranda — Catio – aka cat veranda

Errigal from Cruit Island, Donegal:-This was one of a pair of large paintings I started before I got ill. It sat in it’s greyscale state for over a month and a half until I recovered enoungh stamina to complete it! Large painting require a lot of strength as you lift your arms/hands above your head, even if you are just moving the canvas. I was very glad to finish it.

I enjoyed painting the rolling landscape; splattered with rocks. I took great pleasure in adjusting the colours in oil paint and “tightening up” the details. The rash of rocks amongst the boglands is quite unique to this part of Donegal. Further south towards, Glencolmcille, there are far fewer bolders and rocks. There the bogland blankets the landscape uninterupted. There are far fewer houses there too. This area of Donegal, the Rosses, however, is dotted with houses old and new. I like that the old houses nestle in the nooks and crannies of the landscape; keeping out of the prevailing westerly winds and showers.

Painting of mountain Errigal from Cruit Island. Donegal _ Emma Cownie — Errigal from Cruit Island. Donegal _ Emma Cownie

Buy the painting here

Gentle Artie came from AnimalsinNeedDonegal – They found him a home because long-haired stray cats don’t live long lives outside in Donegal, their long coats are hard to keep fully dry.

Here’s their facebook page here They also have a charity shop in Donegal Town and you can make donations here. You can also follow them on Instagram

Artie - He a wee dote — Artie – He’s a “wee dote”

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.

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.

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.

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.

“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.

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.