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.
I have decided that perfect is the enemy of good, and I need to give up on the idea that I should write lengthy blogs posts, as I end up writing nothing! So here goes,
One of the many great things about being back in West Donegal is that I can paint much larger paintings as my art studio is much bigger here than in Derry. So I now have two on the go!
These are both painted in acrylic paint. I find it easier to make adjustment in the value/tones in acrylic before I move onto a layer of oil as a final layer. Acrylic can act as a foundation layer for oil, but not the other way around. I had forgotten how physically tiring painting a large painting is. My arms are tired!
Bloody Foreland is one of my favourite locations in Donegal. It is one of the wildest, windiest and most beautiful places I have been. The light is sharp and clear. You feel healthier for breathing the air here.
The wind is always blowing. It is very remote and feels a bit like the edge of the known-world.
The name Bloody Foreland (Cnoc Fola in Irish means Hill of Blood) does not to refer to some past battle that took place here in mythic times, but intense red hue of the rocks at sunset. The Irish language dominates here.
Folklore records that Balor, the one-eyed supernatural warlord was eventually slain by his grandson Lugh Lámh Fhada on the slopes of Cnoc Fola. Indeed, some say that the tide of blood which flowed from Balor’s evil eye stained the hillside and gave it its name.
I particularly like the incredible stone walls, made of massive granite boulders, that snake across the hills here. They date from the 1890s. They suggest to me a landscape where stones were plentiful and labour cheap. It is also the sort of place where writers come to get away from the modern world and think about writing. Dylan Thomas, travelled to An Port, further south to write poetry, but left without paying his bills.
Old Farm Buildings, Bloddy Foreland
Bloody Foreland, also makes a refreshing contrast to the slopes of Brinlack and Derrybeg, round the corner, which are heavily peppered with larger modern houses and bungalows from the era of “Bungalow Bliss“.
This is the first time that I have been able to paint Ireland whilst in Ireland. Previously, I have worked from my photos back in Wales. Now I think that being surrounded by these colours all the time is affecting my work in a different way.
I am experimenting a little with less detail and letting my under painting show through more – to give a greater sense of the roughness of the landscape here. I am feeling my way. I don’t know how my paintings will develop in the future, but not knowing is a sort of freedom from painting the same thing in the same sort of way.
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.
The title of this post comes from a 2005 albumby American musician, Robert Rich.
The inspiration for this album comes from mundane everyday experiences that culture usually overlooks, such as footsteps, casual voices and other ordinary sounds. Although I am sort of “New Wave” (that’s sooo old now, you’ll probably have to look it up) in my musical tastes, I have a sneaky liking for experimental music, if its “live”. I like how it encourages you to pay attention to all the sounds around you, instead of tuning them out with your thoughts. Its sort of mediative. The ordinary appeals to me.
The other day I finished one of my paintings, placed on the other side of my studio to inspect and found myself quite-spell bound by it. I could not stop starring at it. This is not always the way I am with my finished work. More often when I have been excited about a painting, finishing it is a bit of an anti-climax. Maybe, it wasn’t quite what I thought it was going to be. All I can see are the errors. The solutions that weren’t quite right, or not as good as they could have been.
So what was this painting that had me transfixed? You’ll probably laugh when you see it. It was a little painting of two blue tits on a branch. Not a spectacular painting, in any sense, I know. I realised, however, that what had me transfixed were the details. This is really geeky stuff. A shadow under one of the bluetits fell onto the branch below in a really pleasing way. It’s hard to show it here.
This is my most recent painting below. I choose to paint this because I liked the juxtaposition of the mountain behind the semi-derelict house.
I didn’t realise at first that the gable end window is boarded up. It could be mistaken for a blind. Maybe it is a roller-blind pulled down.
I think the back door is also boarded up. These things are not immediately apparent. There is a large boulder to the left of the house. There is also a pile of building bricks and a tarpaulin in the yard to the right-hand side and old rope in the drive. This is a house at the start or midway through renovations. The details I really relished painting were the shadows of the chimney, roof and the telegraph wire that dissects the window at neat diagonal. It’s only by paying attention to these details that the Donegal light can be properly conveyed.
I have always had a fascination for the ordinary details that are easily overlooked. I want to convey what a scene looked like at that moment. If you were really paying attention. Yet, I am not a painter who works in the hyper-realist style. I am not skillful or patient enough for that. I often cringe when I see my paintings close up because I think some of my brushwork is crude. Yet, “perfect” representation can seem dead and unlife-like.
I think in the errors, the gaps, our brains fill in the gaps the image can come alive. I like that my paintings aren’t just copies of what I can see but an interpretation; the colours brightened, edges sharpened or softened, some details omitted to make for a simpler composition. Deciding what to leave out or simplify is as important as what you decide to include. Rather like Robert Rich’s “Echo of Small things”
I am delighted to say, and more than a little daunted, to say that the “Artfinder” website has accepted my application to sell art through them. All the work on there is great! I feel like a nervous kid, first day at school.
I was delighted to see my two Donegal paintings “Up Bloody Foreland, Donegal” and “The through Road, Donegal” on the walls of the London Irish Centre (Camden, London). These two oil paintings form part of a “real room” of an Irish family in 1950s Britain installation. The exhibition, which is on during August through to […]
Donegal is a big mountaneous county in a big country. Imagine my shock when I discover that it’s only the 4th largest in Ireland (after Cork, Galway and Mayo) at 4,860 km2 (1,880 sq miles). It seems even bigger as there is no railway or motorways here, so it takes a long time to travel around all the mountains. One of joys of the county is that it’s relatively empty (the 5th least populated in Ireland) with 32.6 people per km2.
There’s a good reason why landscape painters use the “landscape” orientation for their canvases – i.e. the longest side is horizontal – and that’s because you can fit more landscape in that way. I have recently discovered another good reason – social media and wordpress thumbnails don’t like tall narrow paintings and crop them.
Everybody loves the Georgian Houses It seems like certain styles never go out of fashion. Last year Georgian-style houses topped a poll of the most popular home styles. I suspect that people like scale of the house as well as the the pillars and generous sized windows. Nothing says lord of the manor like a […]
New Work & Recent Sales
Arch at Whiterocks Beach, Portrush
The Peace Bridge (Derry) by Emma Cownie
St Eugenes, Derry City
Polite Houses of Maghery- Emma Cownie
Abanoned (Glentornan, Donegal) -Emma Cownie
Low Tide, Summer Morning on Three Cliffs – Emma Cownie
Boat on Inch Island Donegal
Across Whiterock Beach, Portrush
Dunluce Castle from Whiterocks Beach
Towards Bloody Foreland (Donegal) _ Emma Cownie
Houses at Port na Crin, Gola
Errigal reflection (Donegal) _Emma Cownie
Washing Line, Arranmore _Emma Cownie
An Port, Donegal_Emma Cownie
House on Ishcoo, Donegal-Emma Cownie
Over Glenlough Bay, Donegal-Emma Cownie
Still, On Gola (Donegal)
Inishcoo (To The Fore of Arranmore) – Emma Cownie
Kinnagoe Bay (Inishowen, Dongal)
A Road through Chalford (Cotswolds)
Painswick Yews (Cotswolds)_Emma Cownie
On Rutland Island, Donegal -Emma Cownie
Sun on the Reeds (Glentornan, Donegal)-Emma Cownie
View from the Pier (Portnoo)-Emma Cownie
From Port to Glenlough (Donegal)
Errigal from Cruit Island. Donegal _ Emma Cownie
Spring on THree Cliffs Bay, Gower_Emma Cownie
Fishing Boat at Port Donegal-Emma Cownie
Portnoo Pier, Donegal_Emma Cownie
Down to Rossbeg Pier, Donegal
Over to Fanad Lighhouse (Donegal) _Emma Cownie
Errigal painting – A Commission 2022
From Arranmore (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)