Roy Connelly

Saturday Morning in Hammersmith.
8×10 inches, oil on board.

The warm summer mornings seem to draw everyone down to the river. This view towards Hammersmith Bridge and The Rutland Arms was painted from Furnival Gardens. One of the challenges of painting on location is capturing moving figures. Fortunately, fine days on the embankments of the River Thames provide the artist with a countless stream of figures to paint.

Rye Harbour, oil on board, 8×10 inches.

Rye Harbour – Summer Afternoon, oil on board, 6 x 10 inches

painters at work

A five minute sketch in oil on board. 6×8 inches

At the weekend Karl Terry invited a group of friends to join him for a day’s painting. He arranged access to a private stretch of the river at Rye in East Sussex then, in the evening, showed off his skills at the barbeque.

The 5 minute sketch above was the result of a challenge.  We all went over the time limit – this one took me about 10 minutes.

Thanks Karl

Above: Ken Howard, Peter Brown, Roy Connelly – click to view

This is a recent interview with Ken Howard RA in which he talks about the difficulties encountered when painting on the streets of London.  The problem is not one of perspective,  capturing the light or changing weather but of being moved on under the spurious excuse of ‘health and safety’.

I was pleased to get a mention in the article, along with Pete the Street – Peter Brown NEAC.

The Health and Safety Executive saw fit to respond with a letter defending common sense:

“Real health and safety is about dealing with risks that are likely to cause serious harm or even death to those in workplaces. I would urge you to challenge those jobsworths who persist in devaluing the real and important stuff by using “elf ‘n’ safety” as an easy excuse for spoiling everyone else’s enjoyment.”

You can read their letter in full here on the HSE website.

Finally, in a humourous response to the original story in the Telegraph, The Guardian newspaper found 10 ‘serious menaces’ in Trafalgar Square that were apparently missed by the wardens.

Spring in Oxford, oil on linen, 20 x 24 inches (50 x 60cm)

Above: the painting nearing completion.  As usual, this picture was painted entirely on location.  There was a gap of two weeks between beginning the painting and going back to finish it. You will notice that when I started (photo below) the trees were bright pink with blossom. When I returned for the second session they had turned green, fortunately I had got far enough with the trees to have got away with it!

Ken Howard has been in the news this week.  He has been moved on twice recently while painting the streets of London. Details in The Telegraph.

Ken Howard painting in Richmond

I also paint in the streets of London. In my experience most people are very happy to see artists at work.  It seems to be private security, under the direction of CCTV controllers, that try to move you.

I usually try to stand my ground.  After a polite chat they will often relent and I can carry on with my work.

The South Bank however is a wonderful place to paint. I have found the management and security guards of The Southbank Centre have a friendly attitude to artists.  The buskers, artists, skate boarders and the Golden Carousel all add to the wonderful atmosphere and nothing beats a walk along the river on a sunny afternoon or evening.

Above: The Golden Carousel on the South Bank by Roy Connelly.
Oil on board, 10×20 inches. Private Collection.

One advantage of working outside throughout the year is being aware of the changing seasons.  It definitely feels as if spring is here at last.

I thought I would share a few of the photos I have taken while out painting over the last few days.

Clockwise from top left: The Chess Valley, Richmond Bridge, A friendly heron at Richmond, a tiny bee that settle on my painting kit.

I worked pretty fast on this 24 x 30 inch canvas to try and catch the light before it changed.  The whole scene became gradually more blue as the sun moved around and I stopped work just before lunch.  After a bite to eat with friends at a nearby cafe I returned to my easel just before the rapidly rising tide reached it.  I will go back to the location tomorrow to finish it off – light permitting.

Update:
I returned the following morning hoping to finish it off but the light was totally different.  I worked a little on the foreshore then left it to finish another day.  I am now waiting for a day when the tide is lowest at 11am and with a clear sky but before the leaves come out on the trees.  Hopefully that is not too much to ask for.  Below you can see the picture as it is at the moment.

Roy Connelly painting at Cookham. Picture: Rowan Griffiths

Its been a while since the snow melted but I thought I would post this photo of me painting at Cookham in Berkshire.  I was working on my final picture of the day when I was spotted by photographer Rowan Griffiths.

I have written a brief guide to keeping warm while painting in winter. You can read it here.

Snow at Marlow. Oil on linen, 20 x 36 inches.

This series of photographs was taken over a period of two hours on 21 December – the winter solstice.

The first stage was to apply an imprimatura of raw umber and ultramarine blue to the canvas.  Then I very roughly marked out the composition with thin paint – also using a rag to draw into the wet paint.  A glaze medium was used to ensure the thinned paint was not underbound.

I was lucky that the quality of light changed very little through out the afternoon so I was able to keep painting for a couple of hours.  I will look at it again in a few days but I think it is finished.