Roy Connelly

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.

Above the Ridgeway, Oil on board, 12 x 16 inches

Black Jack Lane, Oil on canvas, 16 x 32 inches

Snow at Marlow, Oil on canvas, 20 x 36 inches

After a busy few days out painting the snow I have finally got round to photographing a few of my plein air paintings.  All of these pictures were completed on location in one session.  It’s been a great having such wonderful subject matter but the snow is now melting.  I cant wait for the next cold snap.

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.

I have been painting out in the snow again so thought I would pass on a few tips to keep you warm on your winter plein air painting trips.

The key to staying warm when you are painting in the cold is to dress in layers.  Several thin layers will trap more warm air than one thick layer and can be easily adjusted to suit changes in temperature.  Start with a synthetic (or silk)  base laser with long-sleeves -  I use Paramo‘s excellent and seemingly everlasting thermal clothing.  Next, a number of thin mid-layers, fleece jumpers etc, and finally a water/wind-proof outer layer.

A lot of heat is lost from your legs, so fleece-lined trousers like those made by Craghoppers and Rohan will really help to keep you warm.  Otherwise, get some long-johns.  A pair of waterproof over-trousers can be useful too if it is raining or windy, or just as an extra layer on very cold days.

Don’t forget to wear a hat!  Mine is fleece lined and waterproof, with a peak to keep the low winter sun out of my eyes.  Most importantly it has ear flaps!

I usually wear gloves to paint in winter.  I use thin liner-gloves. These are designed to be worn inside mittens or over-gloves but they are warm enough to be worn on their own and thin enough not to interfere with brush handling.  If it is very cold I will wear another thin pair over the top.

A thermal ‘headover‘ or neck warmer is a great asset.  If your neck gets cold you tend to hunch up your shoulders – making it difficult to paint.  Avoid scarves if you don’t want the end to dangle in your paint!

The secret to warm feet in the snow? Make sure your boots really are waterproof.  If the damp gets in your feet are going to get cold.  I use Muck Boots which are completely waterproof and have a good solid sole.  Avoid ordinary wellies, they might be waterproof but they are not designed to keep you warm.  If you wear leather walking boots make sure they are regularly treated to maintain their waterproofness.  Thermal socks are essential and it’s important to make sure your boots are big enough – you should be able to wiggle your toes even with a thick pair of socks on.

As well as having the right equipment it is also important to make sure you have food and drink with you.  A flask with a hot drink can be a life-saver, but don’t forget that even just drinking water will keep you hydrated which in turn will help your circulation and keep you warm.

After an hour and a half working on this picture my feet were just as warm as when I started and if it wasn’t getting dark I would have carried on with another painting.

Painting Santa Maria Della Salute at night.

I recently spent a few days painting in Venice with fellow plein air painters; David Bachmann, Paul Rafferty and Karl Terry.   This photo was taken on the day I arrived.  I had been up since 3am to drive to Gatwick in the snow and not even darkness was going to stop me painting.

It was an eventful trip with flights home cancelled by the snow in the UK and an unusually high acqua alta of 140cm left more than 55% of Venice flooded.

Rising water in the Piazzetta San Marco

Painting the Salute in the rain.

The fishmarket at night. Oil on board, 10×8 inches.

I have just returned from the artist’s Private View of the The Bath Prize.  It was a fun evening and a chance to catch up with painter friends from across the country.

Live music for the evening was provided by guitarist Ben Powell whose fingerstyle guitar playing has recently been admired by Ronnie Wood of The Rolling Stones.  Ben was also the subject of my painting Busking by the Abbey, below, which was painted in the square next to the Pump Rooms and Bath Abbey last month and is on show at the exhibition.

When you are out painting and it starts to rain it pays to carry on.  I got soaked painting the picture shown above, Queen Square Downpour, and was pleased to see it Highly Commended by the judges.

Fellow plein air painter and someone else who is not afraid to paint in the rain is my friend David Pilgrim. David won the Plein Air prize and was also awarded a Golden Umbrella for his painting Rainy Day, Broad Street. Well done David!

The main Bath Prize went to Adrian Sykes for his impressive pencil drawing Buildings of Bath.

Here are some of the paintings from my trip to Bath last week.  I was there for 2 and a half days and painted 19 small panels.  The smallest was 6×8 and the largest 12x16inches.  There are several I am quite happy with and a couple that were not finished due to changing light and heavy rain, but overall it was a good trip.

The heavy downpour on Friday afternoon resulted in one of my favourite pictures from the whole trip.

Above: Downpour in Queen Square, 6×8 inches, oil on board.
Below: Busker outside the Pump Rooms, 6×8 inches, oil on board.

While I was painting I met up with the winner of last year’s Bath Prize Plein Air award, Adebanji Alade. He has posted photos of several  painters he found at work on the streets of Bath on his blog.  You can see me, Karl Terry and Michael Richardson as well as plenty of Adebanji at work on his own marathon painting project.

Just a couple of photos of me working at some fabulous locations on my recent trip to Dorset.

Top: At Old Harry Rocks (spot the Artist!)Above: Painting on the beach at Lyme Regis.

I will post some of the paintings as soon as I get round to photographing them.

I spent yesterday afternoon and evening painting in the city of Bath.  It’s a great location and much quieter thanWestminster Bridge in London where I was painting today.

It was 30C in London with the sun blazing down on Westminster Bridge.  This one one of the busiest places I have tried to paint.