On Location

Cliff top paintings in Cornwall

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danger old mine workingsWho could resist a sign like that?  Earlier this year I spent some time in Cornwall painting from the cliff tops. Although the days were sunny there was often a strong wind blowing across the cliffs from the Atlantic Ocean. I was using my Open Box M palette/panel holder on a Velbon tripod to keep my boards steady. Here are some photos from the trip.

Below: Painting the view along the coast to Pendeen Watch lighthouse from Levant Mine.

Landscape painter Roy Connelly painting at Levant mine in Cornwall

Work in Progress Pendeenby Roy Connelly

Pendeen Watch oil painting by Roy ConnellyAbove: Pendeen Watch Lighthouse from Levant Mine.
Oil on board, 8 x 10 inches.
Sold by The Little Picture Gallery in Mousehole.

Roy Connelly painting Lands End Cornwall

Lands End oil painting by Roy ConnellyAbove: Painting Land’s End from the cliff top near Sennen.
Below: Sunset on the last evening.Roy Connelly painting at sunset near Lands End.

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Why I don’t paint cows – very often…

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Yesterday evening, I spotted a picturesque field with six cows and six calves.  They were scattered around the field in a pleasing composition in front of a nice old oak tree. The ideal subject for a painting – or so I thought. But, as soon as I started to set up, they all wandered over to see what the fuss was about. They stood around looking at me for a while and then got bored and wandered off – over the hill!

cow

So, with no cows in sight, I got on with the painting and, after an hour or so, they wandered back and I thought I would be able to paint them. But – no – they just stood in a line with their backs too me.  Still no good for painting.

cows

Eventually, they composed themselves in to small groups and I was able to quickly add them to the otherwise empty field I had painted. In a few short minutes, they had wandered off again but the picture was finished.

Suffolk cow paintingCows near Poslingford, Suffolk. Oil on board, 8x12inches, 20x30cm.

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Spring in Suffolk

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Top: Painting blackthorn.  Working on a 36×36 inch canvas on a windy spring morning.  The guy rope is to stop the canvas from blowing over. The next stage was to paint the white blossom.

Middle: Towards the end of the first stage of this scene near Stoke by Nayland. It’s the hottest day of the year so far and the light has an Italian feel to light.

Bottom: Apple blossom in the orchard behind our cottage.

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Plein Air Workshop

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Assington Mill Suffolk. Plein air painting location.

In September I will be teaching a plein air oil painting workshop at Assington Mill in Suffolk.  Based at a 17th century watermill in 70 acres of private nature reserve, it would be hard to find a more perfect location to hone your outdoor oil painting skills. Book Now

click to read the Craft of the Landscape Painter brochure

The one day course on Sunday 23rd September 2012 will cover the follow topics.

  • Equipment
  • Materials
  • Setting up outside
  • Working methods and techniques
  • Short cuts
  • Finishing paintings on location
  • Getting your wet oil paintings home again

All for just £85 with the added bonus of home-made lunch, biscuits and cakes throughout the day.

For those already familiar with outdoor painting this is a great opportunity to paint at this fabulous location. We will have the freedom of this 70-acre private nature reserve with stunning views.

Book Now

View the pdf brochure for Craft of The Landscape Painter.

For online bookings and information  please visit AssingtonMill.com.

For information and telephone bookings contact Anne Holden on:
Tel: 01787 229955
Mobile: 07770 550570
Email: info@assingtonmill.com

 

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River Thames in Winter

3 Comments / Advice for Artists, On Location, Paintings /

 

Snow at Marlow, oil painting by Roy Connelly

I painted this last winter.  I have posted it today because it features in an article I wrote on plein air painting in winter that has just been published in The Artist magazine.

Its quite big for a plein air painting, 20 x 36 inches on stretched linen, and it was painted in a single rather cold session.

Winter painting by the Thames at Marlow. Roy ConnellyAbove: A very early stage in the painting.  I have very roughly blocked in the main areas of the composition.

Below: My Plein-air painter’s guide to winter article in The Artist magazine.

The painting above is for sale at £2,000. Contact me for more details.

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Hammersmith

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Oil painting of Hammersmith by Roy ConnellySaturday 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.

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A day by the coast

1 Comment / On Location, Paintings, Uncategorized /

Rye Harbour, oil painting by Roy ConnellyRye Harbour, oil on board, 8×10 inches.

Rye Harbour summer afternoon, oil painting by Roy ConnellyRye Harbour – Summer Afternoon, oil on board, 6 x 10 inches

painters at Rye Harbourpainters at work

Five minute sketch at Rye HarbourA 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 🙂

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