Oil on Board, 71/2 x 10 inches
Painted this one today in the studio. I would love to have got out more painting en plein air in the snow when we had it, but a lot of boring decorating and moving stuff had to take precedence before the carpets arrived. However, I always try to attack the painting in the same manner as if I was painting on the spot.
This is the road from Ketton towards Normanton, whose parish now mostly lies at the bottom of Rutland Water (you would have thought they would have told the parishioners first wouldn't you?).
There is actually no pure white in the painting. The brightest lights are on the sunlit barn on the left and the stripe of light across the road and onto the snow-covered verge, but for these I mixed a touch of Permanent Rose and Cadmium Yellow Light with Titanium White. It was these very lights and the relatively dark blue sky that attracted me to think the view would make a painting. It's these relative lights and darks that excite the painter's eye and successful paint-ing is all about putting down those relative tones so that the image reflects a reality, if you are a realist painter that is.
As you may have read before if you're a regular reader of this nonsense - and why wouldn't you be? - I'm at somewhat of a crossroads on this journey of becoming a proper painter, in trying to depict my subjects in a looser manner. I think I'm getting there; in the big tree on the left I used a Hog brush to describe the feathery branches, but I resorted to my trusty 1" Household paintbrush to describe the hoar-frosted network of tree branches on the right. Trouble is, using this method with the big brush, my paintings tend to look too 'tight' and resolved...but it's effective, and fast! Having said that, I love the tree on the left, painted a little more loosely, or at least giving that impression.
Look here, I haven't got time to carry on articulating my deepest painting thoughts to you lot.....I've got to start the next one while you watch telly and enjoy yourselves. Cheerio for now.