Hello again ! What a long time it has been since last I wrote a blog post. This particular post has been delayed, partly by the busy-ness of the Festive Season; and the Portrait that is featured was a gift to my son and daughter in law. I didn’t want to reveal it till after Christmas. It is a commemorative painting of their wedding a year ago on the 4th January 2010. I would never consider myself a good portrait artist, and most of the ones I tackle are considerably flawed, including this one. Perhaps most artists would agree that portraits are particularly difficult to do really well. Many times over the years I have sworn to stop doing them, after several experiences when I was asked to make changes on ones that I’d sold. However I have always been fascinated by people’s faces, and have drawn portraits since I was at school.
A School Friend. Pastel. from about 1970 An early study. Pastel. 1974
This thought has reminded me of one of my all time favourite hymns; “Turn Your Eyes Upon Jesus”. Whenever I sing this it tends to bring tears to my eyes; when I picture the thought of gazing at the face of my Lord and Saviour, Jesus Christ, and realize how unworthy I am.
But the uncanny coincidence came yesterday when I was reading a blog piece by John Piper’s wife Noel, where she mentioned the art of Lilias Trotter. Then I went in search of her art, only to find that her writings were altogether more captivating. It was there that I discovered that her piece called, ‘Focussed’ inspired Helen Lemmel to write the hymn ‘The Heavenly Vision’, which is now called, “Turn Your Eyes Upon Jesus”.
This image that Lilias spoke of in ‘Focussed’ resonated so powerfully with me, as I am so riveted by faces, and especially the face of Jesus as I see him in my heart, and my mind’s eye. The way He searches our hearts and thoughts with that perceptive and patient gaze, and loves us regardless of all our shortcomings, isn’t that beautiful? Isn’t He beautiful? Even though none of us know what He looked like and all have different interpretations of His face. If you look on Google Images you will see many of the portraits of Jesus, and it is clear that we all see Him quite differently.
So, today, whether faces fascinate you or not; take a moment to turn your eyes upon Jesus and look full in His wonderful face.
After the big oil that I painted and sold in 2009, I have not painted Nguni’s again. So, a recent Nguni inquiry inspired me to compose another BIG canvas. I have a photo taken many years ago, between Pofadder and Pella, of a cattle herder with his herd. This is my inspiration for the new painting. However there are many logistical considerations with this painting as the entire herd of cattle are walking forward in a tight group, and most of my Nguni photographs are not suitable. These two paintings below were studies made of the few I do have, and now, I must go and visit Nguni farmers in the district to glean more photographic reference. It is a mighty challenge but an enjoyable one all the same. The painting at the top, is just a small unrelated pair of Nguni that caught my attention.
Nguni study 1. Watercolour 380 x 270 mm.Nguni Study 2. Watercolour. 380 x 270 mm
Looking at these pictures you could be anywhere in the world when spring arrives. I am sure most of you recognize the beautiful heralds of the season; the daffodils, the violets and the willow! But this is the karoo, and though the rains have yet to arrive and set the veld alive with colour, we celebrate the newness of the season in our garden as it comes to life with joy. God is good and our lives are made new each day by His wondrous Grace!
Some time ago I posted a blog featuring the seed-eaters under the title; ‘Feeding the Birds’. I really love the birds, so I continue to photograph them in and around our garden. Those that come to the bird table outside my studio window are a wonderful and colourful distraction. We feed them seeds and crushed maize, bread crusts, grated cheese, dry cooked maize porridge called, ‘Umphokoqo’, and fruit. The oranges have to be attached with wire to keep them from falling onto the ground below.
Crested Barbet. Watercolour & Gouache 470 x 285 mm.
As it is the fruit-salad season at the moment, with oranges and paw-paws in abundance, I have kept the fruit–eating birds happy with all the fruit-skins that they enjoy. The first birds that come for them include; the Crested and Pied Barbets, the Mousebirds, The Red-eyed Bulbuls and many more. The Crested Barbet is so bright and cheerful while all around winter hues still drape the garden in sombre tones of ochre and grey, and the seed-eating weavers have yet to clothe themselves in their bright breeding plumage of red and yellow. Therefore I decided to make a small study of some of these fruit-eaters. The bright and dainty Cape White-eyes are my favourites, so I chose two compositions with them.
Mousebirds with Oranges. Watercolour. 385 x 265 mm.Cape White-eyes on the Grapevine. Watercolour & Gouache. 290 x 420 mm.
Paardelaagte Farm Landscape. Watercolour 340 x 530 mm.
On the 12th July we travelled to a neighbouring farm, Cyferfontein to buy mealies for feeding our sheep. There were some wonderful scenes around the farm that I photographed, and more on our way home along part of the Orange River as far as the farm Paardelaagte. I returned home fuelled with inspiration for painting a set of the beautiful scenery we encountered. I am not really sure if I am finished, as there are a couple more scenes that still tempt me; but I thought it an appropriate time to post these six pictures anyway.
Cyferfontein Farm Studies. Watercolour. 2 x 350 x 250 mm.
While painting I listened to many wonderful sermons from a host of enlightened and eloquent preachers, and I am delighted to have access to their insights into Scripture, and the Holy Word of God. Many of the sermons are available to download free of charge. Here are a few of the links: R.C.Sproul, John MacArthur, David Pawson, Free Audio Sermons.
View of Kramberg from Aylesby. Watercolour. 350 x 500 mm. Cyferfontein Jerseys. Watercolour. 350 x 250 mmWinter Pasture. watercolour. 250 x 350 mm.
Painting outdoors is always great fun! It should never be viewed too seriously. It forces me to loosen up and break free from my usual painting processes. Usually, on these occasions, the light changes rapidly or the rain threatens, the insects or the wind become tiresome, or there just isn’t the time to perfect a painting outside. So the trick is to make a start outside and when it becomes necessary to leave and return to the studio, take photos and then finish it off in the more comfortable surroundings of the studio. Some pictures aren’t meant to be anything other than enjoyable outdoor recreation, or an exercises in preparation for studio compositions of the same subject. The atmosphere and surroundings have a unique influence on how we interpret what we see. Painting plein-air is undoubtedly a very valuable and pleasurable pursuit !
Fountain Poplar Grove. watercolour. 380 x 270 mm
View with Fountain Poplar. watercolour. 380 x 270 mm.
John & Sue Plein-air painting. April 2010. The Fountain, Silvermere.
John and Sue wanted to go and paint out in the veld on two recent visits to Silvermere, so we had some enjoyable outdoor painting excursions. Some were finished on site and others in the studio. On one occasion when it was cold and windy outdoors, we sat in the studio and chose a photo taken recently in the vicinity of the farmyard. There is no need to give up just because the weather is bad. This set of colour sketches resulted from those two visits. The one with the gate was painted entirely indoors, on a windy afternoon. (more…)
Styger Farm House. 7may10. 700 x 500mm watercolour.
It has been impossible to link these three paintings with a theme, other than that they are the latest big orders that have challenged me since the last post was written. All are completed and have gone off to the respective clients. I did not schedule an exhibition this year, so have been blessed by these 3 good orders. How bountiful is the Lord in taking care of our needs!
Karoo landscape with Guinea Fowl, 21may10. Watercolour, 700 x 500mm.Eighteen Animals Required. 23june10. Watercolour, 700 x 500mm.
Today I finished two paintings that brought to mind the beautiful Bach melody, ‘Sheep May Safely Graze’ , from his Cantata 208.
'Rain clouds over Bethulie.' Oil on canvas. 800 x 630 mm.
If you haven’t heard it or can’t remember it, you will find many lovely versions on YouTube.
Our sheep here on Silvermere do not graze safely, unfortunately. Predators like jackals and lynx are a constant threat and an ever increasing problem that has driven many neighbouring farmers to change over to cattle ranching instead.
'A Shady Tree on a Hot Day.' Watercolour on Pastel Paper. 290 x 475 mm.
How comforting it is for us to know that we have an all-powerful Shepherd, our Lord Jesus Christ, who cares for us. He overcame Satan and rescued us when He died on the Cross, and rose again for our sake. No matter how we are tested and challenged, He is our everlasting Saviour and Protector;
11 “For this is what the Sovereign LORD says: I myself will search and find my sheep. 12 I will be like a shepherd looking for his scattered flock. I will find my sheep and rescue them from all the places where they were scattered on that dark and cloudy day. 13 I will bring them back home to their own land of Israel from among the peoples and nations. I will feed them on the mountains of Israel and by the rivers and in all the places where people live. 14 Yes, I will give them good pastureland on the high hills of Israel. There they will lie down in pleasant places and feed in the lush pastures of the hills. 15 I myself will tend my sheep and give them a place to lie down in peace, says the Sovereign LORD. 16 I will search for my lost ones who strayed away, and I will bring them safely home again. I will bandage the injured and strengthen the weak. But I will destroy those who are fat and powerful. I will feed them, yes—feed them justice!”
It has been interesting how this post has evolved from the initial seed of an idea that revolves around my recent interest in blue shadows. Many artists will avoid using green paint straight from the tube, so the challenge is always to depict greens in a painting with subtle mixes of blue, yellow, and a third balancing hue like red, brown or magenta.
Sable Antelope and Marula Tree. 500 x 700 mm Watercolour on Saunders Waterford 300g.
When painting trees, blue is ideal for the shade areas, and balances the effect of sunlight on trees. The French Impressionists skillfully created green by juxtaposing blue and yellow paint to create the illusion of green.
Roosterhoek Farm House. 250 x 350 mm. Watercolour. (Sold)
Celebrating the 150th Anniversary of the Burgersdorp Gereformeerde Kerk.
Three plaster plaques details.
In commemoration of the Burgersdorp Gereformeerde Kerk’s 150th Anniversary, I have undertaken this architectural study.
The Organ Balcony
It was a challenge and a unique opportunity to study in detail, and marvel at, the exquisite craftsmanship evident throughout this extraordinary old church. There was so much time, patience and attention to detail during those early days. Everything, from the wooden pulpit & pews to the plaster detail on the domed ceiling; from the stained glass windows to the grand old organ, were carefully and intricately crafted. Everywhere, there are signs of the skills that went into each part of this beautiful building; even in the belfry where a set of bells rings out the tune to Psalm 116 on the hour, every hour, and the main bell is decorated with intricate patterns of vines and roses, hidden away where no-one ever sees, – ah, but God sees! It is a tragedy that skills of this standard have died out so long ago! All we are left with in this disposable age, is architecture, masonry and carpentry that is austere and functional. Building today strives for the minimalist-modern style that is invariably, basic and impermanent.
In October we visited the Bedford Garden Festival on our way to and from Port Elizabeth. We explored the delights of 7 colourful gardens, and took lots of photographs along the way. The dry conditions plaguing the Eastern Cape, had not affected these exquisite gardens, and bore testament to the tenacity of their gardeners. The heat did not deter the car loads of visitors, nor did it bother us. Every garden was a stunning spectacle and a treat for the senses. I hope my sketches can convey in some small way, the treasures that we found at every garden we visited. We started with Chestnut Grove and moved on to Cavers and Kelvinside. Then we came back through Bedford to Maastrom and finally Albertvale. On our return trip we visited Fairholt and Eildon. The six sketches of this series were the views that inspired me the most, but there were many more that I’d still love to paint in the future; and as Henry Miller once said, “What the painter sees, he is duty bound to share”
All the following paintings are pen & wash. Watercolour on Saunders Waterford 300g. size: 350 x 260 mm.
The subject of this post came as a result of my two latest paintings, which got me thinking about the special interplay between Black & White and the racial issues that are a part of everyday life here in South Africa.
Nelson Mandela, Watercolour. 350 x 260 mm.Zebras, Mother & Babe. Watercolour & Gouache on black paper, 620 x 430 mm
It is frustrating that racial discrimination continues to thrive here despite the noble ideals that Nelson Mandela spoke of at his inauguration way back in 1994. But I do not want this post to focus on this, but on the visual tensions and harmony that are created in art, when Black & White are explored. The process of eliminating colour from the stage, creates many interesting challenges for the artist and the viewer. So with this thought in mind I hauled our my old Art School portfolio, as many of my first year projects explored the variety of ways that Black & White can be interpreted and made to express the special relationships between the two opposites. Here are some of those examples:
An early study. Pastel. 1974
