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  • Serengeti Cats

    Serengeti Cats

    After a friend visited the Serengeti National park last year, he asked if I’d paint some of the photos that he took while he was there. These were 3 of them.

    Serengeti leopard
    Serengeti leopard, 500 x 350 mm. sold

    The challenge, more than the cats themselves, was the grass. There are some ways to simplify painting grass, but as grass featured in these three so prominently, it was important to avoid the short-cuts. It makes me think of all the grass that covers Silvermere at the moment, since the good rains of the past four months. The sheep get lost amongst it and looking for them is  quite difficult. When we walk in the veld, grass seeds work their way into our socks if we don’t wear very long trousers and high boots. Looking out over the vales of waving grass, it really looks more like cattle country, than karoo veld; and is reminiscent of the tall savannah-grassveld in Rhodesia (Zimbabwe) where I grew up.

    Serengeti cheetah & kill
    Serengeti cheetah & kill. 700 x 500 mm. sold
    Serengeti Lion
    Serengeti Lion, 500 x 350 mm. sold

    I would like to make a correction here, since speaking to the client. These cats were all photographed in the Kenyan side of the Reserve, which is called the Maasai Mara National Park.

     

  • A quiet country road after the rain.

    A quiet country road after the rain.

    On the return from our brief trip to Johannesburg to see John and Sue and Neil, we photographed lots of sunflowers in the fields alongside the N1.  There is a possible upcoming order that includes a sunflower field. We drove off down a few linking farm roads and this perfect little scene was one that we passed. I found it particularly captivating and inspiring to paint.

    A quiet country road. Watercolour. 500 x 350 mm

     

     

     

     

     

  • Sheep

    Archives.

  • Sheep study one. Resting against the workshop wall.

    Sheep study one. Resting against the workshop wall.

    After browsing through all my files of sheep photographs, I was itching to paint sheep again. Even though there is a limited market for sheep in the art world, I am absolutely enchanted by them and all the painting possibilities. I would love to paint an entire series, but realistically it is probably not a good idea! However, since when were painters driven by good sense? So call me crazy, but here is the first.

    'Sheep resting against the workshop wall'. Oil on canvas, 850 x 650 mm.

    In the long hot days of summer when a woolen winter coat is not really appropriate, these sheep find the wall of the workshop nice and cool for their midday siesta.

  • Portraits. – Being captivated by Faces.

    Portraits. – Being captivated by Faces.

    Charles & Jan's Wedding. Oil on Canvas.

    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.

    Turn Your Eyes Upon Jesus

    Refrain:

    Turn your eyes upon Jesus,

    Look full in His wonderful face,

    And the things of earth will grow strangely dim,

    In the light of His glory and grace.


    O soul, are you weary and troubled?

    No light in the darkness you see?

    There’s a light for a look at the Saviour,

    And life more abundant and free!

    Refrain

    Through death into life everlasting

    He passed, and we follow Him there;

    Over us sin no more hath dominion

    For more than conquerors we are!

    Refrain

    His Word shall not fail you, He promised;

    Believe Him, and all will be well:

    Then go to a world that is dying,

    His perfect salvation to tell!

    Refrain

    “Let us fix our eyes on Jesus.” (Hebrews 12:2)

    Christ the Divine Redeemer by Simon Dewey
  • Nguni Study Revisited

    Nguni Study Revisited

    Nguni Cameo. Watercolour 500 x 350 mm.

    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
  • Spring has sprung on Silvermere.

    Spring has sprung on Silvermere.

    Sweet Violets. Watercolour. 350 x 250 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!

    Daffodils. 250 x 350 mm watercolour

    Willow, Willow o’er the pond,

    Water lilies and draping frond;

    Darting fish and rushes grow,

    Brushed by the whispering winds that blow.

    But times do change, and the past it flees,

    Our pond is gone, but not the trees;

    The birds will come and nest again,

    The winds will blow and then the rain.

    The Willows stand and  grass will run,

    Spring will go and  summer  come!

    ( My willow poem)

    Draping Willow. Watercolour sketch. 210 x 290 mm.
  • The Feathered Fruit-eaters in our Garden

    The Feathered Fruit-eaters in our Garden

    Acacia Pied Barbet, Redeyed Bulbul & Cape White-eyes. Watercolour.325 x 505mm.

    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.
  • Old Overgrown Shed

    Old Overgrown Shed

    Old Overgrown Shed. Watercolour & gouache. 410 x 295 mm.
  • Peaceful Early Morning

    Peaceful Early Morning

     

    Peaceful Early Morning. watercolour. 250 x 700 mm.
  • A Pastoral Study of Winter Colours

    A Pastoral Study of Winter Colours

    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 mm
    Winter Pasture. watercolour. 250 x 350 mm.
  • Plein-Air Painting versus Studio-Studies

    Plein-Air Painting versus Studio-Studies

    Excelsior Blue Gums. Watercolour, 270 x 380 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…)