Who knows what really goes into our paintings? I’m not sure we do ourselves, completely.
I’ve been struggling to work through some ideas for a little while and have produced quite a few paintings recently that moved me closer towards what I was looking for but didn’t come off.
All the ideas seemed to coalesce in a way that worked, finally, in this little one.
Recently I posted about warm and cool colours in relation to picture design, and how my thoughts are shifting on that. The result of that is here. The underpainting was deliberately very warm.
The deepest shadows in the background are actually green-blue, but translucent, with the red-orange showing through.
The main subject, the water dropper, and its little friend the vase are cool foils to the warm background. I originally tried a green blue of the same value as the lighter side in the background, thinking to create a vibration, but it didn’t work as I imagined it. So I made it up.
At the same time, I was reading a book on the history of Chinese painting and a painting from the Tang dynasty, 4th or 5th century, had caught my eye. The muted oranges and yellows became the background for this piece.
Obviously, it bears no relation at all to the background in the set up. I don’t usually invent anywhere like this much, but I wanted a coherent atmosphere that would harmonise thematically with the water dropper.
The grass from the garden arrived right at the end. I think it echoes historical Chinese painting too. In fact, all the flowers came from the garden, which is full of little wild flowers I don’t know the names of. They’re secondary, really, but their fragility supports the theme.
Before I get onto that there’s one other technical point worth mentioning, though.
I’ve been preoccupied with texture lately, of the paint surface. That too was something I’ve been experimenting with unsuccessfully lately but seemed to come together in a way that worked for me in this one. Some of the surface is deliberately distressed, to let the underpainting show through.
I used quite a bit of built up paint in the lights with subtle glazing over it. And the background has two or three layers too in some places.
As much I wish I could, I couldn’t do a painting like this in a single sitting. I love alla prima and have always worked that way, but I think I’m probably moving away from it now, because I love the depth of these effects and they can’t be done without the paint underneath drying a little first.
What it’s about
I’ve been hinting at the subject. It’s not an allegory, or explicitly metaphorical, but there are associations which are deliberate.
On the day I finished this one, my wife had news that a close friend of hers from school had died unexpectedly of a heart attack. He was 50.
For us, news of that kind is always set against the background of the struggles I’ve had with my own illness, against the possibility that I might not have been here now; against continuing uncertainty.
This friend was killed, it seems, by his corporate job – as I was almost killed by mine.
That experience left me with a very palpable impression of the fragility and finite nature of my own existence. It had a lot to do with me committing to being a full time painter. If I only get this one life, and it can be taken away without notice, I’d better be spending the time I have on something meaningful.
Every time I hear about someone being made redundant from a “safe” job (common) or someone dying young or becoming very ill because they’ve worked themselves to exhaustion in a job they hate (also increasingly common) it saddens me. But it also validates my decision.
I used to work long hours. I really cared about how good a job I did. But behind it all was a kind of void, a deep well of meaninglessness. Nothing I did there really mattered, to me or to anybody else. Psychologists might call it an existential vacuum. I tried very hard at a job I hated and it made me ill. It seems incredible to me now. A life out of balance.
We sold our house and we really did escape to the country. We’re attempting to make a new life. One that is slower, that leaves time to stop, listen, feel the air (William Stafford). To have a slow breakfast every day with the kids. To watch the sun go down from the garden.
Time moves more slowly, yet somehow there is more of it.
That’s what interests me about this water dropper. It holds a finite amount of water. It comes out slowly, one drop at a time. Slow drops allow time for experiencing and appreciating the moment more fully.
I was forgetting how to do that but slowly, it’s coming back to me.
This little painting is up for auction.
Click here to see pictures and bid.
Best wishes, and thanks for your time,
Paul
The Keys to Colour - Free 6 step email course
Learn how to:
- mix any colour accurately
- see the value of colours
- lighten or darken a colour without messing it up
- paint with subtle, natural colour
Thank you Paul…I’m sure I could write, at considerable length, analyzing the whys and wherefores this painting and the little story behind it have such an impact on me, but…
How ‘bout I just say I really love the painting. And I love that I was reminded why an activity like painting still matters. I mean, it’s difficult to find advice currently that doesn’t in the end simply translate as “work more and work harder and definitely don’t expect to enjoy it, but maybe you’ll get lucky after years of this routine and get to spend some small amount of time doing the things that bring you joy. But mostly just work.”
I couldn’t agree more Mr. Foxton—things like the texture of the paint matter. They matter a lot. Please keep reminding us.
Thank you Michael! And I agree – the texture of life, too 🙂
I absolutely love this- both the painting and the meaning behind it. The painting of Lemons and Bay that I bought from you shortly before your move remains one of my favorite things in my home. And that includes my own art. The love and soul you put into your work really shows.
Thats wonderful to hear Erin, thank you very much!
Thank you for acknowledging your struggles, Paul. It encourages me to press on.
You’re welcome Mary, I don’t know any artists that don’t. I think perhaps it’s the struggle to improve and reach further that gives meaning to what we do, so we may as well embrace it 🙂
Beautiful, sensitive painting, Paul. I love reading about your discoveries in your painting journey.
It is a privilege to be able to leave the corporate life, but financially difficult for some to do due to financial realities such as health insurance. Glad you were able to escape the madness. Your success gives the rest of us who are still imprisoned hope that we can do it one day, too!
Great to read about the thoughts and feelings behind this tranquil and beautiful painting, Paul. Good on you for getting out of the rat race and devoting yourself to what you love doing. That takes a lot of courage. So many of us (most of us) are wage slaves. In my line of work I’m reminded of how brief and unpredictable life is on a daily basis so unlike most people, I’ve always been highly conscious of mortality. When you meet people who’ve sacrificed their best years and energy saving up for a glorious retirement, only to find that when they get there, life throws them a curveball like catastrophic illness or financial disaster that demolishes all their plans, it does give you pause to think. Best to live with as much passion and joy as you can now, because you never know what’s around the corner. Now, if only I could figure a way out of the work, eat, sleep, pay the mortgage trap, I’d be very happy!
It’s beautiful Paul! And can’t wait for your next lesson!!! Hope you are enjoying the summer. I think we are finally having a real, old fashioned summer here this year!!! The last 3 have been miserable, wet and short. Not nice when you live in northern Ontario!!!! Take care and happy painting.
Hey! I really want to buy your course, but I do watercolors instead of oils. Do you think it will still be beneficial? I realize the entire ‘value’ portion will be skewed, because watercolor doesn’t use white paint, but I’m hoping theres enough material there which is general where it applies to both. Can you help me out with some feedback?
Thanks!
PS you should add a contact page to your site, so people with questions that want to buy can ask you directly without fussing with comments
Hi Travis, the course is really geared towards opaque media. Some of the foundational concepts will translate – hue, vale and chroma – but none of the exercises will be doable with watercolour I’m afraid, transparent media is just too different in how it is mixed, how you arrive at the final colour.
It can be done with acrylic, if it is used opaquely. But I’m not sure that would help you much when you went back to watercolour, sorry.
And you’re right, I really should put up a contact page!