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"Into the Light at the Devil’s Elbow"
Oil on Canvas Panel
5" x 7"
Note: This work will be for sale via this blog for a few days only, as I will be framing it and taking it off to one of my Galleries the next week or the week after.
After painting the Oil Sketch in the previous entry and then a bite to eat, I followed the now receding tide, and, at the same end of the beach as the morning’s sketch, I set up on a flattish rock to paint into the light. It was later than I wished, but I pressed on, nevertheless, and began to fight the wind, and the glare off the water. My wonderful sketching umbrella blew inside out more than once, so I closed it down, and persevered; it’s a tough umbrella and none the worse for its ordeal and I learned that there is a point where there is too much wind for it; working without it made it more difficult in the glare of the Sun. I had more than one person taking photos of me as I worked, and thanks to a chap who kindly emailed me his shots I include some below … many thanks.
Note: The following photographs are the copyright of M. Palmer ©2015.
You can work out my sketching outfit from these photos, and can also see that it is early in the work. The imprimatura is evident, in the lower half of the painting, as is the drawing or block-in, and I am currently laying in the sky. My waste bag is attached to the tripod below my sketch box. I normally have a very small brush cleaning tin (complete with a screen and lid) hung off the tripod, as well, but with the windy conditions I either had it on the barnacles near my right foot, or did not use it at all; it normally contains safflower oil for the cleaning purposes. I did what I could until fed up with the wind and the glare, and did about an hour of finishing off once I was back in the studio.
Imprimatura: Venetian Red.
Drawing: French Ultramarine.
The Pigments used were: Rublev Blue Ridge Yellow Ochre, Italian Burnt Sienna, with Winsor & Newton Cerulean, Cobalt & French Ultramarine Blues, Venetian Red, and Cremnitz & Titanium Whites.