Essays on Painting

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8Colyford,
PREFACEIn 2004 I published ‘into composition’ based onlectures, which I gave to the branches of the Essex WEAin the late 1990s “theartist’s eye”. The course was intended for people whowere art lovers as well as for practising artists as well asgiving I touched on the confusions and misunderstandings,including ideas and misconceptions about modernart.Most of that book was devoted to the basic aspects of the composition ofpaintings, explaining the visual language that artists use to create a picturethat hangs together as a graphical unity. I used examples from my own workand that of others, acknowledging in particular the debt I owe to the enlightenmentI have received from the works and the words of Frank Webb.Ipswich Passage9
Page 1 and 2: Queenborough, SheppeyThe Millrind P
Page 3 and 4: ESSAYSON PAINTINGExperiences of a p
Page 5 and 6: ACKNOWLEDGEMENTSMusic standFirst I
Page 7: CONTENTSPREFACE....................
Page 11 and 12: THE ESSAYSessays on painting seeks
Page 13 and 14: After a digression into the world o
Page 15 and 16: Double Townscape, Colchesteran Ital
Page 17 and 18: 1. INFLUENCESThese are the artists
Page 19 and 20: ship and her telling pastels are al
Page 21 and 22: USING OUR EYESWe use them to locate
Page 23 and 24: understood the rings they wouldn'th
Page 25 and 26: the legs). This can be compared wit
Page 27 and 28: Back Street, Diss showshow I deligh
Page 29 and 30: which are sentimentallyattractive,
Page 31 and 32: should not try so much to be a bird
Page 33 and 34: paint on a support, better describe
Page 35 and 36: Artists can draw things thatcan nev
Page 37 and 38: 3. WHAT IS A PAINTINGA painting exi
Page 39 and 40: served or invented. Transformation
Page 41 and 42: An early example of my graphic desi
Page 43 and 44: 4. STARTING OUTWe are who we are as
Page 45 and 46: Maldon, Yellow Boatflat result was
Page 47 and 48: more they may beused in a transpare
Page 49 and 50: experience. More effort expended in
Page 51 and 52: 5. COMPOSITIONMuch of the writing a
Page 53 and 54: is drawn to cut the produced line f
Page 55 and 56: Many writers on composition are fon
Page 57 and 58: shows examples of an L shape, an S
Page 59 and 60:
Roderigo Moynihan - Teaching Staff
Page 61 and 62:
It needs three objects to form a se
Page 63 and 64:
In the absence of any other definit
Page 65 and 66:
Cosmo Place IICosmo Place III65
Page 67 and 68:
Wells Next the SeaSaturday Art Grou
Page 69 and 70:
6. DRAWINGBut I have never yet, in
Page 71 and 72:
at the end of the stick, and a litt
Page 73 and 74:
Drawing a straight line contour, fi
Page 75 and 76:
THE APPROACH7. WORKING METHODSThere
Page 77 and 78:
others, just as paintings by others
Page 79 and 80:
the wood and the meticulous renderi
Page 81 and 82:
often say “real artists don't use
Page 83 and 84:
Many people take careful note on th
Page 85 and 86:
Knutsford top roadGibraltar Point,
Page 87 and 88:
8. A PAINTING CHECKLISTThis checkli
Page 89 and 90:
No matter how rough thesketch it ha
Page 91 and 92:
If your source is predominantly hor
Page 93 and 94:
Use as few strokes as possible for
Page 95 and 96:
9. COMMERCIALISMThe literature deal
Page 97 and 98:
There is good news in many ways for
Page 99 and 100:
Old Court RestaurantLearning from m
Page 101 and 102:
10. THE QUESTDial Lane, Ipswich by
Page 103 and 104:
TALENTOf course there is always the
Page 105 and 106:
beyond appearance. The works of art
Page 107 and 108:
in this direction, think about tryi
Page 109 and 110:
Harwich SeafrontIt is therefore vit
Page 111 and 112:
Ightham Mote, colour sketchOnly you
Page 113 and 114:
11. USING THE TECHNOLOGYAll art beg
Page 115 and 116:
A prism on a stand may do this, ass
Page 117 and 118:
I cannot agree with the current fee
Page 119 and 120:
12. COLOUR & PAINTMonastiraki, Athe
Page 121 and 122:
Wharfedale Farm IIIbecame widely us
Page 123 and 124:
POISONOUS PIGMENTSOrpiment is a for
Page 125 and 126:
We have all heard about Joshua Reyn
Page 127 and 128:
colour under different names yet th
Page 129 and 130:
13. MY INNOVATIONSPossibly because
Page 131 and 132:
This is a corner plate forpicture f
Page 133 and 134:
for which I used a fine dovetail sa
Page 135 and 136:
The best solution therefore was to
Page 137 and 138:
14. PAINTING TODAYWhat are the Fact
Page 139 and 140:
life-likedness was the greatest pra
Page 141 and 142:
Monet were, on herfirst appearance
Page 143 and 144:
opposed to the Modernist and Postmo
Page 145 and 146:
Throughout the whole history of pai
Page 147 and 148:
feel less defensive leaving them to
Page 149 and 150:
Marino’s Charlotte St. LondonRose
Page 151 and 152:
VISION PROBLEMS15. MY STORYThis is
Page 153 and 154:
As I was fairly competent at drawin
Page 155 and 156:
While at college I made an interest
Page 157 and 158:
completely new to a subject, howeve
Page 159 and 160:
BIBLIOGRAPHYFULL LIST OF RECOMMENDE
Page 161 and 162:
Roberts, Ian - mastering compositio
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Essays on Painting

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