Author Archives: fellpainter

Over the sea and under the sky on the island of light

sea view from Neist Point, Skye

sparkling sea, looking west from Neist Point

We just came back from a trip to Skye. It’s a cold island with beautiful silver light that many artists try to capture in paint. I think Winifred Nicholson managed it but I haven’t seen any other painters succeed. Still, that was no reason not to attempt a few sketches of my own, with a possible bigger studio work in mind. The sea shimmered and the coral beach looked like a tropical lagoon.

This was a hasty plein air attempt carried out on a beach miles from anywhere. I sometimes wonder about such places, visited after hours of walking, and wonder if I’ll ever visit them again.

Dibidal beach sketch, mixed media

remote beach at Dibidal, Skye, with white sand and surf, mixed media, sketchbook work, approx 8 inches square

The tropical shores of Skye.

photo of coral beach, skye

the coral beach

On the Durinish coast there are many outlandish rock formations, including MacLeod’s forbidding Maidens, seen in the distance, waiting to surprise unwary travellers.

Sea of the Hebrides sketchbook painting

Sea of the Hebrides, mixed media sketchbook work, approx 8 inches square

On the way to the sparkling sea views near the lighthouse you pass through the otherworldly landscape of Waterstein.

at waterstein on the isle of skye

Waterstein

The local beach, virtually ignored by tourists, is just as delightful as any of Skye’s more famous locations.

loch Pooltiel watercolour sketch

watercolour sketch of loch Pooltiel painted from the beach at Glendale, approx 5 inches square

Through the looking glass

view through the window

through the looking glass: looking out or looking in?

When painting a view you might think that you are recreating a scene outside yourself but I think it can also be true that you are looking within and revealing what is there. The inner landscape and the outer merge; there are the basic forms of the ‘real’ scene but a state of mind is present too. Feelings and thoughts permeate the painted landscape, ruffling the grass with agitated energy or smoothing it peacefully. Colours respond to emotions, becoming heated or cooled, excited or serene. How on earth it all works is a mystery, but that’s what makes painting so interesting.

The night before the crisis colours vibrated in the air, the vegetation, rocks and soil. The tree raised its branches towards the sky and sang, a piercing dischordant note.

oil painting, 9x12 inches on canvas, colourful swirling energy, tree in the landscape

the tree in a tumult of colour, with energy swirling around

After the event stretched nerves slackened, sinews untwanged and the landscape breathed slowly again, muting its colours.

oil painting in a calm style, 9x12 canvas, tree on the hill

after the crisis, a calm painting with balanced shapes and cooler colours

The next day everything became warmer, brighter and more optimistic and the landscape glowed in the evening sunlight.

oil painting with warm colours, evening light on the hill, 9x12 inch canvas

warm colours in the evening; the sun’s last visit to the hill with glowing light from the west