"Catchphrases for Painting"

I was reading through Patricia Moran's "Painting the Beauty of Flowers with Oils" and I thought some of her "Catchphrases for Painting" were particularly interesting:

"It is not what you paint but how you paint it"
"Paint what you love and love what you paint"
"Maintain the initial impression"
"Relate every brushstroke to the whole painting"
"The spaces can be as interesting as the object"
"The shadow can explain the object"
"Cover the blank canvas as fast as you can"
Near enough is never good enough"
"Paint what you observe to be there, not what you know to be there"
"Keep it as soft as you can, as neutral as you can, for as long as you can"
"Big brush, big area, small brush, small area"
"Paint the hands while looking at the face"
A painting is only as good as its worst point"
"Don't count on happy accidents"
"Don't work on one spot too long"
"The signature is part of the painting"

If you received a book voucher for Christmas a book that is new to the shelves of Exclusive Books is: "Emma Pearse's Artist's Materials". This little book is brought out by Winsor and Newton and is a most comprehensive sourcebook of methods and media. I can recommend this as a good book for any artist to have on their shelves.

Commissions and History

Often artists find commissions to be limiting and somewhat restrictive, but I have found the contrary to be true in many instances. Admittedly there is always the chance that one might be required to paint something that does not translate into a satisfying painting, but sharing the experiences of others has lead me to paint a great variety of subject matter: boats and buildings; teddy bears, birds and horses; portraits, landscapes and seascapes. These commissions, while challenging me out of my comfort zones, have allowed me to be part of other people’s experiences and sharing their stories have all enriched me in some way.

Such was the commission by Sam and Louise Campbell in 2005, to paint a picture at “Willow Bank” the property on the north side of the Umhlanga Lagoon. When I received a call asking me to paint a property between Umhlanga and Umhloti, I was unprepared for what was to come. Having just painted a national monument, I was thinking architecture – and especially in this highly developed area.

After looking at photographs, I requested to visit the sight in person. Walking along the path with Sam and his family, I captured a glimpse of childhood memories, changing seasons, of the moods of the sea and coastal forest and stories of the early days told over generations. We felt that a view through the trees - the view from where the original homestead had once stood – best captured the sense of seclusion, unspoilt coastal forest and rich history of this amazing place so close to some of the greatest property development in the area.

A casual mention of the commission to a colleague at work led to an interesting development some months later. I received a very excited phone call one evening from a friend who shares a passion for books with her husband. Tony and Madeleine were looking through books when Tony discovered a book by Roy Campbell called “Light on a Dark Horse”, which had much to say on the early days in Durban. Madeleine quickly linked the descriptions in the book to the area I had described. Two chapters in the book refer specifically to the early days in the area. Roy Campbell writes: “One of the places I loved best as a child was the Umhlanga Lagoon …We had an old ramshackle cottage in the middle of the forest … At night it was lit by electric blue thunderflashes from the rolling breakers which shook the house and made the candles tremble with every crash … illuminating the twisted boughs of a giant milkwood tree which over – arched the house.” Fascinating stories continue of interesting characters, the haunt of a terrible old mamba, interesting visitors and boating on the lagoon.

As I pass the property on the north side of the Umhlanga Lagoon on my frequent trips to Durban, I am so much more aware of its natural beauty and rich history. It was a privilege as an artist to capture just a little of the story.