Author: Paul Finn

What Is Paintable?

Through The Trees

My primary interest in painting for the last 40 years has been how to depict and respond to a range of landscapes. Before I can begin to think about painting a place, there has to be a specific reason to do so, and the place must have a particular resonance with me. My recent work can be divided up into three groups: paintings of Tuscany and Umbria, paintings of Andalucía and paintings of the Thames Estuary around the RSPB reserve at Rainham Marsh, not too far from my home. Continue reading “What Is Paintable?”

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Le Jardin des Fleurs de Poterie

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This summer we decided to drive to the south of France. My brother Anthony and his wife, who hails from Nice, my wife Criselda and I took two cars down to Gattières, a village perched overlooking the River Var, in the Alpes Maritimes. Catching the earliest Eurotunnel from Folkestone allowed for a leisurely drive through Northern France, Picardy and the Champagne region. We were heading for an overnight stay in Corps near the pilgrimage site of Our Lady of La Salette in the Alps, before continuing our drive on the Rue Napoleon through Grasse and on to Gattières. Continue reading “Le Jardin des Fleurs de Poterie”

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A Tale Of Two Gardens

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Recently I have visited two gardens which are fairly local to me, one is in Elmstead Market near Colchester, about an hour’s drive from me and the other, Warley Place is on my doorstep near Brentwood. The Colchester garden was made by Beth Chatto and Warley Place was the garden of Ellen Willmott, a Victorian plants woman. Both places have inspired new work. I have made a series of paintings of Beth Chatto’s garden and some ink studies of Warley Place. Continue reading “A Tale Of Two Gardens”

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California Etching

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Pallant House in Chichester has been mentioned on this blog more than once. It has a fantastic permanent collection and over the years has presented some wonderful touring exhibitions. A year or so ago I saw an exhibition which brought together two artists I really admire, Gwen John and Celia Paul, similar I suppose because they might be thought of as being a bit reclusive. Continue reading “California Etching”

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Strumble Head

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Lithography is a bit different from other print processes. Although I am interested in printmaking despite being a painter, I am no expert. Linocuts and woodblocks depend on the image being raised, and etching depends on the image being recessed. Lithography happens on a flat surface like a lithographic stone or zinc plate and depends on the antipathy between grease and water. The way a mark is made on a stone or a plate is the same as in a drawing or painting, you don’t need an etching needle or engraving tool. The mark is made with a greasy crayon or ink, and then the print is created on a press where alternate use of dampening the plate or stone with water and then applying ink, which attaches only to the greasy drawing, allows the image to be printed. Continue reading “Strumble Head”

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The Posh Painting Shed

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Most of my working life has been combining making paintings and prints and teaching, some of the time in Art Colleges, but mostly as a schoolteacher. A while back I read David Wiseman’s lovely post, Garden Studio. When I finished full time teaching last summer, I decided to have a posh shed built, which would enable me to work at the end of my garden in suburban London. Continue reading “The Posh Painting Shed”

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En Plein Air

Getting into habits regarding working methods can be really liberating. You only have to think of Morandi and the way his limited subject matter and studio discipline created ultimate freedom for him. I have been used to making my landscapes from thumbnail sketches done in the landscape and then making my paintings in the “tranquility of the studio”, a well tried and tested almost Victorian attitude. Like Bonnard and others I find painting in front of the landscape impossible, there is simply too much information to process, and like lots of artists I will see detail too early and the resulting painting won’t work. Continue reading “En Plein Air”

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Spring Blossoms Umbria

Spring Blossoms Umbria 2011 was started last year after visiting Orvieto again. A fine meal at L’Etrusca followed by a long walk into the fields surrounding Orvieto kick-started this one. In some ways it is a little different to the others in that it has a sense of being “in” the landscape as opposed to looking at a place from a distance. Looking through trees onto fields has created interesting tensions between flatness, illusion, realism, abstraction, pattern and surface. Although I will continue to make paintings of places there is something very interesting happening in Spring Blossoms Umbria. Continue reading “Spring Blossoms Umbria”

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