The top painting was produced on location at Tomsallagh in County Wexford in mid June. The lower two paintings were produced on location at Kilmokea Gardens, also in County Wexford, Ireland. These gardens are a painters delight presenting a mix of formal clipped hedging with a cottage garden feel in a series of enclosures. The gardens at Kimokea were started in 1947 around the pretty georgian house overlooking the river Barrow and have been gradually extended while retaining the original character and charm. The gardens are open to the public. To see further blog posts on painting in gardens follow the links here to: Painted GardensSummer in the Garden 09 
Top: Tomsallagh, oil on canvas 40 x 55cm. Below: The Garden Path, Kilmokea, oil on canvas 40 x 50cm. Bottom: Still Waters, Kilmokea, oil on canvas 40 x 50cm.
Post Published by Tomas King 30 - 05 - 2012


The top two watercolours were produced on location at Carne in County Wexford, Ireland. Top: Wind Swept 32 x 50cm. Below, The Old Bake House 31 x 50cm. Three and four were painted in the Wicklow Mountains on a beautiful June day. Image 3 is 'Avoca' 32 x 49cm and image 4 is 'At the Meeting of the Waters' 30 x 45cm.
Posted by Tomas King 30 - 05 - 2012 


I was asked by the Dublin Painting and Sketching Club to do an oil painting demonstration during their 2012 annual exhibition. The time allocated for the demonstration was two hours so I decided to use my recent watercolour painting 'Coastal Cottage' as the subject (image 1). The original image was still fresh in my mind, not over complicated for the time allocated and I thought it would be interesting to reinterpret it in oil.
Top right: Image 1, Original watercolour
Second from top right: Image 2, Outline on tinted canvas
Centre below: Image 3, Demonstration after two hours work
Below centre: Image 4, Finished painting after a little work in the studio
Bottom Right: Image 5, Detail of finished painting


I started with a pre-prepared canvas stained a warm grey on which I had mapped out the composition in a muddy brown (image 2). I began the painting with the sky and worked my way across the canvas in bold broad brush strokes using short flat bristle brushes blocking in the main elements of the composition. Image 3 shows the painting at the end of the demonstration after two hours work. I took the painting home and two days later set it up in my studio where I did a little work on it while it was still wet, redefining the shapes and softening some of the brush strokes (image 4). I was conscious not to over work the painting and tried to retain the freedom of the original demonstration (image 5).  
Post published by Tomas King 1st 05 2012