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PORTRAIT SESSION


It should have been a life painting session but the model became ill so we decided to do the job ourselves. Three of us took a turn each for forty minutes. Above is my painting of Tony Robinson, oil on oil paper 38cm x 40cm, and below is Tony Robinson's painting of me, oil on panel 36cm x 28cm
Post published 20th Dec. 2015


Portrait of Zingi

What a great Face! My first time painting a black person which presented a whole new set of challenges but very rewarding.
Oil on Canvas 45cm x 60cm (18"x 24")
Post published by Tomas King 18th - 12 - 2015 

Portrait of Selina

It should have been a life painting session but because of a mix-up the model failed to appear so Selina, one of our regular painters, decided she would sit to have her portrait painted. She is a very colourful lady in all respects so it was a joy to paint her. The image is oil on unprimed canvas-board 40cm x 40cm (16"x 16").
Post published by Tomas King 16 - 12 - 2015

WATERCOLOUR PORTRAIT OF TOM ROCHE

I had wanted to paint a portrait of artist friend Tom Roche for a long time but I had always imagined  it would be an oil painting. However, the opportunity presented itself at the end of a paint-out at Altamount Gardens and because of time restraint I decided to do a quick watercolour sketch (one hour). While Tom painted the façade of the old house I painted his façade! It will be added to my collection of paintings of artist friends which I hope to publish as a collective at some time in the future.
Image size: 27cm x 23cm (11"x 9")
Post published by Tomas King 30th Aug. 2015

LEAVING FOOTPRINTS IN THE SAND

Memories of summer painting in Connemara
Post published by Tomas King 18 - 8 - 2015

A SMALL SELECTION OF FIGURE STUDIES IN OIL AND WATERCOLOUR

The figure studies shown in this post represent a small selection from the winter period 2014/15. The two images of Marge above were done on the same evening from the same position of the same pose. Top is a very free watercolour painted with fluid brush strokes and below is a watercolour and gouache on blue paper. It is interesting to note how the mediums influence the outcome.
I like colour and the red chair in the oil painting of Rebecca above sets off her skin tones giving a sense of drama. It also provides an opportunity for a different composition. 
The four images above feature clockwise from top left: An oil of Marge on a tinted background. a watercolour of Jessica, an oil of Rebecca and another watercolour of Jessica kneeling. 
Post published by Tomas King 22nd July 2015



THE NORTH NORFOLK COAST.

I had the opportunity recently to make a brief return visit to the north Norfolk coast; one of my favourite places to paint; big skies, interesting buildings. I only had time to do a couple of paintings: Storm clouds over Burnham Overy Staithe 30.5cm x 41cm (12"x 16") and White Sails in a Sea of Green (Cley Windmill) 25cm x 36cm (10"x 14")
Post published by Tomas King 16th July 2015

PAINTING IN THE WEST OF IRELAND

I had the opportunity recently to visit Connemara in the west of Ireland to paint for the first time. The weather was very good, unusual for this part of the world, and I made full use of my time. It is a region that has changed little in the last one hundred years and once you turn off the main roads its like stepping back in time, both visually, and in the lifestyle of the people.

The oil painting top and the two watercolours below were all painted along the same road and at any point I could have stopped, set up my easel, and found a subject. The local people were both helpful and friendly, I got the impression they are used to artists and leave you alone to get on with your work. 
The two paintings above were painted along a road known locally as 'The Bog Road.' At first I did not want to paint there, I normally like some structure in my work but I soon changed my mind. Both paintings are small (by my standards) and were done quickly. The first an oil, painted as the sun was just breaking through in the morning and catching the side of the mountains. The second, a watercolour, painted a couple of days later as the mist came down and concealed the upper parts of the mountains.
The little harbour in the oil painting above proved another source of inspiration and was painted from several angles. The boat in the foreground and the blue upturned one on the bank are Currach's. A traditional design unique to the west of Ireland and still used today. I was told by a local man that the small building with the green roof was, in the past, lived in. It is hard to believe how poor people were in this beautiful place.
Post published by Tomas King 21st June 2015  
  
 

PORTRAIT SESSION



My artist friend Margaret wanted some practice at painting portraits so suggested we paint each other while we worked. It was both an interesting experience and a strange one being both the painter and the subject at the same time. This is my painting of Margaret. I left it unfinished as I liked the effect and felt that to add more would take something away from it. 
Margaret. Oil on canvas 16" x 14" (40.5cm x 35.5cm)
Post published 3rd May 2015     

BRIGHT LIGHT ON STILL WATERS

I like to paint outside if I can (en plein air) but the weather has not been great since the onset of Spring and these days I like to be comfortable. Things picked up last week and I took myself off to a place called Fethard for the day. It was a beautiful day, the light was extraordinary, everything was calm and peaceful, just a few ducks, some geese and a heron. Four fishermen came along checking their boats but apart from that I had the place to myself. What more could I ask for?
Bright Light on Still Waters. Oil on Canvas 41cm x 55cm (16"x 22") 
Post published by Tomas King 24 - 4 - 2015 

THE FIDDLER OF DOONEY from the poem by WB Yeats

It is one hundred and fifty years since the birth of W B Yeats and to celebrate, the DPSC asked its members to create a painting to reflect one of his poems. I chose The Fiddler of Dooney. At first it was my intention to depict the fiddler in a pub making merry but after a little research I came across a recording made by Yeats at the BBC in which he reads the poem and gives a small introduction in which he explains that he set the poem at the Rock of Dooney where he used to go as a child to picnic. I also discovered that the poem is a reflection by the fiddler in the latter years of his life so I painted him in pensive mood with his book of songs that he bought at the Sligo fair.
   
                              WHEN I play on my fiddle in Dooney, 
                              Folk dance like a wave of the sea;
                              My cousin is priest in Kilvarnet, 
                              My brother in Moharabuiee. 

                              I passed my brother and cousin:
                              They read in their books of prayer;
                              I read in my book of songs 
                              I bought at the Sligo fair. 

                              When we come at the end of time, 
                              To Peter sitting in state, 
                              He will smile on the three old spirits, 
                              But call me first through the gate;

                              For the good are always the merry, 
                              Save by an evil chance,
                              And the merry love the fiddle
                              And the merry love to dance:

                              And when the folk there spy me,
                              They will all come up to me,
                              With 'Here is the fiddler of Dooney!'
                              And dance like a wave of the sea.

The Fiddler of Dooney, Oil on canvas 45cm x 60cm
Post published by Tomas King 1st April 2015
The painting will be exhibited at the DPSC annual exhibition in Dun Loaghaire

THE SELF PORTRAIT


Its been almost two years since I attempted my first self portrait. The mirror I bought for the first one is still in the studio so I decided to have another go. I only seem to think about doing things like this in the winter months so I am well wrapped up. The decision to take some photos as the painting developed was a spontaneous one and its interesting, I think, to see it emerge.  The canvas is 55cm x 40cm and is stained with a colour was and allowed to dry before starting.
Post published by Tomas King 02 - 02 - 2015

THE CLOCHE HAT

This oil study was painted on un-primed canvas board 40cm x 40cm direct from the model. I know nothing about fashion but I loved the hat and guessed the style was from the 1920's. After checking the internet I discovered I was right and it is called a Cloche Hat which seems to embrace a range of styles within that general shape.
Post published by Tomas King 3rd Jan. 2015