More Lyrical Abstract Painting Details – Jenny Meehan British Contemporary Fine Painter – Surrey/South West London

July 9, 2012

Having fun with the batch editing.  Here are details from some more of the Alliance Healthcare abstract acrylic paintings that I am spending my time with right now.

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I will post up the images of the whole of the paintings when I have sorted them out.

Making some frames, it’s not hard to make a very simple frame, and I like my paintings in simple frames.  As I have got 20 to make, I should think I will be quite good at the end of it!  I might leave some unframed, but I like a clear division between the painting and the wall.

Still rather bowled over by my discovery of Claude Venard!  Oh look! This is wonderful!,or.r_gc.r_pw.r_qf.,cf.osb&biw=1249&bih=626&wrapid=tljp1339312040969024&um=1&ie=UTF-8&tbm=isch&source=og&sa=N&tab=wi&ei=pUfUT_XmN6is0QWd0cz2Aw

Look at his use of colour!

His work has eclipsed anything else I saw when I went for my visit to Cork Street.  Completely.  Though I still plan to ensure I work my way through some of the paintings and painters I saw who caught my interest, the paintings I am looking at by Claude Venard are satisfying any desire for other peoples work right now, and so even though I plan to visit a few other exhibitions, I don’t think I need to look elsewhere right now for my study.  I do love colour.

Maybe also, less colour has interest too. I also very much  responded to the painting I saw by Ffiona Lewis at The Redfern Gallery, 20 Cork Street.  They had an exhibition Landscape – Paintings Drawings and Prints which ran from 15th May until 5th July.  There was rather a good selection of paintings on show, and I have a list of names of artists to look at, but “Summer House 2011” by Ffiona Lewis stood out.  Small,  but every touch significant.  A  very sensitive painting.  With little colour, much less than I use, but the restraint is attractive and indeed, I think to use more would not be right at all with her painting, for it is the very small marks and scratchings on the surface, the texture of her sensitive application, which asserts the paintings. To have more colour would detract from this.  Having experimented myself recently in using colour and texture, I have found that with more concentration on the texture, there is less need for colour.  The texture itself can lead the eye into the necessary emotional response. To have a lot of both, can be (though not always) too much.  They run like two strands and it takes a huge amount of effort to keep the two going together.  So to pick carefully which will be dominant, is a good solution.   I have been thinking a lot about both, and this is a great challenge in one painting, hard, but worthwhile.  As far as the viewing goes, it may be that it is possible to create more confusion by working both together.   But I am not sure.  I want the excitement of both texture and colour.  It may be a matter of just how obvious the effect of each is.  Maybe some turn taking, like is needful with children, is something to think about.


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