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August 26, 2014 / Terrill Welch

Terrill Welch paintings – they ain’t cheap are they?

This morning as I was painting the edges on two new paintings that are now released on my website at Terrill Welch Artist, I thought of a recent comment I accidentally heard being proclaimed in front of my display at our local Mayne Island Farmers’ Market a few weeks ago - they ain’t cheap are they!? To be fair, the lovely person making the comment was speaking to her friends and did not realize I was coming up right behind her. I warmly laughed and agreed with her – my work is not cheap. In fact, deciding to purchase one of my paintings or photography images is a serious financial decision – one that requires thought, conviction and often planning. As the morning sun provides its gift of bright light into my home studio, I think of all the reasons that this is so.

late August morning in the home studio by Terrill Welch 2014_08_26 012

There are the usual and obvious observations including:

1. Market Demand – in the past few years almost 50 paintings of various sizes have found their way onto the walls of private collectors. At some points during the past four years prices had to be raised twice in one year to calm the speed of sales which were happening before work was released or even completed.

2. Limited Supply – I am not a hugely prolific painter. Each year there are somewhere between 30 and 50 paintings completed. At this rate, in my life time there will likely be less than 5,000 original paintings available in the world. Original paintings by a specific artist are limited due to the very nature of being painted by the artist’s own hand. My landscape and still life photography images are even fewer in number.

3. Broad Market Reach – Due to the breadth and depth of social media, I am able to connect with discerning art collectors on global platforms. Though my local physical community on a small west coast island is just over a 1000 people, my online community has the reach of a good-sized city and is populated by those who love art and who love my paintings. There are fans who regularly leave comments and share my work. There is a team of writers who provide commentary on specific paintings every month. There are fellow artists and photographers who share, encourage and inspire me to push the edges and explore what it means to brush paint onto a canvas. All of this strengthens the market reach and the asking price for a specific painting.

But there is more to it than this isn’t there?

The decisions around pricing art work and purchasing art work are also subjective and emotional. My paintings come through my engagement with life. I instill the canvas or camera with the vitality of my everyday experiences. These experiences are not cheap. They are priceless. They are all any of us every really have beyond family and friends. Frankly, I can never translate and release these renderings for pittance because my heart would break. It would mean that our lives and how we choose to translate our experiences have little value. I cherish life. I therefore act accordingly and apply value to my work that comes from that life. The outcome is long-lasting exchanges and deep connections with art collectors and fans. This somehow completes the circle between inspiration, creation and release of work to a life of its own, in places I frequently have never even been.

Yet, I want and do find ways to share them freely with you and the rest of the world. If you are reading this post you can view my work in detail in my online galleries as often and for as long as you like.

ONLINE GALLERIES include -

Artsy Home for most original oil paintings currently available

Redbubble for most photography prints

In addition, the images on my blog and website can be saved for personal use as screen savers or printed to be sent as cards to your friends or posted on the fridge for that day when you can make an offer.

It is only when you want to own an original painting or a photography image that it ain’t cheap!

So, in closing, I want to thank the person who said loudly and clearly what we all know and seldom discuss – original art is precious and not always accessible to own but we can still admire it and enjoy its presence in markets, pop-up shows, home studio visits, traditional galleries, online platforms and in museums. In these precarious times, we have access to viewing and enjoying more fine art than possibly any other time in history. Thank you for visiting, enjoying and collecting mine :)

More about buying original paintings on my website at Seven Tips For Buying Original Paintings .

 

What is your favorite answer to the question –  they ain’t cheap are they!?

 

P.S. The new paintings released are:

OYSTER BAY LATE JULY 12 x 16 inch oil on canvas

Oyster Bay Late July 12 x 16 inch plein air oil on canvas by Terrill Welch 2014_08_08 060

and

HOT SUMMER REFLECTIONS 18 x 14 inch oil on canvas

HOT SUMMER REFLECTIONS an unexpected tribute to Van Gogh 18 x 14 inch oil on canvasby Terrill Welch 2014_08_08 092

View both of these paintings and other work in detail with purchase information at my Artsy Home online gallery HERE.

 

Enjoy your week and the coming of my favourite season – autumn! :)

 

© 2014 Terrill Welch, All rights reserved.

Liberal usage granted with written permission. See “About” for details.

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to http://terrillwelchartist.com

July 27, 2014 / Terrill Welch

Seven Brilliant Etiquette Tips from Charming Home Studio Art Guests

Summer is in full-swing and you love, love LOVE to visit artists in their home studios while on vacation. As an artist with a home studio, I am equally as thrilled to have you. However, if you want to be that special home studio guest who is cherished by the artists you visit, then these tips are for you! Here are seven brilliant etiquette tips from some of my most treasured, pleasant, feel-good and please-come-back-again home studio guests.

Tip one – book an appointment at least a day but preferably three days in advance.

Home studios are living/working spaces and  they can always benefit from a little organizing and prettying-up before guests arrive.

Terrill Welch Home Studio Visit 1 July 2014 by Terrill Welch 2014_07_27 006

Tip two – see if there are any of your friends that want to come with you and let the artist know how many are in your party.

A prepared home studio visit is almost always enhanced when there are a few more people enjoying it.

Terrill Welch Home Studio Visit 2 July 2014 by Terrill Welch 2014_07_27 007

Tip three – if it is not obvious, ask about taking your shoes off at the door. 

You are going into someone’s home as well as their studio – home protocol trumps studio.

Terrill Welch Home Studio Visit 4 July 2014  by Terrill Welch 2014_07_27 018

Tip four – do not be afraid to ask questions and to look closely at your favourites.

Most artists are happy to tell you about the background of a piece and show you the work in different light. I frequently move work around for guests as the light is always changing. Seeing work at its best in a home environment isn’t as easy as when there is gallery lighting. Even taking it out into natural light is no trouble at all and can be a lot of fun.

Terrill Welch Home Studio Visit 4 July 2014 by Terrill Welch 2014_07_27 023

Tip five – Look as closely as you like and do not feel any pressure to buy just because you made an appointment to view.

We make appointments to view houses, test drive cars and to hold puppies without feeling obligated to purchase. We can do the same when view art in a home studio environment.

Terrill Welch Home Studio Visit 5 July 2014 by Terrill Welch 2014_07_27 021

Tip Six – If you are enamored by the artist’s work feel free to come back for more than one visit.

I have new work in my studio all the time and welcome repeat visitors. This allows home studio guests to become more familiar with the depth of an artist’s work and to develop a deeper understanding of what goes into the creative process. These factors I believe contribute to the enjoyment of the art that you may purchase now or at a later date.

Terrill Welchy Home Studio 6 Visit July 2014 by Terrill Welch 2014_07_27 027

Tip seven – Charming studio guests find a way to communicate a meaningful thank you for the artist’s time.

Studio visits do take time. There is no way around it. The most obvious show of appreciation is when a home studio guest goes home with an original piece of art. But there are so many other ways to acknowledge the artist who has hosted you in their home studio. Some of my favourite “thank you gestures” have been:

1. buying a small handful of greeting cards of your favourite art for those special occasions,

2. bringing a small gift like a jar of homemade jam or cookies or fresh-cut flowers from the market,

3. taking the artist’s photograph with her work and sharing it with your friends along with the artist’s business card,

4. taking a photograph of your favourite work to post on your fridge as a reminder for the day you are ready to purchase,

5. sending a quick email “thank you” and telling the artist what you enjoyed most about your visit,

6. signing up to receive the artist’s blog and then send the link to all your social media “friends” telling them about your home studio visit, and

7. taking the artist out to lunch and telling everyone you see how much you loved her art and wish that you could purchase it all. Yes, this has happened, more than once actually :)

Terrill Welch Home Studio Visit 7 July 2014 by Terrill Welch 2014_07_27 008

Let your imagination be your guide but a meaningful thank you goes a long-long way on the charming scale of being an unforgettable and cherished home studio guest.

Why bother? Or more bluntly – what is in it for you?

Most importantly, these are just a nice things to do and you will feel good about doing them – I promise. And you will get invited back. Beyond this, when an artist remembers a charming home studio guest then there are those special invitations to private viewings of yet-to-be-released work – either in person or online. The charming guest may also be given perks and consideration that are not openly shared publicly – a book, tote, throw pillow or small study of the artists work may be tucked in with a large purchase. You may receive a personal note when a work has come available that you mentioned you were interested in considering.  After all, artists are no different from everyone else – we love, love, LOVE considerate and charming guests.

 

What is the most brilliant and charming etiquette of any guest you have received – ever!?

 

Postscript infomercial (you had to know it was coming): Terrill Welch welcomes guest to her Mayne Island, British Columbia,  home studio by appointment. Feel free to send an email to her at tawelch AT shaw DOT ca to set up a time to drop in and be one of her charming home studio guests. Also, most of Terrill Welch’s original paintings can be viewed in detail and purchased in her online Artsy Home Gallery HERE. With almost 50 works finding homes in private collections during the past three years it is a good idea not to dally.

Okay, that is a wrap! Now back to painting, la, la, la…… see you soon ;)

 

© 2014 Terrill Welch, All rights reserved.

Liberal usage granted with written permission. See “About” for details.

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to http://terrillwelchartist.com

July 19, 2014 / Terrill Welch

Painting The Vitality of West Coast Grey Landscapes

Terrill Welch:

May we always find vigor, vitality and strength in our greys!

Originally posted on Terrill Welch:

This July morning has arrived with a heaviness in the west coast grey that seems to be promising rain as the building wind flaps through the clothes left on the line overnight. You may think this would be a non-inspiration kind of day for a painter. But I find the opposite to be true. This kind of morning often has my hands itching to reach for the brushes and to set a canvas on the studio easel. But today there is no time. I have a birthday dinner this evening and a full day of studio visits to host tomorrow. So this is what I offer you instead: a collection of six of my grey paintings that are available for purchase…

Reef Bay Morning Experienced - 14 x 18 inch oil on canvas

I remember the sea, and the soft rush of water as it comes ashore. I remember the…

View original 389 more words

July 17, 2014 / Terrill Welch

The Diamond on the hill is Villeneuve lez Avignon France

What is it that has us gasp in awe when we look across an expansive vista? I believe it is because we are able to find ourselves within a much larger context. We experience our relationship to our surroundings in a different way than when inclosed by trees or buildings. This experience is a challenge to capture in a painting or photography without separating the viewer from the view and leaving them standing outside of a landscape. You will know this from your own, sometimes disappointing, photography efforts when you say to yourself – but that wasn’t what it was like at all! If you have been having conversations with me for a while, you know that I like to have my viewers experience my paintings from inside the landscape or seascape. I believe I may have succeeded in this desire in my latest painting which has us looking down onto the Rhone River at Pont D’ Avignon and across the view to Villeneuve lez Avignon, France.  Before I explain further let’s look at the painting and you can experience it for yourself.

Villeneuve lez Avignon France – 24 x 36 inch oil on canvas

Villeneuve lez Avignon France 24 x 36 inch oil on canvas by Terrill Welch 2014_07_16 030

If you just want to experience the painting for its own sake I suggest that you read no further. However, if you are curious about what happened in this canvas please feel free to join me by reading the rest of the post.

This is a good-sized painting so let’s look at it again with a bit of context around it.

on the stairs for context - Villeneuve lez Avignon France 24 x 36 inch oil on canvas  by Terrill Welch

Even though the painting is harder to see at this second angle in the early morning light, it does give us a feel for its size and how it looks relative to its surroundings. This is the same idea as what viewing a distant vista does for us. In the second photograph I want to move around and maybe get closer for a clearer view. The same thing happens when looking across a valley. How many times have you walked out on a viewpoint and then moved from spot-to-spot to make sure you were viewing it from the best vantage point? I believe this action of searching is what keeps us inside a landscape rather than viewing it as a spectator. So you might ask – how did I attempt to replicate this exercise for just our eyes in the painting above?

First, I stood on the very hillside that the viewer does when looking at this painting. I personally did the act of searching for that “best vantage point” by moving around the top of the hillside. Then I did a painting sketch. It was during the act of doing that painting sketch that I became familiar with the forms and structure of the landscape. We can read more about this in my earlier post “Artists Camille Corot and Terrill Welch Visit Avignon France 171 Years Apart” but for ease of comparison, I will post again the painting sketch

Across the Way Villeneuve lez Avignon France
plein air 25 × 35 cm acrylic painting sketch on 185 lb paper.

Across the Way Villeneuve lez Avignon France 25 x 35 cm acrylic painting sketch by Terrill Welch 2014_06_012 106

In the earlier post I talk about crunching the landscape slightly in my mind’s eye to fit the canvas shape. But now I am not so sure that is the only reason it was adjusted. Let’s have another look at the underpainting with bits of masking tap marking lines of intersection and tension.

compositional tension in Villeneuve lez Avignon France 24 x 36 inch oil on canvas by Terrill Welch 2014_07_07 005

If we look at the plein air sketch and the larger canvas these same lines of intersection and tension exist. Whereas in reality, if one was a surveyor and painted to measure this tension is stretched out much further. So what happened? I believe it is the process of walking around the vantage point for the best view. In doing this we gather information about the expanse and reconstruct it in our mind’s eye to provide us with the best view of all aspects. In this case, the elements of interest are brought closer together adjusted in size and clarity exaggerating the tensions and lines of intersection. The diamond shape of Villeneuve les Avignon is our eye’s anchor but we do not look at it closely do we? At least I didn’t. By having these conversations with myself while I painted I began to unravel how we can experience a landscape painting from inside of the view rather than as a spectator. The result is that the view is created as one might do for themselves if they were to be standing on the hillside gathering the experience in their own mind’s eye. We the viewer are therefore inside the painting through the intentional design and execution of the work. To do this I first had to understand the compositional intersections and tensions and then combine three different painting techniques from the realism of the arches on the bridge to the impressionism of the morning light hitting the trees to the abstract expressionism of the buildings on the hillside. This combination of technique is not evident in the plein air sketch however.  I developed this deliberate conscious use of brush and paint as I began working up the underpainting.

work-in-progress Villeneuve lez Avignon France 24 x 36 inch oil on canvas by Terrill Welch 2014_07_07 010

I started to see the results though about here nearer to the end of the painting.

work-in-progress 2 Villeneuve lez Avignon France 24 x 36 inch oil on canvas by Terrill Welch 2014_07_07 021

I knew what I needed to do but I wasn’t sure I could make it work because culturally we have stripped these approaches into separate schools of practice. We have learned to understand paintings as if these are three separate painting languages. But from my recent visits through many European museums I find that artists are often multilingual. They will often find the perfect brush stroke using whatever painting language they have access to through their experience. This separation of painting languages is to some extent the work of art historians generalizing major movements in art and our understanding of  painting over time – which is directly influenced by our world experience as it intersects with our internal self. So I made a deliberate attempt to break these separation rules and stretch across as much painting history is covered by the Pont D’ Avignon itself. I wanted the viewer to view the painting as if they were standing on the hillside constructing the view within their own mind’s eye. This was much more important to me than conforming to painting schools of style and technique. I think that the strength of this approach is evident if we revisit the plein air sketch and then final painting. The same life and vitality of a quick sketch was carried over into the larger painting but the visual strength that the larger painting has is missing from the earlier painting sketch. At least that is what I experience. I would love to hear what you experience as well because the risk of mixing several languages of any sort is to be miss-understood.

 

Can you tell us about a time when you consciously merged separate approaches or languages to achieve a desired result?

 

Please note that the larger painting will be release at a later date – it is still resting :)

 

© 2014 Terrill Welch, All rights reserved.

Liberal usage granted with written permission. See “About” for details.

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to http://terrillwelchartist.com

July 7, 2014 / Terrill Welch

Why Paint a Landscape of Avignon France?

 

Fingers pressed to lips and on tiptoes I invite you to quietly join me in the loft studio this morning. You see, I don’t believe that my page full of “to do” items including paintings to be shipped to their new homes and time management will exactly approve of this diversion. But if we keep it quiet, maybe no one will notice us. So come on up. It is a little early so we will need to turn on the studio lamp.

With all the gorgeous west coast landscapes to paint you might wonder why I would travel half way around the world to paint a landscapes in France. The truth is I wanted the tension of a shorter, but still substantial, span of time. We might say that North America offers this with its more recent European occupation. However, what I experience on the southwest coast of Canada is thousands of years evident in the landscape and then the present interruption of humankind. Most buildings and such on the west coast still standing are less than two hundred years old. Yes, aboriginal people have been here for a few thousand years but they have left few footprints on the landscape. Europe and France in particular are different. We can still see evidence for easily over 600 years in one gaze looking across the Rhone River in Avignon France. This is somehow important to me as I intuit the tension in a landscape. We live in environmentally parlous times of exponentially climate change. In 2012 about half the world’s population lived in urban areas and this percentage is expected to continue to increase – quickly. the result is that our agrarian sensibilities and relationships to our natural surrounding on the whole are weak. For those populations that survive the next few hundred years, I believe this must become a strength. Yet, as we abstract our way through internal and external elements of our human creations, the natural landscape appears to hold little interest other than a thing of beauty and a place of recreation. This objectification of our natural surroundings places us and it at great risk through our false sense of possession or proprietary combined with ever-decreasing regard and understanding of the lines of tension and intersection of our relationship. These are my musings anyway and is the backdrop for my most resent painting MORNING BY PONT D’ AVIGNON (24 x 36 inch oil on canvas)   and its cousin below of the same size which is still in its underpainting state with bits of masking tap marking lines of intersection and tension.

 

compositional tension in Villeneuve lez Avignon France 24 x 36 inch oil on canvas by Terrill Welch 2014_07_07 005

Judging from the plein air acrylic painting sketch I did, once the painting is completed these tensions will be mostly felt rather than seen (though now that I have so explicitly shown them to you, I am sure you will notice them more readily.) I anticipate that our eyes will keep roaming the scene searching for something until it unravels these tensions to the mind’s satisfaction. My desire is that we will know that it is more than a beautiful view, someplace to gaze,  to sit, to stroll or to sail. I want us to  intuitively sense the strength and fragility of this landscape – after all there are hundreds of years of human intersection with the environment visible in this painting and my intention is to inviting us to take the time for such an exploration.  Our west coast of Canada has a much harder time offering this same invitation. It is much more immediate, wild and possibly even too forgiving of our ignorance – until possibly it is too late. So I have called on a morning in Avignon France with her abandon bridge across the Rhone to give us a hand.

I know! Here you thought I was on vacation and this was all about just painting another pretty picture.  It could be I suppose. But I intend to instill such strength and tension in my brushstrokes that you will stay long enough to get past the beauty and to the substance behind this work. The act of painting is a spiritual exercise, a meditation, a recital of a poem and possibly even a practice of prayer. The subject in this case, in most cases, has to do with our fragile, temporary and continued existence.

Now, if you will excuse me, I must do a wee bit of painting before that  “to do” list comes charging up the stairs and demands to know where I have been.

 

What invitations are you accepting to strengthen your relationship to our natural environment?

 

© 2014 Terrill Welch, All rights reserved.

Liberal usage granted with written permission. See “About” for details.

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to http://terrillwelchartist.com

July 2, 2014 / Terrill Welch

Canada Day winner of the FOUND IT painting draw

With entries from all over North America and beyond, the winner of the FOUND IT PAINTING draw for SEASIDE MAYNE ISLAND STUDY  is from my birthplace. Image that! An email has been sent to the winner and I am awaiting a mailing address. Though this painting had the possibility of going to many excellent homes, this one will be perfect. I  am sure it will be well-loved and very happy there.

Seaside Mayne Island study 10 x 8 inch oil on canvas by Terrill Welch 2013_08_02 021

Also, EARLY NOVEMBER SEA 14 x 18 inch oil on canvas has sold.

Early_November_Sea_14_x_18_inch_oil_on_canvas_by_Terrill_Welch_2012_10_18_072

Thank you everyone who participated in my Canada Day Special event. Finding homes for paintings is not always an easy task and you have made it an enjoyable, fun and rewarding exercise.

As always it is a pleasure to share my work with you.

Other work currently available can be viewed in my Artsy Home online gallery at:

http://www.artsyhome.com/product/Seaside-Mayne-Island

 

All the best of today to you!

 

© 2014 Terrill Welch, All rights reserved.

Liberal usage granted with written permission. See “About” for details.

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to http://terrillwelchartist.com

June 30, 2014 / Terrill Welch

Happy Canada Day from this Canadian Artist to YOU

The painting below A Tall Tale of Autumn Stuart River 16 x 12 inch oil on canvas is the “Poster Painting” for a rare 40% savings special on all of my Canadian oil paintings available at Artsy Home to celebrate Canada Day – starting NOW until midnight PST July 1, 2014.
A Tall Tale of Autumn Stuart River 16 x 12 inch oil on canvas by Terrill Welch 2013_12_24 003Here is what you do – go to my Artsy Home online Gallery at:
http://www.artsyhome.com/author/terrillwelch

Choose your painting and send me an email using the “make an offer” option located just above my name and below the price, shipping and product number on the right hand side of the painting.

The email should say – Request to Purchase as Canada Day Special. It is a first-email-received-request-for-the-work that will be accepted.

I will then confirm if you were the successful request for the painting and we can proceed with purchase details at that time.

Also, there is ONE original painting in the Artsy Home gallery that is available for a draw. It has in capital letters FOUND IT at the bottom of the description. If you find it, send me an email using the same “make an offer” option that says FOUND IT and your name will be added to the draw for the painting. You must find the eligible painting and enter the draw before midnight PST on July 1 , 2014. The actual draw will take place the following morning. As is understandable, a purchase offer will not be accepted for this work unless no one finds it. Then it will become available again after the draw closes.

Please let me know if you have any questions or if some part of this offer is unclear… it is a spur-of-moment, west coast sunny morning influenced decision and so enjoy and have fun browsing the over 60 original paintings that include landscapes and still life works from our wonderful Canadian Living.

I hope you enjoy this rare opportunity to start or add to your collection my original paintings.

HAPPY CANADA DAY!

© 2014 Terrill Welch, All rights reserved.

Liberal usage granted with written permission. See “About” for details.

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to http://terrillwelchartist.com

June 29, 2014 / Terrill Welch

Artists Camille Corot and Terrill Welch Visit Avignon France 171 Years Apart

The Pont D’Avignon or Pont Saint-Bénézet once had 22 arches. The bridge was eventually abandoned as the arches took too much upkeep due to being damaged when the Rhone River would flood. The four remaining arches are believed to have been built around 1345. My morning started with a 45 minute walk along the outside of the city walls to this landmark. The bridge was the inspiration for the song Sur le pont d’Avignon which is impossible not to hum while I decide on a spot to settle and paint by the river for another 45 minutes.

 

I want to paint this composition but cannot find just the right shelter for my canvas from the morning sun that will then also offer enough footing for me to stand.

 

Guard House Pont D' Avignon by Terrill Welch 2014_06_011 016

 

So I move a little farther along the bank and settle close to this vantage point.

 

morning by the Pont D' Avignon by Terrill Welch 2014_06_011 026

My intention with this acrylic painting sketch is to capture a first glimpse when our mind is still constructing the relationships between the various parts. I like to call this process painting the spaces in between. As always, the morning light changes quickly and even in 45 minutes there is this blending of time.

 

June morning by Pont D’ Avignon
25 × 35 cm plein air acrylic painting sketch on 185 lb. archival paper

 

June morning by Pont D' Avignon 25 x 35 cm acrylic painting sketch by Terrill Welch 2014_06_011 046

Art prints available HERE.

 

A good mornings work but I want to go up high tomorrow and try another painting sketch.

 

Climbing up into the gardens to the westerly viewpoint in Avignon early on a June morning is magic and mystery. Across the way there is the Villeneuve lez Avignon with the broken Pont D’ Avignon below falling short of the reach across the Rhone River. The scene is not as easy to compose as I had initially thought. I move here and then there and then back to here and finally set up the easel and paint.

 

plein air morning in Avignon by Terrill Welch 2014_06_012 087

 

What I was struggling with is my desire to have the castle looking monastery which I have brought in closer in this photograph for us to enjoy it in more detail.

 

Over by Villeneuve lez Avignon France by Terrill Welch 2014_06_012 093

 

and the tower in the same frame and at the same time not have the bridge lost by the trees along the bank.

 

Villeneuve-lez-Avignon La Tour Terrill Welch 2014  by Terrill Welch 2014_06_012 076

 

In the end I crunched my composition slightly in my mind’s eye to accommodate the canvas dimensions and my desires. Then I pick up the brush to see what will happen.

The light is changing quickly but there is still time for my eyes to rest on the scene. They do not. Fluttering across the landscape, with the same sweeping loops as the swallows above, I do not hover or allow my gaze to settle. I search for…. something and maybe nothing at all in the vast countryside – where last evening’s gypsy music and the chiming clink of hands moving to mouths along the narrow streets of the old-city still echoes in the sleeper passages of my consciousness.
Across the Way Villeneuve lez Avignon France
plein air 25 × 35 cm acrylic painting sketch on 185 lb paper

 

Across the Way Villeneuve lez Avignon France 25 x 35 cm acrylic painting sketch by Terrill Welch 2014_06_012 106

Art prints available HERE.
There it is with the painting compositional problem only partially resolved. I commit to finding a larger lengthier canvas when I get back in the studio so that I can give it another attempt.

 

Days pass as swiftly as spring to summer and we are in Paris walking the halls of the Louvre. I stop. Completely stunned I stare unblinking at…

 

Villeneuve-lez-Avignon. La Tour Phillippe le Bel. 1843 by Camille Corot

 

Villeneuve-lez-Avignon La Tour Philippe le Bel 1843 by Camille Corot photo for study by Terrill Welch 2014_06_16 033

(Note: this photograph of the painting is on I took for study purposes only)

The Avignon landscape is unmistakable even 171 years later.

On the way to his third trip to Italy, Camille Corot stopped at Avignon in May 1843. Foremost among the ruins of Saint-Benezet bridge, beyond the Rhone, Villeneuve clearing by the Philippe le Bel tower. This painting was donated to the Louvre by Etienne Moreaue-Nelaton in 1906.

 

I had not seen images of this painting by Corot before nor did I know of its existence but I knew at a glance where it was painted and said to self – he must have painted it from up by the church to get that angle. All I wanted to do at that very moment is catch then next train back to Avignon and climb the hill and look for the exact spot that he would have stood to paint as the compositional challenge I had been struggling with was resolved by this placement of artist and easel. This is the beauty of combining studies of painting location with visits to the work of old masters! Our learning as painters never ends as it is picked up and looped through time and place with our brushes.

 

Camille Corot was born in 1796 Paris and died there in 1875. He traveled a few times from France to Italy to study the work of masters as was common for artists then and to some extent even now – hence my own trip to Europe. Corot is credited as bridging a shift between the neo-classical tradition of landscape painting and plein air painting, which lead the way towards impressionism. Camille Pissarro (1830 – 1903) was supposedly briefly one of his students. But where did the Italian painter Giovanni Fattori (1825 – 1908) fit in? I see similarities in this particular painting by Corot and the work of Fattori whose paintings I became familiar with during our time in Florence Italy. Had Fattori ever met Corot or been his student? I didn’t find the answer to my question but I did discover a detailed write up by Jeanne Willette on the Barbizon School and landscape painting which both artists are associated.

 

So as you can see, I have months and even years of continued discovery, exploration and painting to do as I unpack and breathe familiarity into our travel adventures. I think it is obvious that more than the trees have changed since Corot painted in Avignon. Painting itself has been through a few revolutions and I believe this process continues. I must in fact as I have two 26 x 36 inch canvas ready on this Canada Day weekend to begin the process of revisiting my painting sketches and references images.

 

two 24 x 36 inch canvases ready for Avignon France by Terrill Welch 2014_06_29 039

 

I think I will take Corot, Fattori and Pissarro with me. They just might enjoy peering over my shoulder as much as you do ;)

 

What have you seen with fresh perspective through the eyes of an old master recently?

 

© 2014 Terrill Welch, All rights reserved.

Liberal usage granted with written permission. See “About” for details.

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to http://terrillwelchartist.com

June 5, 2014 / Terrill Welch

Wabi-sabi Passage of Time inspired by Antoni Gaudi and Torre Bellesguard mosaic

WABI-SABI PASSAGE OF TIME AT TORRE BELLESGUARD

No matter what we create it is temporary.

Breaking patterns,

 

Throw Pillow Breaking Patterns Large 20 x 20 inch by Terrill Welch

can be repaired.

Throw Pillow Repaired Large 20 x 20 inch by Terrill Welch

But eventually they return

to fine-ground earth,

no longer resembling our original intention.

 

Throw Pillow Returning Large 20 x 20 inch by Terrill Welch

Yet, unseen, unnoticed by our human eye,

still they exist,

remaining in the subconscious of our knowing,

of our being.

Throw Pillow Breaking Patterns Large 20 x 20 inch by Terrill Welch

Throw Pillow Repaired Large 20 x 20 inch by Terrill Welch

 

Throw Pillow Returning Large 20 x 20 inch by Terrill Welch

 

 

 

 

 

 

 

Breaking Patterns, Repaired and Returning are paintography images created from photographs I took at the Torre Bellesguard designed by Antoni Gaudi between 1900 and 1909 in Barcelona, Spain. The beautiful medieval-inspired castle is still owned and inhabited by The Guilera family. The grounds and home at Torre Bellesguard are exquisitely cared for and in excellent repair. However, mosaic work is an ongoing maintenance project of love and it is often necessary to complete it in stages, leaving areas where history and the wabi-sabi passage of time are evident.

These image designs are currently only available as a Tote bag and Throw Pillow.

I am not completely sure what I am want to do with them yet.  Therefore, they remain here on the works-in-progress Creative Potager blog rather than being posted as final works on the Terrill Welch Artist website. In many ways, these throw pillows and totes are quick sketches and impressions that gathered light and shadows in my creative process. I like the unfinished element, the notes that signify a kind of graffiti-ownership on the surface of the images and provide hints towards the various aspects of my internal dialogue.

These works are likely more temporary than most ;).  But for now,  you can click on the large or small images in this post and it will take you to my Redbubble storefront where Throw pillows and Totes can be purchased in various sizes for each image. So if you choose, feel free to click away. If not that is okay too. Enjoy your day and…

 

How do you most profoundly experience the wabi-sabi passage of time?

 

© 2014 Terrill Welch, All rights reserved.

Liberal usage granted with written permission. See “About” for details.

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to http://terrillwelchartist.com

 

June 2, 2014 / Terrill Welch

Barcelona Spain through the Eyes of a Traveling Artist

Where we are staying in Barcelona is intimate, warm and relatively safe. But this is one huge and sometimes stressed city. People often do not make eye contact and are in a world of their own with a kind of pinched expression that comes from longstanding worries. It is not uncommon for middle age women to flinch at the sound of my footsteps on the sidewalk behind them. It is every-so-slightly but I know I am not mistaken when they turn and look directly at me – a safety practice I learned myself many years ago. When our host dropped by to change over the propane tank to a fresh bottle he warned – keep the front door locked at all times. This is a safe neighbourhood but we are in a crisis. I had been doing this already as the door only has a deadbolt and no other latch. Still his concern matched my impression of the Barcelona. Some might quibble that Spain is in a crisis and not Barcelona but like it or not Barcelona is an important part of Spain.

 

The European Union elections were held while we were here and there is talk of another bailout for Spain. Unemployment is high in the city and even higher in other parts of Spain. As a visitor and as a guest in this country, I find it a valuable warning because this is not a city or country issue but a global one which is fraying its edges more visibly here than in other places we have been in Europe or in our home country of Canada.

 

There is one place where people let their shoulders rest easy and their stride loosens. It is in the Jardins del Turó del Putget. The people living near the gardens walk with their dogs, family and visit with friends on the benches sprinkled along the climb and at the top of the park. I walk here often. It is where one can view the city with a bit of circumspect.

 

Barcelona Spain through the trees by Terrill Welch 2014_05_25 050

 

The gardens are simple and natural with tough herb shrubs such as rosemary and lavender added to the ground cover. It is not a place noticeable on the tourist maps. Rather, it is just an ordinary functional green space with designated dog and children play areas. Here, one can read a book or a newspaper or do nothing at all. There are no work expectations on the hill of steps, trails and trees. It is a place of rest – a place to build resilience.

 

These are the underlying currents and observations that create part of the interpretative lens for my photography and painting in Barcelona Spain. Following is my round-up of our time here. It is not all-encompassing – just a few quick impressionistic brushstrokes.

 

Community and park spaces are extremely limited. Our neighbourhood playgrounds are on spears of land beside major thoroughfares. Our ground-floor apartment has a most prized private courtyard in the middle of tall apartment buildings. Its value did not register with me when we arrived but now I more fully appreciate its rare pleasure. One morning I set up my paints.

 

Painting in a Barcelona Courtyard by Terrill Welch 2014_05_25 111

 

I want to capture courtyards private beauty and mystery. To do so means painting the spaces between the actual forms using light and colour to guide the construction of a meaningful composition. The results are an abstraction of sorts but the energy of the space after the morning rain remains.
Small Courtyard in Barcelona Spain

10 × 12 inch acrylic painting sketch on canvas board

 

Small Courtyard in Barcelona Spain 10 x 12 inch acrylic painting sketch on canvas board by Terrill Welch 2014_05_25 144

 

(Art prints are available at Redbubble HERE.)

 

One of our most pressing reasons for coming to Barcelona was to see Antoni Gaudi’s work in person. What we didn’t realize was how mainstream and popular his work had become with visitors. After we assessed the potential for crowds, lineups and disappointment we took a circular approach. This involved a few scouting trips before actually making a commitment to a more engaging visit to Park Güell.

A prized seat in Barcelona

A prized seat in Barcelona by Terrill Welch 2014_05_27 245

That invites us repeatedly to stroll its length and look out over the city.

try done Reaching out to the Barcelona Park uell by Terrill Welch 2014_05_27 262

Sometimes Gaudi’s buildings seem to be cloud to cloud.

Cloud to Cloud Park Guell by Terrill Welch 2014_05_27 165

Yet, from other vantage points they are tucked right into the city.

At the edge of Park Guell by Terrill Welch 2014_05_27 068

Whether walking tree to tree

Tree to Tree in Park Guell Barcelona Spain by Terrill Welch 2014_05_27 102

or admiring the stretching supports

Stretching Park Guell Barcelona Spaint by Terrill Welch 2014_05_27 119

or the details of water collection at the front or back of the mosaic seating,

Water collection Park Guell 1 by Terrill Welch 2014_05_27 205

there is no denying the creative thought, care and vision of Gaudi’s work. It wasn’t designed to be a public park but it makes a good one! Some, including Gaudi feel that the church is his most important work but it is this park that most speaks to me.

 

In the end, we decided not to visit Sagrada Familia at all and nor did we stand in line to visit Casa Mila. Instead, we saw only its roof top

 

roof top of Casa Mila by Terrill Welch 2014_05_29 012

 

in favour of a few walk-by visits to the summer home – Casa Vicens

over the top on Carrer De Les Carolines by Terrill Welch 2014_05_29 004

with its point of interest (yes, I am being cheeky).

point of interest on Casa Vicens by Terrill Welch 2014_05_29 024

We trekked over to the private school, Colegio de las Teresianas, but I didn’t even take one photograph as the angle and size of the buildings was resisting my framing eye.

 

However, the medieval castle – Torre Bellesguard,

Torre Bellesguard 3 by Terrill Welch 2014_05_30 018

was ours alone late on Friday afternoon. We indulged our need for all-things Gaudi

repaired at Torre Bellesguard by Terrill Welch 2014_05_30 029

while noting the amount of upkeep required for keeping mosaic work in good repair.

breaking patterns at Torre Bellesguard by Terrill Welch 2014_05_30 034

This morning I thought about our time in Barcelona and what one thing I truly wanted to paint on our last full day. Can you guess where I went?

 

Jardins del Turó del Putget Barcelona Spain

25 x 35 cm plein air acrylic painting sketch

Jardins del  Turó del Putget Barcelona Spain 25 x 35 cm plein air acrylic painting sketch by Terrill Welch 2014_06_02 028

(Art prints are available at Redbubble HERE.)

 

I did not take my camera with me as even though it feels safe in the park, I am unable to keep an adequate on its whereabouts and it would interfere with my painting if I was to wear it while working. This time you will have to be content with just the finished work and the comparison of an image from last evening at the top of a park where a four-legged friend made us laugh with his pure joy.

 

Top of Dog Park Barcelona by Terrill Welch 2014_06_02 004

 

Tomorrow morning we will leave and return to France with the first stop being Avignon for three days. I am more than ready to leave Barcelona but this rather stoic city has grown on me and shall remember it and its people fondly.

 

© 2014 Terrill Welch, All rights reserved.

Liberal usage granted with written permission. See “About” for details.

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to http://terrillwelchartist.com

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