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Gap of Dunloe

Gap of Dunloe

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  • Very good work!! the light coming from behind the hills.

    Posted by A.F. Branco Antonio Branco on Tue 14 Jul 17:27:42
  • Many thanks Antonio - I'm having a bit of a bad time at the moment, and encouragement like this is extremely helpful. I've always resisted painting scenes I've not visited myself, because one's always uncertain of the colour and "feel" of places - all the more so when it's mountainous territory like this, because while I know the Welsh mountains, I've never visited Ireland. I wonder what others feel about this, though? Ie, paintings from other people's shots? As this one was taken by an excellent professional photographer (my mate Barry) who prides himself on the use of the most natural colour he can get with a camera, I felt it was worth a try (and he wanted me to, as well). In theory, it opens up a whole vista of images one will probably never get to see "in the flesh"; but I'd be very interested to hear others' opinions.

    Posted by Robert Jones, N.A.P.A. on Wed 15 Jul 21:37:47
  • Hello Robert, Thank you for your comment about the tree drawing. Although Ruskin frowns upon it, I believe copying other artists work to be invaluble as a learning process. This tree drawing is a copy from J.D Harding's book. Regards Dan McShane

    Posted by Dan McShane on Fri 04 Sep 10:42:01
  • Robert: an excellent work JAD

    Posted by James A Deal on Thu 17 Sep 21:49:54
  • As heaven blue grazed her stillwater cheeks the Land opened her palms, to a humble prayer nestled quietly upon the horizon. The rumbling sky and tawny shoulders are particularly attractive :-)

    Posted by Rod Stewart on Fri 06 Nov 18:04:50
  • Hi Robert, Just catching up and having a re-run look at your gallery, which has so much inspiring work in it. You speak about painting from photographs here, so this is a good way to add my (probably pathetic) little bit. Is it not, do you think, a challenge to, say, use a good photograph just for the scene it portrays, whether buildings, scenic, seascape, whatever, then after making an outline drawing of the main elements and shapes, then put the photo away and use your imagination for the actual painting? I personally find it helpful to do this because I then have to reason out where the shadows, lights, darks, etc, should be; after all, these 'make' the painting, the juxtaposition of lights and darks. I use my imagination(which is often over-active anyway,) for many of my scenes, but augmented with photo references. I see nothing amiss in this. I'm sure this has all been said somewhere else...Forum? perhaps. I find this a wonderful site in many ways, but sometimes keeping track of everything that goes on between all the members as regards communications , is a bit like chasing a hysterical, headless chicken down endless alleyways in a thunderstorm! Forgive me...I go on.....As the young would say...B-o-o-o-o-r-ing!

    Posted by Ruth Dolan on Fri 13 Nov 17:55:24
  • Ruth: not boring at all. I agree with all you've said. Thanks for comment. Robert

    Posted by Robert Jones, N.A.P.A. on Fri 13 Nov 19:04:11
  • Marvellous. I admire clear darks enormously. This is beautiful, one of my favourite spots.

    Posted by Colleen Barton on Mon 23 Nov 20:00:59
  • Good work in your Album Robert, especially like the above and "Hills after Alan" Nice Glow in the sky on this one. We have unusual surnames

    Posted by Neil jones on Sat 09 Oct 20:58:41