Ash Trees, Moreton.

Ash Trees, Moreton.

Pure Brilliance Alan in every aspect

Love the soft harmonious colours in this one Alan, and a great composition, I especially like the foreground trees with the white branches.

Those light branches really lead us into the scene and a good feeling of depth with the narrowing 'fairway' giving a great feeling of depth.

Ohh Alan I like this one very much great painting mate.

Absolutely gorgeous Alan! The colours that you have used are so right for a winter morning, one can feel the coolness of the air, I don't know what to say it's so perfect.

Wow,those trees are great, a wonderfully executed scene Alan.

Alan, it's breathtaking! I can't pick any one thing that stands all does! A beautiful painting put together perfectly. I may just be able to find a small space to hang this

Ah - so you drive your huge off roader down there and pull in? If that's what it takes to get this smashing study, carry on regardless.

You're a mine of creative inspiration, Alan! Every piece of your work has a fresh new take, and this is no exception. Superb recession, a painting full of vibrancy and life. Excellent work indeed!

Lovely how the light branches point the way across the fields Alan.

Really like this, Alan. I have got a new box easel so I can try acrylics outside when it warms up. Your pictures are dynamic and exciting.

A really good painting Alan.

great composition Alan very good aerial perspective like the use of colours repeated throughout David Harrison

It reads so well, and to me it has a lovely abstract quality about it too. I agree with Fiona, I could live with this on my wall too!

A lovely peice of work, Alan. Broad treatment with tantalising detail.

Thanks everyone for some really nice comments, it's always appreciated. At the moment I am living with it on my wall.

Great, very great Alan, the trees in the foreground are fantastic.

Again, great depth and recession in this, with extensive use of scratching out to add touches of crisp detail - I would guess that you usually work on a white canvas rather than lay down an imprimatura; which is interesting to me, because I always used to tint the canvas before starting, with a bit of burnt sienna usually, but have taken in my latest few to roughing things in on a white background with a touch of cerulean blue and working up from that - sort of unlearning techniques I learned years ago. Anyway, this isn't about me! Love those fresh, bright, warm colours counterposed against patches of deep dark; that, and the incised work, gives a real feel for the winter countryside.

Thank you Cesare and Robert, very welcome comments. Robert, I actually never use a white background, although it may appear to be. I prime all my boards with half-tone grey mixed with ultramarine blue, burnt sienna and zinc white. I then work my tonal values either side of that base colour - well, that's the idea anyway. (same as Ken Howard )

The master strikes again! Are your white twigs scratched out or painted on Alan? Whichever way it works very well.

Thank you Sarah and Val, the white-ish trees are scratched out mainly, a few are painted in.

Hang on Studio Wall

En-plein-air oil sketch done two weeks ago on a sunny morning, oil on board 16 x 20in. This narrow lane is a goldmine of painting material, but you have to find a pull-in and that's usually into a muddy field.

About the Artist
Alan Bickley

Having studied fine art and graphics at both Stafford and Derby college, my career working as a graphic artist and latterly as editorial artist with Northcliffe Media Ltd, has kept me constantly in touch with all aspects of art and design. Painting mainly in oils, acrylics and watercolour, my…

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