Village Outskirts II

No fuzzy middle ground here Robert. An unusual viewpoint coupled with classic composition makes for a beautiful painting. I like how the fences converge and draw the viewer to the cottages. There's interest above the cottages in the sky as well and nice spots of colour throughout the scene so it's not overly green.

I remember this well and I think I made a comment at the time, and how time flies. The frame suits it well.

It's a lovely painting Robert.

Unmistakably a Robert Jones. I like it very much.

It is a great piece Robert, but the frame does'nt help, sorry.

I remember your last posting of this, I liked it then and I still like it...and I ask myself, why can't I paint like this.

Some like gold frames, Derek - I know it is a little on the busy side for this picture - some don't: I have a weakness for them; but my frames are like my principles - if you don't like them, I have others.

Lovely fresh palette Robert but I would like to see an inner frame to separate it from the outer and, like Dennis, I'm not a fan of the ornate frame. Lovely painting however.

Yes, I can see it with a wider, lighter frame - at the moment it's on my wall at home, where it only has to please me; but this is, interestingly or otherwise, why I'm not keen on sealing paintings irrevocably into frames, and why I wickedly deliberately broke the rules of an exhibition I was in, where they expected you to have tape binding the back of the picture, backing boards etc... Bugger that for a game of skittles - my frames are interchangeable, and I'd much prefer it if customers chose and bought their own, because tastes in these things vary and mine are very personal to me. The ones I just hate are tray frames, where you have to either screw or glue the painting into them: I don't like the look anyway, but it's murder to change the frame if someone doesn't want it.

Dead right mate I agree. Have just picked up a framing job today but we chose it and my wife is thrilled as it was a present. A small white slip inside the moinlding just did the trick.

Stunning, Robert - love the composition and dynamism of the piece.

I think I commented on this some time in the dim and distant. One of those I want to have a walk into. Not my immediate choice of frame Robert , burt each to their own. As you know I am a plain and simple lass.

I, on the other hand, am one of nature's exotics. Left to myself, I'd frame everything in dirty great big ormolu frames, dripping with gilt and heavy swags of grapes. It's a vice, I know..... Ta for all comments, and yes Sylvia, you did indeed comment first time round - this is a much better photograph of the painting, but I am beginning to wish I'd left the frame off.......

You did all notice the longjohns on the washing line, I hope. My touch of contemporary reality - one is on the cutting edge, you realize....

Hello! I am one of those annoying voyeurs on the forum. I am not on it, I look with interest, but I felt compelled to add something to the question of artistry and hyper realism etc. Your mention of the Daphne interview lead me to what's coming next in the Artists mag. I saw Winston Oh. I much prefer our Rupert, the bringer of such wonderful watercolours. To me that is artistry.

Rupert's paintings are much nearer to what we actually see: the trouble with hyperrealism is that it fails to direct the eye in any way at all; everything is very exactly rendered, but we simply don't see the world like that, we home in on particular objects and the rest takes second or third or fourth place. So the more realistic a painting is, the less real it actually is: the hyper-realists generally fail to understand this, which is why their paintings so often die the very death in front of us.

Thanks Robert. I hadn't analysed it quite so specifically. However, I agree with you and you have put is so well.