The story of a painting
My work is inspired by specific places, but also by the history of landscape art as a discipline.
In this case, my painting of St Andrew's, Liverpool was sparked both by the building itself (until recently a ruin, now brought back to life as student housing) and also by an early Victorian topographical engraving of the church when new. My painting riffs on the classic engravers view, adjusting and updating it with changes over the last 180 years or so.
The photos below take you step by step through how the painting was created. The materials are acrylic and a small amount of pastel on a 90cm x 60cm stretched canvas.
St Andrew's when new. Artist unknown
Step One. Its early morning in the studio. The main shapes are sketched out over a canvas prepared with a dark ground. I'm working fast, and at this stage I use an ink pen and a fat decorator's brush and even scratches from my fingers. Establishing the basic sky first allows me to roughly shape the buildings and initial areas of light and dark.
Step Two. At this point I have to decide how light is striking the building. This is an emotional light as much as anything observed in nature, and begins to establish more of their form. The low angled, dying, light of the sun strikes the buildings in unusual ways.
Step Three. A warm light is introduced on the second tower. This ultimately emerges as the focal point of the painting.
Step Four. The background starts to emerge. Cool colours predominate and the Rodney Street pyramid tomb is added in.
Step Five. Windows are added. They gives pops of light and life in the dark flank of the church. I'm toying with the idea of adding some cooler blues here, but decide against it.
Step Six. I start the line work using a brush pen. Working fast and loose, I use my drawing to connects patches of light and colour I have been laying down. It is getting towards the end of the day, and you can see the evening sunlight coming in from the left of the picture.
Step Seven. The foreground is added. My painting is nearing completion but I'm not totally happy with it yet.
Step Eight. Its the next morning. I spend a few hours reworking elements of the painting. Most noticeably the sky, but also increasing contrast in the foreground and horizon detail of the Anglican Cathedral. The painting is now signed and finished.