PROJECT
TAKE T WO
SIÂN DUDLEY’S
KINGFISHER BLUES
FINDING THE ANGLE
Although I have no inclination to
paint in the style of Constable, his
steadfastness in standing up to his
contemporaries and painting what he
wanted to paint is liberating. My
response to the site of The Hay Wain
was very personal, as I was inspired
by the man rather than his painting.
The biggest step was allowing myself
to make a painting for me, not an
anticipated audience.
My inspiration was a kingfisher, an
elusive resident of Flatford who I like
to think is a descendant of the one
Constable painted in The Mill Stream.
Catching sight of this tiny bird always
thrills me; he doesn’t feel the same
about me, however, and hides.
As disappointing as his elusiveness
is, this little bird has helped me to
see the setting of The Hay Wain
through my own eyes.
I realised it was not the bird that
interests me so much as the exciting
colour of its plumage; vibrant, rich
blues, complimented with brilliant
orange. The colours inspire me.
I began to see the bricks in the
chimney on Willy Lott’s House in
exaggerated hues of orange and
blue. I saw blues in the winter trees,
and touches of orange in the few
remaining leaves.CREATING THE PAINTING
I decided on a watercolour palette
including Phthalo Blue, Cobalt Blue
and Daniel Smith’s Ultramarine Blue,
which I find brighter and more
granulating than other makes.
Burnt Sienna would help to make
rich darks. For the brilliant flashes of
orange, I chose Schmincke’s vibrant
Transparent Orange.
To me this scene was about more
than colour. Just as Constable wanted
to incorporate daily life into his
landscapes, I wanted the painting to
evoke my memories of being there,
watching for the kingfisher. I scanned
the scene for colour, fleetingly noting
detail before it blurs slightly in my
peripheral vision. My memories
were as important a reference as
photographs and sketches.
At times I worked wet-into-wet,
taking care with timing to allow
cauliflowers and granulation to
develop (the latter encouraged
with the addition of a granulation
medium). A hint at precision was
required for certain elements,
including the chimney and particular
tree branches, as I wanted the scene
to be recognisable. Simultaneously a
degree of imprecision was required to
avoid adding details I looked at but
did not see.
Rob and Siân regularly teach Field
Studies Council art courses at Flatford
Mill, Suffolk. Their latest book, Painting
Trees, is published by Crowood Press.
http://www.moortoseaarts.co.ukTOP LEFT Siân
Dudley, Kingfisher
Blues, watercolour
on paper, 36x29cmLEFT Siân Dudley,
Kingfisher Blues
(detail in progress)
“I indicated the
kingfisher’s
fleeting presence
with flashes of
blue and orange.
The granulation
medium created a
bark-like texture.”