Myles Murphy Artist

Down to the Sea

2010-10-26T14:59:00.002-04:00

Second completed painting in my Aran Islands series.
Oil on Stretched Cotton 18x24
Depicts fishermen hastening to their fleet of currachs to go out to hunt a shoal of basking sharks. A century or so back, these creatures were a vital source for lamp oil from the shark liver. More so the liver oil than the meat, I read in my research.
As before, I am trying to paint in the style of Irish artist, Paul Henry.

Studio in the Woods, Brown County

2010-09-12T12:30:00.002-04:00

22nd Annual Great Outdoor Art Contest, T.C. Steele Historic Site, September 11, 2010

16x20 Oil on Stretched Cotton.

This was an interesting day, unusual in regard to lighting conditions, which were overcast with rain and intermittent fog (or clouds) rolling through.

Everything was wet all the time, including my canvas, pallette and brushes (and me)-but I still had great fun!

In this work, I know I failed to capture that atmosphere. All values should have been more subdued. This effort is too "colorized".

I hope I live to 110 years or so, as, eventually, I will get it right.

2010-08-24T07:32:00.003-04:00

I have tried to cultivate the habit of taking pictures a lot during the painting process. I actually found it helpful, later. Sometimes, weeks after, I will prepare a self critique, as a Word document, with phases of the process inserted. The critique is a way of keeping oneself honest.

Plein Air Franklin Farm

2010-08-19T20:32:00.004-04:00

Finished Painting
9x12 Oil on Raymar Panel

Plein Air Time 100 Minutes
Studio Touchup Time 30 Minutes

Work in Progress # 3

Trying to control hard and soft edges.

Work in Progress # 2

I was anxious to show the lower sky haze.

Work in Progress # 1

Composition Sketch

Close to lens view, but wanted to include some cornfield

and distant trees on right

My Camera View

Spent over one hour meandering around Franklin back roads,

trying to find the right scene with a good safe pull over spot, and enough

seclusion. Very hot, sultry conditions (temperature around 86 F)-needed to

paint fast.

Heading in a Direction

2010-08-07T17:20:00.003-04:00

Storm Watch

Launching the Currach

My first efforts at oil painting occurred in my early 'teens. The paints and other materials were a gift from one of my uncles and, for a couple of years, without any tutoring, I pottered about learning as best I could, how to use the paints. At the time, I was given a biography of Paul Henry, who was at that time, the early 'fifties, one of Ireland's most gifted and prominent artists.

I copied a considerable number of the color plates in that book, one or two of which have survived in my family home.

Recently, as much out of curiosity as nostalgia, I decided to see how I would perform/react/fare-whatever word suits best-to the experience now of copying one of his pieces. I chose this painting, because of the fluid, dynamic and dramatic position of the figures and thoroughly enjoyed the initial drawing of the figures, which I did very quickly. In fact, in order to convey the fluid movement, it was essential to draw quickly (with the brush).

I was not concerned with making a faithful copy-just conveying the general mood. The big problem I had was finding a good color copy. Initially what I found was from an on line source, but it left me feeling that the color reproduction was far from true. From there, I investigated further and found a new publication in the central library, downtown Indianapolis, which showed different colors. So.... I sort of compromised and towards the end, flew on my own.

Here are the two side by side. My copy is the second image (obviously, I guess).

This effort led to more research into finding photos of West of Ireland fishermen and Currachs. For the un-informed, a Currach is an ancient Celtic No Keel wooden fishing boat, formerly covered in animal skins (in tarred canvas these days). These boats, extremely lightweight and buoyant, are very effective in the rough Atlantic on the west coast, but hard to handle-usually with three or four oarsmen. Currach images in Irish painting scenes are somewhat cliched, but I have never done one. Now I am looking further for composing more paintings.

In the meantime....going, as I said, In a Direction, I looked at Patrick Flaherty's famous documentary Man of Aran (on the same Currach quest), and from that, created the painting shown, which I am calling Storm Watch. It is supposed to convey the anxious search by the boy in the film, looking out to sea for the return of his father in a currach. View the movie on YouTube.

Back to Basics

2010-06-08T10:04:00.000-04:00

Yesterday, following my stumbling and bumbling around the Noblesville area, discovering that I am not translating what I know onto canvas, I resolved to set aside a portion of my time to re-learning basics. The primary aim is to look at light and shadow, i.e. Values. Towards this end, I intend to do some plein air value studies.

I was quite surprised when, same day, I came across the Blog of an English artist, Paul Foxton, who describes a similar pilgrimage he has made to get back long forgotten skills (in his case-not mine). In my case, most of these skills are work-in-progress.

Anyway, I thoroughly recommend visiting the following links:

Learning to See Blog

http://www.learning-to-see.co.uk/limited-palette

Foxton Website

http://www.paul-foxton-paintings.co.uk/

Potter's Bridge, Noblesville

2010-06-08T09:41:00.000-04:00

Last week, Thursday through Saturday, I participated in the Noblesville HCAA Second Annual Paint Out. This event, both in its first and second year, attracted most of the best Indiana artists.

For me, aside from the pleasure of meeting with and talking to, many artists of all standards of development, the two painting days were a struggle. I had not painted plein air since October 2009 and was shocked (why-I don't know) at not being "at speed" when trying to create art. The worst thing was my inability to translate the values I was observing into paint on the canvas.

I made three paintings and the one shown here, inadequate though it may be, was the best (and first) painting I created. This one, I entered for the juried competition. As usual for me, on the day when each artist sets up his or her work for judging, a cold dose of reality hit home when I viewed my work alongside many beautiful paintings. However, it is all a learning process, including closely examining other people's work to see how they see and solve.

I was delighted that Jerry Points won Best of Show, with a beautiful painting. I have not yet looked, but I suspect (and hope) Jerry displays it on his Blog.

I am making one more Post after this, today, which may be of interest to any reader.

Three other sales

2010-05-18T10:59:00.000-04:00

From Top:

Red Barn at Yellowwood State Park

The Long Walk, Galway Quay (this is the Watercolor version-I never photographed the Oil version)

Old Brickworks, Manor Kilbride, Wicklow (this sale was an inkjet print tabletop framed)

Nashville Barn

2010-05-18T10:53:00.000-04:00

Fifth Sale from Broad Ripple

This is a plein air work made near the T. C. Steele Historical Site in Brown County, Indiana

The Hook, Wexford

2010-05-18T10:36:00.000-04:00

My Fourth Broad Ripple Sale

A painting I enjoyed creating, being a strong reminder of a really enjoyable time spent in south east Ireland with one of my brothers, now deceased, who was an angling fanatic (some of it infected me but is now virtually usurped by a love of painting. This is a region where we shore fished for flounder and bass.

On the Rocks at Doolin

2010-05-18T09:54:00.000-04:00

My third Sale at Broad Ripple.

During a one week painting workshop in Lisdoonvara, County Clare, in the south west of Ireland, 2008, Doolin was the most frequent site visited. It is a stimulating place for an artist.

This rock table adjoining the harbor shows, in the middle and far distance, the Cliffs of Moher.

The lady who bought this painting has very strong Irish Traditional Music connections, including at least one visit to Doolin. While classicly trained, she also plays "Irish Fiddle". If she reads this, I apologize, as I am not doing justice to her story.

For those of my viewers (most-I'm sure), Doolin is the "center of the universe" in regard to Traditional, in particular for fiddle playing and has generated many of the greatest musicians living and dead. In this country (America), it would compare with the heartland region for Bluegrass Music-perhaps Lexington. It is rather interesting actually, if one considers the comparative size of the American Bluegrass region and the strongly Irish and Scottish music influence coming from tiny locations such as Doolin (population around 200!!!).

Doolin is so famous for the music that, in the spring and summer, it is crammed with tourists from all over the world, thirsting for the pub music sessions. One never knows who may turn up to play.

I painted there on a workshop for a week in 2008. The scenery is just superb and an artist's paradise.

Rosscarbery Makeover

2010-05-18T09:32:00.000-04:00

Broad Ripple Art Fair Art Center Student Sale 2010

My second sale.

Whatcha Lookin At?

2010-05-18T09:02:00.000-04:00

Broad Ripple Art Fair Art Center Student Show 2010

This is the first of five paintings, I am pleased to say, that were sold to new buyers, and, with one exception, I had the pleasure of conversing with each individual. The one exception is the cow painting, which was bought while I was away helping at another sales area. I have to say that this picture has always pleased viewers. It was a pleasure to paint under the gentle guidance of Susan Mauck in her painting class at the Stutz ArtSpace

My biggest regret from this show, was not establishing any means of contacting any of these buyers in the future. While many viewers took business and postcards away from my booth, during all the pressure of preparation for this exhibit, I omitted to attach to the back of many of my painting, my usual 4x6 marketing card, with a thumbnail of the painting, title, size and description, plus my contact information.

It is all a learning experience (including creating the art-I am glad to say).

The Babysitter

2010-04-20T21:32:00.000-04:00

This is the third painting of a series By the Water. I have many more compositions in mind.

This creation is a composite, actually, the child being from one photograph I took on Sandymount Strand, Dublin and the dog (and sea and shore) from another scene I shot several years earlier at Rosslare Strand, County Wexford, Ireland.

One interesting (and unforseen) struggle I had was caused by the color proximity between the sand and the flesh tones of the little girl. I'm not sure if I solved the problem to my satisfaction, but, at least, a lesson was learned in regard to planning the color composition, or seeing the problem beforehand (I think!!!).

Sight and Sound of Summer

2009-12-07T20:12:00.000-05:00

The work of John Morris continues to attract me. see my Blog entry July 22, 2009.

His latest newsletter shows some great beach paintings. Go to http://johnmorrisartist.com/

With the recent and continuing cold, rain and flooding in Ireland, and the current northern USA typical winter, looking at these summer scenes helps one's spirit.

Very Sound Stuff, John. I am just realizing that my creations may be inspired by thoughts of summer also.

The Bait Diggers

2009-11-29T20:17:00.000-05:00

This studio painting is one I intended to pair with New Friends. It also is oil on stretched cotton 18x24. I entered both for the annual juried Indianapolis Art Center Student Show 2009.

The jury accepted this one but not the other. I was formally notified that this painting won an award, but will not know what until Friday evening December 4.

I was honestly disappointed that both paintings were not accepted, as I believe they compliment one another. I guess this was not apparent to the judges.

New Friends

2009-11-29T17:53:00.000-05:00

That cold winter studio session arrived and this is one of the results. As you can see from my last post showing Be My Friend, got a change of background before becoming the final product New Friends, oil on stretched cotton 18x24.

As I developed the painting, from the study, I felt that it needed more atmosphere than the neutral tidal pebble sand that was actually present when I took my digital pictures. Not sure it worked, but I enjoyed the process. I hope viewers agree

Be My Friend

2009-09-03T13:03:00.001-04:00

This is a quick sketch study Oil on Linen 9x12, as a basis for a larger painting, maybe for a cold winter studio work session.

Created from digital photos taken on a beautiful sunny summer morning sitting on a bench along the promenade at Sandymount Strand, Dublin, in August 2008

John Morris Irish Artist

2009-07-22T15:54:00.000-04:00

Check out John's website. I have viewed his art at Irish galleries and, as is usually the case, the paintings are better than the web images. Nevertheless, the site captures the essence of his work. There is a nostalgic aspect to his beach scenes, and yet, they are a never changing scene. These could be from my youth even though they are current images. The sound of the sea and the breeze and the calls of children are conjured up for me, as I look at John's paintings.

John says "My paintings are about light and the effects of light on objects such as figures, water landscapes; they are about minute colour changes"

The site is http://johnmorrisartist.com/

On the Road to Dingle

2009-07-22T09:56:00.000-04:00

This is a studio painting (oil 9x12 on linen).

Some of the mountain chains on the Dingle Peninsula have no official name. I think that this is Stradbally Mountain, part of a long spine down the center of the peninsula, on the way towards Conor Pass.

The painting is from a visit home to my daughter, living in Tralee, from photographs taken on the move while driving to Dingle.

2009-07-22T09:45:00.000-04:00

This is me (well-someone-bad likeness) at work in August 2008 on the rocky shoreline at Doolin, Couty Clare, Ireland.

This is a magnificent place to paint, provided you securely anchor everything down against strong, sometimes gale force winds blowing in off the Atlantic. The chances of a good soaking are also high, but then, shortly afterwards, out will come the sun and dry you off. Actually the stormy skies make for more stimulating images, anyway.

The famous Cliffs of Moher are in the background, by the way.

Doolin Cows

2009-07-03T22:33:00.000-04:00

These cows appeared to me to be waiting for their chance at the Big Time as perfect artist's models.

2009-07-03T22:04:00.000-04:00

This is my effort for the recent (First) Noblesville Paintout, held 4th through 6th June. The event was a great success and very well managed. I enjoyed participating. The overall winner in the oils section was Jerry Smith, whose work I admire.

For my part, I broke all the rules and forgot almost everything of what little I have learned about plein air painting, in my zeal to get this done.

Primary rule is speed. A plein air painter is in trouble if the work is not close to being finished around the three hour mark. As an absolute, six hours to complete ought to be the limit. This does not include, perhaps, some touch up time in the studio.

I started work at my chosen location 9.30 am and worked to 3.30 pm with a half hour break. Bad enough (too long) you might say, but I came back the next morning and spent four more hours before considering the work complete.

Anyway, look at the progression. Needless to say I didn't figure in the prizes or Mentions. Having said that-the main thing is I enjoyed creating the painting and enjoyed the showing on Saturday afternoon. As a bonus, I sold a painting afterwards. That image is also attached-a studio painting Doolin Cows from a visit to Ireland in 2008

2009-07-03T21:51:00.000-04:00

Three stages of a 24"x18" oil painting (cotton on masonite), just completed. This is from a badly judged exposure setting photograph I took in Marlay Park-a very popular 300 acre public park in Rathfarnham, Dublin.

The demise of this great tree fascinated me at the time and, while I have made previous efforts to create a painting from it, this is my most "complete" effort. I had great difficulty with the tonal values because of the over exposure. This difficulty reinforces my belief in plein air painting, when, even if the painting is not a success, there is still authentic color notation from which a studio painting can be created.

Fallen Might-Marlay Park, Dublin, Ireland

2009-07-03T21:39:00.000-04:00

Indianapolis Museum of Art-The Garden Terrace

2009-02-14T22:45:00.000-05:00

These are progressions of a plein air session November 4 2008, under the tutorship of Jerry Points of the Stutz Artists Association. These plein air classes are organized by the Stutz Artspace.

With Jerry's guidance, all participants improved their technique, color management skills and compositional awareness, while still having fun!

Jerry's website is jerrypoints.com and his new blog is jerrypointspaintings.com

2009-02-13T21:54:00.000-05:00

The top three images are of a painting just completed, based upon a plein air sketch, made some forty years back. This and some other sketches and photos will be the subject of a new group of paintings that will go on my website (mylesmurphyartist.com) in the coming weeks.

Sometimes it is hard (for me) to explain exactly what catches my eye, while wandering about enjoying the fresh shoreline environment while looking for painting material. I think, in this case, it was the shape and texture of the breakwater with the lushness of the sand dune looming above.

I had difficulty with values creating this picture and, even now, in its finished state, it does not have the contrast as in the photo taken at the time the sketch was made.

2009-02-13T21:47:00.000-05:00

Rosslare Strand, Wexford, Ireland

2009-02-13T21:21:00.000-05:00

2009-02-13T21:10:00.000-05:00

With great temerity, I am starting this blogspot, being a complete rookie to the process. I guess the whole truth is also that, for my generation (look at the ID photo!), this is not a "natural" process, but something I associate with the generations after mine (two?).

Anyway, here's hoping the process gets easier. Get me in a room with a bunch of artists-especially over a glass of wine-or whatever beverage is at hand, and I am ready for discussion. I hope I get some feedback.

As a start, I am going to post a few recent paintings, with the process as recorded in stages of progress. I will also explain why the piece was created-what attracted me and what problems I experienced in the process.