Haysheds at Ensigne, France

Oil on canvas on board, 33 x 43 cm’s

For sale

IMG_4070 m


‘Aerial perspective has nothing to do with line, but concerns tones and colours, by the delicate manipulation of which an artist can suggest infinite distance. (Walter J. Phillips)’

A fairly brisk late autumn Sunday, but fortunately the wind had died down, and it was quite a pleasant afternoon’s painting en plein air in the sunshine. What inspired me to stop and paint at this spot was the panoramic view right to the horizon. Thus, I had to try and get the rendering of the furtherest trees looking a lot further away than the ones in the middle distance, and then subsequently get the closer foliage at my feet looking right as well. There are times when aerial perspective can be used with more effect than others, and this turned out to be one of them.

The Marais Poitevin

Oil on canvas, 30 x 40 cm’s

For sale


“As a painter I am beginning to see more clearly how to work from Nature.. but I still can’t do justice to the intensity unfolding before my eyes.” Paul Cezanne

There is something that lifts a painting when done ‘alls prima’ and directly from the subject, in this case, what is known as the ‘Venice of France’. The Marais Poitevin is a large area of marshland in western France, a remnant of the former Gulf of Poitou. I painted this one over a two hour period, and the light was considerately consistent, and generated a distinct harmony of cool colour to the landscape. As Cezanne points out, there is always way too much going on visually, but you can always try and simplify it a bit, and get it down.