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10 x 8 in ($40)
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‘One day at Varengeville, I saw a little car arriving in a cloud of dust. Monet gets out of it, looks at the sun, and consults his watch: ‘I’m half an hour late,’ he says, ‘I’ll come back tomorrow .’ Ambroise Vollard I have painted this bridge over the river Aude at Longre on a few occasions, mostly to try and capture the different effects of the light on the scene depending upon the season. This one, as you may suspect, was painted on a bright winter’s day. It was painted ‘all prima’ (in one session), and ‘en plein air’ – ie standing in the paddock next to it in the open air, not from a photo in the studio. This methodology, (provided you can manage it on the day) usually provides a bright and lively piece, and it sure did on this occasion. It’s interesting to record the same scenes under different conditions provided by varying weather and time of day. Claude Monet did it often, with his ‘Haystacks’ series where he painted the haystacks in different light ie winter, summer etc. He also did that with his ‘Cathedrals’ series, painting Cathedrals in various cities. Monet would work tirelessly on his series pictures, carrying several canvases around with him, waiting for the light and the moment to reoccur, so he could continue working on individual paintings, but always felt that ‘I’m never finished with my paintings; the further I get, the more I seek the impossible and the more powerless I feel. ‘ Comforting to know that even Claude had his less than good days.
Print:Giclee on Fine Art Paper
Size:10 W x 8 H x 0.1 D in
Size with Frame:15.25 W x 13.25 H x 1.2 D in
Frame:White
Ready to Hang:Yes
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Art prints are packaged and shipped by our printing partner.
Ships From:Printing facility in California.
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Australia
I’m Jean David, and I am an artist and art teacher. I have had a passion for painting and drawing all my life. These days, I will generally paint and draw anything that will be still enough for long enough to let me! I prefer to paint directly (ie with the actual subject matter in front of me, rather than a photo) either in the studio or out in the elements ‘en plein air’. To me, a well executed drawing or painting (mine or anyone else’s) can convey a truth more eloquently, an emotion or a feeling of human experience more truthfully than any other form of expression. I can still remember the first time I saw a Leonardo drawing in a text book – I was literally transfixed at how the world could be viewed in a different way other than how I had been brought up. To me, the Leonardo drawings were able to get directly to the heart of the matter, and disregard what he could not be bothered to ‘see’. Since my decision to become a full time artist some twenty something years ago, I have tirelessly pursued a goal to be able to just do it better. This has inevitable involved me going through a number of stages and phases, all of which have helped me acquire more experience and skills as I moved forward. It has long been touted that in order for an artist to develop, he/she needs to travel and experience different environments, so the journey is a physical one as well, and my wife (Isix) and I have lived in Australia, England, Wales, The Netherlands , Hong Kong and France, taking in many other countries along the way, including Spain, Portugal, Italy, Scotland, Germany, Croatia, Russia, Sweden, Crete, Fiji, New Caledonia.
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