Diary of an Adventure

Harbour Town Adventures

Afternoon run in the sunshine along the red brick road next to the estuary. Passed a bunch of picnics, with holiday makers out reading in between watching the waters of the estuary. Sun perfectly positioned. Wind, holding its breath. Immaculate.

On the easel, a horse powers from the canvas. A strong vertical composition, full of youthful exuberance. Kids at play in Nieu-Bethesda.

I can’t paint horses without a reference to Sir Alfred J Munnings. His paintings filled with free brushstrokes and great blobs of paint. Less technique, than his inability to judge distance between canvas and brush as a result of an eye injury that left him blind in one eye. “What are pictures for?” he asked. “To fill a man’s soul with admiration and sheer joy, not to bewilder and daze him.”

‘God’s little creatures’, the Figtree Blue butterfly in the garden at Ouland Royale, our lunch stop with Mum and Jenny on a glorious day. They were happy to accommodate my diabetic eating quirks, modifying their tzatziki lamb dish and adding extra avo at no additional charge! (The dressing was a tad sweetish for my taste) Chef Wilja orchestrates her dishes at the long table in the kitchen, conjuring magical dishes that have quirky twists.

My throat a scratchy mess. Not impressed. Extra grumpy.

Diary of an Adventure

Harbour Town Adventures

Streets full of athletes as the Oyster festival gets underway. Days of sunshine between the storms ensuring challenging conditions without mayhem. Magnificent beach run for the Featherbed trail run. My bum a tad unhappy after the hills.

World peace must contain a distillation of good friends, laughter, the aroma of 3-day ox-tail dinner in the apartment, with a healthy jolt of good jazz and a smidgen of fabulous 3-Graces and Radford-Dale, simmered over the fire and tempered by the rain. Terry’s magic.

‘Angel Shadows and Sunbeams’. Oil on canvas 1,5mx1,0m. Nieu-Bethesda. Shadows from the ‘Owl House’ sculpture garden and the sun motive from the windows in the house woven into a typical street scene of a typical small Karoo town.

An underpainting of Naples Yellow. Peach tones, a mixture of Indian yellow and Quinacridone Rose. Permanent Magenta and Ultramarine Blue, the purple shades with the grey, a mix of Cobalt Blue and Burnt Sienna. Lemon Yellow and Cobalt Blue for the green. Cadmium Yellow medium and Turquoise with a splashes of Raw Sienna and Cerulean Blue.

Hopefully, collectors who receive my paintings from the couriers are as thrilled as I was to get the book I ordered, wrapped in brown paper. ‘84 Charring Cross Road’ special.

Reading the list of Van Gogh’s colour demands from his brother, Theo, a tad intimidating as I wind down my paint supplies. Some of which I have had far too long and I become increasingly concerned that they will become hard and useless. Fabulous Provençal colours that haven’t been used. Scandalous!

‘My dear Theo,

Am obliged to write to you as I’m sending you an order for colours which, if you place it with Tasset & Lhote, rue Fontaine,1 you’ll do well — since they know me — to tell them that I expect a discount at least equivalent to the cost of carriage’


Urgent

10 Silver white large tubes

6 Veronese Green double tubes

3 Lemon chrome yellow

3 No2 chrome yellow double tubes

1 No3 chrome yellow

1 Vermilion double tube

3 Geranium lake, small tube

6 Ordinary lake

3 Prussian Blue

4 Emerald green