Delphiniums Oil on Canvas 60cmx50cm A wonderful early evening at Juba Bridge next to the Nile, with the team. We managed to secure a spot next to the water, which is in flood after the rains. It didn't seem to phase a fishermen, who stood nonchalantly in his dugout, casting his net. Almost a cliche with the setting sun throwing the cloud formations into billowing
Delphiniums Oil on Canvas 60cmx50cm At the Bishops residence in Viviers, beds of delphs in harmony with the pale stone walls. I will need to see what it looks like during the day as I finished it under the lights.
Walled City Oil on Canvas 60cmx30cm (Available) The old city of Viviers, the pale walls iridescent in the early evening of summer. On my jog around the UN House circuit, the cloud formation above Rock City hills, displayed the limitations of the sky I painted. In a friendly sort of, this is the creator, sort of way. Being in France, in summer, with the sunflowers out was
The cycle in the Village has turned, and we have fresh table cloths - red - at the Patisserie where we have our morning coffee and more-ish croissants. The baker greets us as he leaves with his baskets of baguettes and we (Hesta, Terry and Kirsten, that is) are invited for cafe at the Chateau Bar. The team that vacuums the piles of
Magic Garden Charcoal and Acrylic on paper 29cmx23cm Our cottage in Viviers-sur-Rhône I used the charcoal as an accent to keep the colors clean. Better.
Viviers - Rhône-Alpes Belle maison avec jardin The green gate is sandwiched between the theater and a nondescript corner that leads up the hill through the old town. Butterflies flit through the garden of shadows, the house being swallowed in wisteria. Hammocks, the indicator of afternoons with bubbles and wine. Barking dogs, music, and stories. Silver bangles 'well behaved women, seldom make history', percussion to
Patisserie, Viviers. Charcoal and Acrylic on paper 10x14cm No spray to settle the charcoal, so messy colours. My worst The croissants are stunning!
Heading for Viviers, a small walled city in the South of France. As my oil paints are not suitable for travel, I will continue with my charcoal and acrylic illustrations. In the world of the Impressionists, I have expanded my acrylic palette from the raw seine e and white I have been using to include the colour a of the Impressionists. Paul Signac,