Thursday, 19 November 2015

Lancashire Pennine Gold series Above Clivager oil on canvas 1x1metre by Rob Miller Lancashire Artist

Lancashire Gold Burnley Oil On Canvas 1x1 metre 
Lancashire Pennine Gold Above Clivager Burnley
1 metre x 1 metre, media is oil with charcoal on canvas. 

I like this painting and so I should because I've been painting it for about five years on and off. Its currently, well for the past year, hanging on the Falcon Mill Gallery Wall next to the entrance door where its undergone at least two transformations. Available to a good home, viewing at the Picture House Padiham.

Monday, 26 October 2015

Solomons Temple Farm, Brinscall. Oil painting by Rob Miller

Solomons Temple Farm Oil Painting

This is a re worked oil painting of Solomons Temple Farm across the valley from Brinscall in the West Pennines Moors, I originally took a stance near the farm and painted it some years ago. I wasn't happy with it. I had wanted to capture the sunny day, with a fresh breeze, the rising lark and early spring light that you get in a place like this when the edge of the moors looks directly onto the Lancashire plain and across the silver sea of Morecambe Bay to Cumbria.  My interest in the painting was also renewed after I read the Lost Farms of Brinscall,   by David Clayton.   Walking is the way I get my inspiration for my work and the view and walk across this moor past this farm and onto the 'lonely tree' of Botany Bay Farm from my Brinscall Studio is one of my favorites. I am primarily interested in a visual response to these lost places but I have to admit to a nagging curiosity about the lives of the people who worked and lived there. If your interested in this I can recommend Davids book and a blog site is very informative with some great images. You can see more of my West Pennine works on my web site.

Friday, 9 October 2015

Oil painting Demonstration Hutton Art Society

Demonstration Borrowdale oil on linen paper
Rob Miller
This demonstration focussed on the use of colour and tone to create structure in a Landscape painting. I deliberately chose a composition which was dominated by water and sky so that the brush marks would need to create form.   I also included the use of a variety of paint colour mixes to create a vibrant scene and demonstrated how during successive layers of the work the brush marks become stronger and directional which further enhances.

Many thanks for the good conversations on painting and for the tea and chocolate  biscuits . Rob

Friday, 18 September 2015

Art market at Greenlands Farm "A view from Holme Fell Rob Miller

A view from Holme Fell..part 2 demo at Greenlands Farm
This new paining in oils features a wonderful old stunted Oak tree atop a limestone knoll with the sparkling bay below it. It was one of those blustery squally end of summer days that occur, you could feel autumn in the wind, not that the summers been at all good. I started working on it this week and realised that I'm due to go on Sunday to the  Art Market at Greenlands Farm Sun 10 AMArtonthefarmCarnforth

A view from above Holme across Morecombe bay
work in progress 1000x750
 "A view from above Holme near Lancaster looking down and across Morecombe Bay"
 I  decided to bring the studio to the Farm and continue painting it there in oils the size is 1000x750mm. (Brilliant painting to the cheerful sounds that the sheep and their friends make.) I had a good spot and the gazebo was large enough to get me the easel and a small display of my work which was well received. It only rained once and so I managed to get a couple of hours work  done whilst meeting a lot of nice new people who were mostly locals from the area. There is something challenging about working this way especially if your painting a local view, its almost like a performance which I quite enjoy. Especially as I was painting outside and the canvas become kite like and flew off now and then when a stronger gust rattled down from the higher ground. The Emu's out of all the animals and birds there proved to have more of an interest in my work but preferred pecking at my bag of bird seed to holding a brush and taking their art seriously.

The work now has more shape and colour  to it and an increasing idea of recession and depth. I've also allowed more runs, and texture and painterly nuances thinking that the work will bridge a gap with the Northern Row series which I began a few years ago one piece from this work is at the . Water Street Gallery Todmorden a very pleasant gallery and place to visit.

Wednesday, 2 September 2015

Striding Edge and Buttermere new oil paintings at G1art Gallery Windermere by Rob Miller RSA

Striding Edge Oil on Canvas 100x75cm
Rob Miller Prints available direct from the artist

Buttermere Viewed  from Grasmoor
Oil on canvas 75x100cm
Rob Miller

Delivered to G1art Gallery Windermere yesterday these two larger paintings of the Lake District along with many plein air works amongst others all oozing with colour and topographical detail Please take a look and cghek out my web site for further information coming soon

Friday, 21 August 2015

A painting of Robinwood Cliviger Lancashire by Rob Miller

I love the names in Cliviger, or at least the place below me at the bottom of the gorge. "Robinwood" . This was another Pochade day out in the Cliviger Parish,   Today, I was again above  Cornholme near Mount Pleasant Farm and looking down across the edge of Obadiah Wood. Cliviger is a pleasant, quirky,  hilly place that is both busy and quiet at the same time.  As I painted away the Northern Rail train tooted below me on the Burnley to Todmorden train line which is latticed with the main road, both winding along the valley bottom competing for space with the fast flowing River Calder. Rising above the river and the many bridges are soaring banks of heather clad hills and an eclectic mix of woodland,  pastures and buildings,  all jostling each other for space along the narrow valley floor. I stopped in the edge of a  handkerchief size meadow near Mount Pleasant Farm. What a splendid time I had nestled against a  hedgerow packed with fruit, larks, hawks, Robins and friendly squirrels chattering or soaring through their day.

Wednesday, 29 July 2015

Sunshine on the road to Cartmel

The road to Cartmel oil on Canavs 30x30cm Rob Miller
This piece on of the small 30x30 oils exploring the south Lakeland./Cumbria area. Cartmel and its sourands are a lush corner of the world. Well worth a visit.

Friday, 24 July 2015

Morecambe Bay distant Fells Painting Rob Miller RSA

Working my way back to winter, well that's what it felt like  to me. I was standing at my easel freezing and it was July? I ask you how good is that? Not good,  did I hear you say? Having returned from a very hot Portuguese Alentajo the cool of the rain and the wind whipped sands felt fresh against my face. Here is a painting in oils of the view across Morecambe Bay from near Bolton Le Sands.

Lancashire's Distant Fells The Lake District from Morecambe Bay
Oil on Board 

Wednesday, 8 July 2015

Ancient Olives of the Alentejo Portugal watercolour painting by Rob Miller

Ancient Olive Alentejo 1 watercolour on paper 
The Alentejo sun really blasted itself everywhere this day, 38C (sounds like a bra size lol, ) even the shadows of this small farms Olive grove felt hot and breathless especially on this, the south facing slope. The owner farmer, after he had told me to leave his premises then relented once he had satisfied himself that I wasn't Romany,  told me that these trees were all hand cared for by himself and are reputed to be 300 years plus old, this means you get the best of age and of the new growth  plus carefull tending. In this heat how do they do it? It must be olive love.  I'm looking at showing this work plus my Iceland work  at the new incite art show please let me know if you can attend.

21 August - 6 September 2015, 9am-5.30pm  
The Old Parsonage, Stenner Lane, Didsbury, Manchester M20 2RQ. 

Monday, 29 June 2015

Archaeology paint and the Alentejo Montado Rob Miller and Manuel Casa Branca update

Over a 7 day period I worked  alongside Manuel Casa Branca making an exploration of the Megalithic objects found in an amazing profundity around the City of Mora.  

We made a day of visits to selected megalithic sites guided by Antonio from the culture section of Mora City Council. Antonia spent his formative years living and playing amongst  the Dolmen, living in a casa rural with his parents.  It was a privilege to get such a knowledgeable and personal guide who knew the area and history so well.  Antonio described the human history, geography and fluviology of the area  very well. Inspiring, Manuel,  Gracia and myself  to quickly sketch into our books the main attributes of the site. The two main sites we visited were the Dolmen an ancient burial site Anta Da Lapeira and the Cromlech at Fontainhas. 

 As we worked the thought that "Its not an easy task to paint megaliths" reoccurred in my mind. In reality  they are merely simple cigar shaped obelisks  composed into basic patters of semi circles or lines,  Onto these simple structures we attach 3000-4000 years of history and fables. I see my task as a painter, to focus on what I see in a moment. But I also felt that I needed to move slightly away from my normal work to a more exploratory one. The explorartion started on the internet, reading academic writings on the megaliths by archaeologists and geographers a well as looking at their drawings, plans of the sites and maps of Alentejo. Some time was then spent on gathering materials together and planning the time available. We also discussed the venue in Mora were we would show our explorations. The venue is quite a large room with two significant walls 7 metres wide and two other longer walls which are affected by windows, pillars and doors.

Initially we had arranged a house in Mora or should I say some rooms but the current heat each day of around 34-38 C  made the place sadly unusable. So we resorted to plan B, day visits and the work to be carried out in 9Ocre Gallery in Montimor some 40 minutes drive away from the principle megaliths. 

As my exploration moved on I began to feel the need to portray the megaliths within the landscape or as a part of the landscape rather than as an isolated object or as a study of the stones texture. Time was short and there was no way that I could complete any work on canvas that would be of the right quality, So Manuel and I hunted around a few shops in Evora and in the end we bought some rolls of screenpaper and brown paper. At this point our individual interpretations of the megaliths moved their own ways with Manuel giving a considered look at the complex mark making of the megalithic period along with the structure and texture of the stones. After looking at the stones and making some sketches based around the archaeological understanding of the stones my focus started to include the archaeologists themselves ad the way that many of the megaliths in the Alentejo had been painstakingly discovered and resurrected. in the last 200 years. 

Manuel Casa Branca 1

Manuel Casa Branca 2

Finally I hit on the idea of two 1 metre by 5 metres line drawings which I've pasted below. The two works are quite minimal but I hope that they demonstrate in a purely visual way each megalith in its environment, uncluttered by preconceptions. The two pieces are designed to fill the white wall at either end of the cultural centre and compliment Manuels work.

These pieces will be shown at the cultural centre in Mora this Friday 10th July 2015 at 10am. Hopefully Manuel will take some images of the drawings on the wall and I can blog them here.

Fontainhas Cromlech

Initial drawings and recordings on brown paper with ink, watercolour and charcoal fixed with varnish

Cromlech Fontainhas Mora Alentejo acrylic on brown papr Rob Miller
 270 x 100cm

Fontainhas sketchbook Rob Miller

chrcoal acrylics on brown paper fixed with varnish

Two,  metre x 5 metre charcoal drawings with some pencil of the cromlech and the dolmen Ante Da Lapeira that we visited with Antonio and Gracia

Monday, 22 June 2015

Iceland arctic watercolour paintings by Rob Miller FRSA

Flateyjardalu Husavik watercolour on 300lb paper
28.5cm x 19cm
Latrastrand North Iceland watercolour 18.5 x 14.3 cm

We spent a number of days sailing on a schooner from North Sailing across the ffiord from Husavik to Flatey Grimsey and then down the long loch past Hroifs-sker to Hrisey. The wind came cold blown with frozen rain except for two days of sunshine and blue skies. I managed a number of drawings and a few watercolours once we had landed. As always the salt spray did little for the sketch book which would not dry at all, so different from the en plein air of Spain and Portugal  so difficult to cope with when the scenes fly past in spectacular sequences with the sketch book totally wet.

Saturday, 9 May 2015

Lingholm Collection Rob Miller RSA

Lingholm Derwentwater Fells Triptych North
Rob Miller  

Lingholm Derwentwater Fells Triptych South
Rob Miller 
Prints  available from the Lingholm Kitchen on the  The Lingholm Estate Portinscale Keswick

Friday, 8 May 2015

Ted & Jane Hamlyn Paintings and Ceramics.

Ted and Jane Hamlyns 2015 summer show is not to be missed, it sings of pure quality with excellent paintings and amazing ceramics by two artists with a wealth of experience. I thoroughly recommend that you visit the Summer Show of these top Northern, Yorkshire based artists. Rob

Sunday, 3 May 2015

Ribble Valley springtime painting in progress by Rob Miller RSA

Ribble Valley springtime, a view from Longridge Fells' Kemple End over to Pendle. 

All kinds of pastoral music themes washed over me as I painted this and apart from remembered and learnt classical sounds I still recall the honk of the return of the geese flying close by, the bark of a fox, chatter birdlife and rumbling distant farming sounds amid  the excited  new buzz of this years bees. Does sound, I asked myself really play such an important role in my work. I know I require a stillness of mind when I begin to paint outdoors and in?  Is this a part of this the sound of life or remembered music? Is this my best avenue of tuning in and as a visual artist how does it relate to my  'visual' agenda.    All this started me looking at the interrelation of all the arts and landscape so of late I've been looking through all kinds of papers at the developing work by musicians and composers on landscape and music such as  Does anyone know of any Lancashire musicians into this area of composition and recital?

Friday, 10 April 2015

The Lingholm Estate Derwentwater Fells South Triptych Rob Miller RSA

The Lingholm Estate Derwentwater Fells South Triptych
Sergeants Crag and Goats Crag waiting to go on the wall.

The Lingholm Estate Derwentwater Fells Triptych. South. In the Stone room resting against the Oak Panalling are the two side pieces of the triptych. Painted using Pip Seymour acrylics on Harris-Moore Canvases.  On the left Sergeants Crag above High Lodore and on the right Goats Crag amongst others below High Spy. They are waiting to go up either side of The Jaws of Borrowdale which probably represents the most famous of Lake District Views. Whilst developing ideas for the piece I delved into the painters history of Derwentwater and its influence on Gainsborough, Constable, Turner and many others such as Wordsworth and Ruskin. Whilst working on the canvas  in Lingholm's Chapel my readings took me on a kind of sublime quest. As I painted I imagined Constable stood in different parts of my painting or view, centuries ago, exploring his  own view in all weather. What stimulus took them to the shores of this lake. I took to going for walks after working for 4 or 5 hours on a part of the canvas and tried to explore how my work inherits from the tradition made by Turner and Constables footsteps. I  produced a whole series of  smaller drawings and pochades en plein air inside the pieces.

Sunday, 5 April 2015

Blackshaw Head Pennine

Blackshaw Head Oil on Board 24x30cm Rob Miller
Easter on the high Pennine near Blackshaw Head and the Bride Stones. I love this time of the year when the low sun gets stronger and sends light shooting and spraying through the clouds.

Friday, 20 March 2015

Farm above Todmorden painting by Rob Miller

Farm above Todmorden (detail) Oil on board

I'm continuing to work on the Lingholm collection and managing to get out into the earthy Pennines for short breaks when the weathers good. Here's a detail of a painting "farm above Todmorden

Thursday, 12 March 2015

Falcon Crag painting by Rob Miller

Falcon Crag oil on board 24 x 30cm
I started this painting moored just of  Barrow Beck whilst aboard  Lingholm 1 the Estates rowing boat. The season was  late summer on a day with plenty of  movement. I was driven  off  down wind all the time,  eventually the  rain squalls got worse and stuffing everything away,  I rowed the long way back against the wind to Lingholm. I returned to the painting yesterday having found it in a pile of work. I enjoyed completing it,  working away full of good memories of a great lake and view.

Tuesday, 10 March 2015

Brrr winter is still here Painting of Lingholms Derwentwater shore, by Rob Miller

Winter is still here Lingholm Boathouse March 24x30cm oil on board
Brrrrrrrrrrrrr I thought after the weekend that spring had come but today the winter came back with a bite. I loved it down by the old boat house huddled in its lee, a place of the past and  a good place to consider the future.This is an oil on board

Monday, 23 February 2015

Landscape paintings of the Alantej biomass and the Hebrides

See an English artists view of the   landscape of the Portuguese Alentaj  alongside the wild Hebrides West Scotland. The work by Rob Miller British artist are on  show at Parmen, Calle San Juan. The Club is located in the centre of the historic city of Badajoz the capital of Extremadura,  Espania.   The show dates are 22nd February to the 6th April 2015.

Many thanks to Gloria Moran Mayo artista plastica in Badajoz and to Manuel Casa Branca Montimor O Novo

Monday, 16 February 2015

Catbells in winter viewed from the Lingholm Estate, Painting by Rob Miller

Catbells in winter viewed from the  Lingholm Estate
oil on canvas board 30x40cm
Snow brings out the best winter challenge for a painter, the hunt for semi tones and vague intonations of colour, the flattening and softening of once hard shapes in the landscape, create a multitude of challenges. I think this ones okay, but I'm never sure whether I should have left it alone at an earlier time in its development. Its been interesting to paint similar views each day from the same gardens in Lingholm the view is the same but what I see each day has been so different.

Monday, 26 January 2015

The Lingholm Estate A warm Autumn dawn over the lake to Blencathra Rob Miller

Lingholm A warm Autumn dawn over the lake to Blencathra  Rob Miller
20x30 aprox oil on board

"Visually, Skiddaw has many facets and faces, its massif constantly diffused, changing according to the light from ethereal to a brooding dark. The best times to catch the true nature of the crags and slopes was either early morning or late evening when the transient forms and shadows were created by the sunlight flickering across the wet pale stones of the shattered, steep Grey crag.

During the development of the Skiddaw work, I formed a habit of taking a walk each morning at dawn or shortly after in order to record this; The lake shore of the Derwent water at Lingholm Estate gives great views of not only Skiddaw but also of his steep craggy neighbour.  Blencathra has  a similar light show that is equally reflected in the lake. Here he is painted en plein air on an unusually mild Autumn dawn." Rob Miller Lingholm Diary

Thursday, 22 January 2015

Lingholm Derwent Water Fells Paintings by Rob Miller FRSA

I've posted a range of the paintings that I have been doing, all focussed on the same area of Lingholm Portinscale. Its been an interesting experience , having such a large project. But, I felt that due to the size of the canvas I needed to have some lived experience so I enjoyed actually walking into the painting as it where, doing some small en plein air work either watercolour or oils on board.. Eventually I want to map these smaller works onto the large canvas's.