Wednesday, 13 November 2019

A contemporary painting of Lancashire's Trough of Bowland Artwork for Sale

Winters here Trough of Bowland Lancashire
oil on linen board
40x50cm

I started painting this piece en plein air a couple of years ago and placed it to one side because I was busy with a couple of commissions. There was also a  couple of problems that I had with it. Mostly because I was in part determined to change my palette at the time and see some of Cezanne's greens appear. The subject matter was also an issue.  I was trying to move away from my fixation with old farm buildings gable ends when  set against fields and darker woodland. As well as other natural phenomena that sloped as most of Lancashire's hill country does.  The exception is either the flat of a roof or door lintel are in this case on the painting here the flat line of a distant Stocks Reservoir beyond the lovely village of  Slaidburn and the dark belt of Gisburn Forest in the distance.

I remembered all of my previous thoughts on colour when I was nearly finished. This morning  I had automatically moved towards Olive Green and ultramarine as the main balancing colour once you do that infront of the easel than the choice of yellows and reds becomes easy.

art for sale tel 07841 140562



Wednesday, 30 October 2019

Paintings of the Yorkshire Dales and Pennines "The AC Gallery Leyburn, Skipton, Lancaster takes new work from Rob Miller"


Paintings of the Yorkshire Dales
Beautiful Rob Miller Landscape paintings. 
A mix of acrylic impressions and oil en plain air paintings 30x40cm
to the AC Galleries in Huddersfield, Skipton, Leyburn and Lancaster
in time for Christmas 2019. For more details please contact AC Galleries or Rob Miller on 07841140562
#
Beautiful contemporary Landscapes of the Yorkshire Dales
are ideal for calming the busiest office 


Painting of the winding country road at Bolton Abbey in the  Yorkshire Dales
a part of the Tour Of Yorkshire Bike Race
for sale at ac gallerie
40x30cm acrylics

Painting of Bolton Priory Yorkshire Dales
situated close to Skipton and Ilkley
 for sale at ac gallerie
40x30 acrylics

A painting of the crag "Cludders Stack"  Widdop
in the Yorkshire Pennines above Hebden Bridge
for sale at ac gallerie
40x30cm oils

A peaceful and tranquil impressionist painting of the beautiful
peaceful country  Bishop Dale in the Yorkshire Dales
for sale at ac gallerie
40x30 cm acrylics

A gentle rural painting of light drifting through the trees
onto aa farm lane outside Littendale entitled
Littendale Dale Barn
for sale at ac galleries
40x30cm acrylics 

A lonely field Barn in Littendale makes a peaceful corner
and stop for ramblers and walkers titled Littendale field Barn
for sale at ac galleries
40x30cm acrylics

A spring day and clouds drifting endlessly over a ancient barn
makes a relaxing painting for home or office Littendale field barn and track
for sale at ac gallerie
40x30cm acrylics



A painting of a pennine farm braving the elements above Airedale
on Rombalds Moor
for sale at ac gallerie
40x30 oil on canvas

A painting of the view of Bronte from above Pondeen in Bronte
Country gives a focul point to any home or office wall
40x30cm for sale at ac gallerie

A colorful but calming scene of the River Wharfe in Autumn
burbling and gushing down to Bolton Priory.
A focul point for any home or office.
40x30cm acrylics
for sale at ac gallerie

The heart of England a charming rural scene in Pendle Country
"The Rigg of England"
40x30cm oils on canvas
for sale at ac gallerie

Oil and Acrylic Paintings are for sale sized 40x30cm from £350 each
further details 
07841 140562
robartmiller@gmail.com

Wednesday, 16 October 2019

Rob Miller Studio Gallery at Falcon Mill Halliwell Bolton open by arrangement tel 07841140562

A painting of Blackpool's North Shore 

OPEN STUDIO Winter 2019
At least 3 artists are having a "Studio Sale" at this event....you may find a bargain!

Eleven artists have studios at FaMAS and our guest artist this winter is Sam Glassbrook. Take the tour at the link https://petemarshart.co.uk/falcon-mill/ but you will have to physically attend to see what's currently on show! 
Exhibiting artists: Dino Oddi, John Mulraney, Warren Green, Dennis Dodds, Pete Marsh, Sarah Ozanne, Chris Rivers, Jasmine Lancaster, Shonagh Short, Jane Orange, Rob Miller and of course our guest artist Sam Glassbrook.

Preview
Friday 1st November 2019 7pm-9pm
Lift access 7pm-9pm
Live music from singer-songwriter Chris Rogan! Chris will bring with him his daughter, Louise (a professional opera singer) and fellow musician Brian McGuire. Check Chris out at: http://www.chris-rogan.com/Chris_Rogan/Welcome.html

Saturday 2nd November 2019 10am-3pm
Lift access from noon-2pm



Monday, 14 October 2019

A stunning painting of Blencathra's . Halls Fell Ridge in The English Lake District

Halls Fell Ridge is Blencathra second biggest challenge to climb and is also a great place to sit and sketch. Taking in the airy drop to the valley floor, the constant movement of clouds it gives the painter a kind of reverential experience of wilderness that is still the Lake District. Here it's rare to see no one screaming from a mountain bike, no mobile phones, no litter. Its as close as you can get to a Scottish Munroe ridge and is the best day out for me in the Northern Fells. I've cut and pasted the Mud and Routes web page at the bottom of the painting images.

Halls Fell Ridge Completed
78x50 cm aprox
A stunning painting by Rob Miller in mixed media
a powerful addition for any home or office
prints avaiable from The Lingholm Kitchen Portinscale Keswick




Halls Fell Ridge part 2


Halls Fell Ridge part 1


Map of Halls Fell Ridge 

" Excerpt from Mud and Routes web site

Hall’s Fell Ridge – a superb airy approach to Blencathra and a worthy alternative to Sharp Edge. Certainly a contender for the best half-day route in the Lake District.

Hall’s Fell Ridge has some short, exposed sections that should only be attempted if you’re confident in your abilities and have a head for heights. However, these sections can be safely avoided.

The upper crest of Hall’s Fell is classed as Grade 1 scrambling and, like Sharp Edge, the slate rock can be particularly slippery when wet.

Under snow and ice the ridge is a sustained Winter Grade 1 climb requiring ice axe, crampons and plenty of winter walking experience

This walk includes the Wainwright of Blencathra – Hallsfell Top

This walk includes the Hewitt of Blencathra – Hallsfell Top

This walk includes the Nuttall of Blencathra – Hallsfell Top


Wednesday, 28 August 2019

An oil painting of Pendle Hills Big End The Commissions final piece oil on canvas 50x50cm by Rob Miller

An idyllic relaxing rural painting of Pendle Hills Big End Seen from the pasture lands below Little Mearley Hall Clitheroe
oil on canvas 50x50cm


One of the many thoughts that used to run through my mind , when as a school boy I sat looking out of my school window across the playing fields and roof tops towards Wilpshire and onwards was that Pendle is the final industrial fell  before the Ribble Valley leads to the Craven Fault the Yorkshire Dales. A sort of end of civilization as I knew it. Beyond this point if you kept walking you would end up near Cape Wrath without touching another town..

I've tried to paint a piece of that thought or kept that thought going as I painted. So, the final stage of painting focussed on getting the light quality and the greens to have depth in the shade whilst sparkling in the sun bated pastures and hill sides.I also wanted to create a sense of movement with the cumulonimbus clouds, wind moving across the brasses tress and into the distance.

Saturday, 24 August 2019

Pendle Commission Oil Paint on Canvas 3 Penultimat

Pendle Big End Commission Paint on Canvas 3 50x50cm
Penultimate stage


This is a snap shot of the penultimate stage of a commission to paint Big End of Pendle.

I've taken a look after a couple of days letting the oil paint dry and decided to rework some parts of the painting so that I can bring out the contrasts made by cloud shadows. I particularly liked the sharpness of the dark cloud on the tip of Big End and to draw this out I've made the cumulus clouds a little more hazy. Next, I've always liked the beech copse which has remained unchanged for millenia. I  had a hard job trying to separate it, make it more defined and allow it to add more depth to the overall paintings structure by leading the eye over the ridge. As ever I need to do this by simplifying the trees and brush marks.

I've abandoned the idea of sheep in the foreground, the main geological  narrative here is the towering gritstone or millstone bulk of Pendle above a sea of limestone. The main Pendle narrative is the mystical shadows and the ancient events that took place here from neolithic times that still has people walking up the hill every halloween.

Wednesday, 21 August 2019

A painting in oils of Sharp Edge Blencathra Painting in mixed media

Sharp Edge Blencathra  First wash of water colour
78 x51 cm


This is one of many drawings and paintings I've made featuring Sharp Edge which is a favourite English Lake District walk of mine. Especially so, in a cold snowy winter when the rock freezes and the grass slopes become ice fields. There's a real feeling of danger  that you can never forget. When your back down the valley in the pub that's what you remember. What you never remember is the tired legs and heavy breathing as you slog to the bottom of the ridge. Then once on rock and ice the feeling is electric and very exciting. Of course it's not Alpine as lacks the height but the steepness of the edge is there and it could be a section of an Alpine or Scottish Mountain ridge.

This drawing was started some time ago last year when the grasses were getting to that deep ochre colour and contrasting nicely with the pale grey of the volcanic rocks, the sun still high enough to cast deep shadows onto the steep rock walls of the main mountain behind Sharp Edge.


Sharp Edge 1000 x 90 Oil on Canvas

This oil painting which faces downwards into the valley was made about three years ago and found its way to a Gallery in Windermere and thence elsewhere. Ive reposted it here so that I can point out the prominent grass shoulder on the right, this is the same shoulder  that's pictured at the bottom of the  drawing at the top of this post.. 

As with all the others works I will attempt to remember to post regular updates. Many thanks by the way for all the comments to date.This wil eventually join its same size partner on the wall at the Lingholm Kitchen.




Wednesday, 14 August 2019

Pendle Commission Oil Paint on Canvas 3


We now have a title for this piece which is "Big End Pendle". An old and accurate name which describes this very steep slope perfectly. 

My apologies for the large signature on this 50x50cm piece It was made on my Iphone 6 plus mobile screen which isn't at its cleanest when my hands are full of oil and all over its touch screen. Also for those who have asked I will dig out my stage 2 image and post that soon.

About managing the process of painting. I have as ever interchanged the sky with others, as August in Lancashire, turned darker, colder and wetter. Yes, I am much influenced by my walks rather than photographs. As I progress through a paintings time on easel, the weather and tone can change. I don't think that makes for a problem , unless I run out of patience with myself (which is sometimes a very good thing) or the structure of the painting isn't right. Lately after the storms have gone by, some hours later a clearing patch of blue will be followed by lines of magnificent cumulus that reach all the way from earth to heaven. Inspired by this I set to and repainted the sky's light and I'm finally happy with it. 

I do love this part of my home county,  it has a freshness to it. Despite the sometimes gloomy bulk of Pendles Big End the area is wonderfully light and airy and the grasses and trees are bright leafed. |I think this may be due to the Reef Limestone  outcrop that rises just to the left of the painting. I suppose this is why this part of Pendle is so similar to the three peaks whereas the Sabden and  Roughlee areas tend to echo the Millstone Grit morands across the valley in the South Pennines.

I once walked through here on my way to Bell Busk Farm near Coniston Cold from Blackburn with my brother one school summer holiday when we had grown bored with Whalley New Road and wanted adventure.  On another occasion in the 6th Form my Geology teacher gave a wonderful day tour exploring the reef limestone, all its amazing fossils and geological and geographical circumstance. Mr James died some years later I heard,  to young. He was an exuberant inspiration to me and many others.. Happy memories.  I climbed in the quarry sometime later and badly hurt my back  not a good memory though the back pain has been a constant reminder of the place.



Saturday, 27 July 2019

Painters notes April Brinscall 12.30

West Pennine Brinscall Moor
waterolour A5

Inspired by the writings off Robert Macfarlane The Old Ways, 
Philip Jaccottet  Landscape with Absent figures 
John Wylie Vanishing points:an essay on landscape, memory and belongings
Robinson Stones of Arran

Whilst I'm outdoors painting or just walking, sometimes with sketch book or iphone, I often write short notes on paper or in my iphone notes app. The notes are like memorandums  on a visual moment that's just occurred. These moments are those.which in a series of moments seem more important because they have an indescribable absence of something that whilst I know is tangible is at the same time indistinct. a little like deja vu. . I had thought that it was just a personal thing a memory or a chance combination of micro events that enabled a sense of the familiar. Whatever i make a note at the time and other significant things because it seems that these moments can make a day; for me real painters are like poets. To experience a moment intensely and remember it richly. Poets call this poetry



Thursday, 25 July 2019

Summertime Winter Hill 2019 new work

Summertime Winter Hill West Pennines
oil on canvas 30x30cm



This painting Summertime Winter Hill 2019 sets a mood change and a change in painting technique. I find myself starting to use palette knives across the work and to use memory of places and times rather than a set location.  Strange how a stronger narrative is starting to allow me to take more time and concentrate on painting and paint than subject.

Tuesday, 9 July 2019

Pendle Hill Commission Paint on canvas stage 1 and a final drawing.

Pendle End from Meadows Farm Little Mearley Hall 50x50cm oil on canvas
Stage 1 underpainting Rob Miller Fine Art 
For me this is a good aspect for a painting of Pendle. When I think of Pendle I think of the long walks I took alone from Blackburn to Pendles summit then back along the track that skirts the hillside towards Wiswell and finally the bus stop at Whalley. Fond memories of many curlews, Peewits and Skylarks calling from wild flower meadows. The view has all that Pendle offers, early morning mist or haze clearing of the Big End, a nice wooded copse, strip fields, Hawthorne and sheep. Painted using W&N Titanium white, Ultramarine Blue and Raw Umber. .


Pendle End from Meadows Farm  Little Mearley Hall drawing with
watercolour wash 
Second drawing and wash At the end of the first stage the client liked both watercolours equally but couldn't decide on image 1 or 6.  I made a second exploration. I moved my easel ENE from the A59 Clitheroe bypass by about half a mile. If you look on the OS map there's a path that strikes off from the bypass towards Pendles Big End its a short walk  over a few fields to a place between Meadows Farm and Fields Barn both near the ancient and delightful  Little Mearley Hall. The meadows here are still long ancient strips that slope slightly down with old Hawthorne hedgerows and sheep. Beyond this space the flanks of Downham Moor and Pendle rise steeply. From here you can make out some of the path up Hook Cliff to the top of Downham Moor as well as the steep Burst Clough which falls swiftly down to Moorside and Angram Green Farms. The fields give the painting depth and flatness which emphasises the steepness of the slopes beyond, the copse of ancient beech add a focal point. The quirky changes in Pendles slope can be clearly seen from here.

I think at 50x50cm this will make a good strong and familiar image of Pendle, sheep hedgerows and moors.  All you will need to do is make a coffee and  play the wild call  of the curlew or the skylark to take you there.

Sunday, 7 July 2019

Some initial notes and paintings on the Hawthorne Tree

Hawthorne Turton Moor
oil on board
50x50cm


Once in a while whilst painting or drawing outdoors I feel a need to go tree hugging. Late last summer I was particularly attracted to a line of very old Hawthornes that clung to a wall, part of an old mine tramway or farmers track  that ran across Turton Moor. Their bent and twisted deep blue and mauve forms showed real age yet their trunks where small and their branches twisted fractured and bent.

This is my third tree series, the first was a group of ancient mountain ash in Rivington which I started to draw almost twenty years ago.The second a group of Olive trees set on a steep slope near Gauguin Andalucia.


A quick internet search shows that the Hawthorne Tree plays a venerable part in British Folklore and history.

https://whisperingearth.co.uk/2010/05/31/may-tree-myth-and-medicine/
Hawthorn has been common in Britain for millennia, pollen counts showing its presence here before 6,000 BC, and of all our native trees, it is perhaps the most enshrined in myth and legend. From Celtic ceremony, to Arthurian myth, to Christian legend, the Hawthorn has its place in all the stories that shape our land and our hearts.
In pagan spirituality, the Hawthorn was a symbol of fertility, youth and sexuality and was considered sacred to the Goddess. It is believed that in Celtic times, most marriages took place at this time of year, usually at Beltaine, the cross quarter festival marking the mid-point between the spring equinox and the summer solstice. Hawthorn would have been in full bloom, bringing abundant blessings to the newly weds. Today, its historical symbolism and its affinity with the heart have resulted in it being considered the tree of love. Despite marrying in August, we used branches of Hawthorn, among other trees, in our wedding ceremony last year.
Reacting against its saucy pagan associations, the Catholic Church made the pure white blossoms a symbol of the Virgin Mary and of chastity. It was also said to be the wood from which the crown of thorns worn by Jesus was made. The Glastonbury Thorn, which flowers once in May and again at Christmas was said to have grown from the staff of Joseph of Arimathea, which took root when he brought Christianity to the British Isles.
There are thought to be up to 1,000 species of Hawthorn worldwide, the two most common in the UK are Crataegus monogyna and Crataegus laevigata. Usually white, the blossoms may also be a light or deep pink.







http://www.ecoenchantments.co.uk/myogham_hawthornpage.html

Friday, 5 July 2019

Rob Miller Exhibition Landscape with absent Figures




Exhibition of Rob Millers new works 


Rob Miller
Landscapes with absent figures

The Gallery St Georges2 St Georges Street Bolton 
Opening Tuesday 16 July 5.30-7.30pm


The Gallery At St George’s House is proud to present a solo exhibition of recent landscape and coastal paintings by Bolton based artist Rob Miller.

The landscape of the Northern Countryside has always fascinated Rob Miller, who gained a Distinction in Painting from the University of Bolton. Miller is particularly influenced by the Lancashire and Lake District landscape, its raw climate, beauty and gritty history. Walking and climbing through it is always a joyful experience. As an artist, being still painting within it is almost meditative.

Entitled ‘Landscapes with absent figures’ this new exhibition, opening Tuesday 16 July 5.30-7.30pm, presents Miller’s most recent landscapes and coastal paintings.  In these scenes the human presence has been stripped away, making them absent, unimportant, except where they have left marks or rigid shapes which have survived enough to have a visual purpose in a found composition.

Whilst painting, different things attract and hold the artist’s thoughts. Scenes that exude a passage of light, whether in the corner of a bright field, high in the mountains or by the sea under stormy skies, are a frequent source of inspiration for Miller. Working outside or painting from his notes makes this a direct experience for the artist as he aims to portray the sublime.

Back at his Falcon Mill studio, the work finishes somewhere between abstraction and figurative: depending on the nuances of the paint, techniques and the making of colour. Miller see each colour range as a ‘stanza’ and each brush mark as a part of each painting’s arpeggio: “Instinctively certain colours please me as I mix them. The paint feels good and tactile sometimes as it slides around the palate.  Visually, moving in and through the geometry of a place as I draw freehand frustrates and engages me fully.”

Through the exhibition the artist hopes to share his sense of awe that he feels in nature with others: “For me, a painting is like making a poem, both an expression of a feeling and an impression of a place”.

Image: Rob Miller Seapools Mallaig oil on canvas 61x61cm

Monday, 24 June 2019

Pendle Hill Commission Initial explorations in pencil and watercolour Rob Miller













This is an example of how I develop with a client their ideas about a landscape and what would make a painting with form and interest. A selection taken from a series of small pencil or pen drawings leading to a final choice of two images. These are then fairly quickly made up into two watercolours and from these two a final selection.

Wednesday, 22 May 2019

Lingholm Estate Portinscale Keswick 2019 new prints


Here's a selection of the recent works from 2019 that I've been working on for the Seymour family and their Lingholm Estate. The estate is situated on the picturesque west shore of Derwentwater near Keswick in the  English Lake District. At the centre of the estate is a lovely old mansion that was once visited frequently by Beatrice Potter. Later it became the residence of Lord Rochdale and his family.

Though my initial work here was all to do with the surrounding fells  painted and presented as two large triptychs in the Stone Room, of late I've been working in the amazing new walled garden. Inspired by Beatrice Potter and based upon the quality of the Victorian Garden,  the walled garden has been built around the ethics of quality both in its references to early 19C garden design and to the planting. See  https://thelingholmestate.co.uk/the-estate/history-of-lingholm/  


Pots outside the greenhouse
acrylics
33x50cm
completed

Lingholm 19 
Pots outside the greenhouse 
acrylics
33x50cm 
nearly complete




Lingholm 19 
Runner beans and green house 
watercolour
33x50cm 
completed


Lingholm 19 
House and walled garden 
watercolour 
33x50cm 
nearly completed

Lingholm 19 
High on Catbells Ridge. 
acrylics 
50x69cm
completed
Lingholm 19 
Exposed Helvellyn scramble looking down to Striding Edge 
acrylics mixed media
50x69cm 
fully completed


Lingholm 19 
Exposed Helvellyn scramble looking down to Striding Edge 
acrylics mixed media
50x69cm 
completed



The old greenhouse and the walled garden in summertime
oil on canvas
30x50cm
completed

Lingholm 19 
The old greenhouse and the walled Garden in summertime  
oils on board
30x50cm 
nearly complete

Lingholm 19 
Walled garden summer shadows 
oils on board
30x50cm
completed



Lingholm 19  
Walled Garden the main walk to the green house
oils on board
30x50cm 
nearly complete

Lingholm 19  
Walled Garden the main walk to the green house
oils on board
30x50cm 
Thursday 23 May 19 nearly complete