This painting is a tribute to one of my many favourite watercolour works by Norman Lindsay. I bought a print of his painting many years ago, and each time I visit Lindsay’s home at Faulconbridge in the Blue Mountains (which is now a gallery and museum run by the National Trust) I immediately make a beeline for ‘The Garden God’.
I love the innocence and unashamed abandon of the beautiful young girl who is full of life and joy, with arms outstretched – standing before this grotesque, lascivious looking, small lifeless stone figure in the garden.
To see this work in real life and to walk about the grounds of the renowned artist’s former home is heaven for me.
At my own home, in what I call my ‘upstairs garden’, a large stone plaque (with a face cast into it in relief) hangs on the western wall of the house, catching the last rays of sun each day. It is the ‘protector’ of this small private garden area.
Although there is no beautiful young naked maiden standing there in front of his gargoyle-like face, safely flaunting herself before his lifeless eyes … I have nevertheless called him my ‘Garden God’ in homage to Lindsay and his work.
I was compelled to capture this on paper as a watercolour painting. I played around using my stone Garden God in a photograph as the basis for a first draft. With very little underdrawing, I wanted to experiment with colour and practise my ‘wet-inwet’ technique. I went on to capture the image a second time, giving serious attention to the drawing and planning aspects of the work.
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Esta historia es de la edición No 168 de Artists Palette.
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Eye of Observation
Draw, draw, and draw some more; develop your artist’s eye of observation. Sterling advice from a lady who believes that seeing shapes in paintings requires a truly ‘arty’ eye.
Pelicans To Portraits
This lady has painted everything from pelicans to portraits. She has completed commissions including cats, dogs, horses, possums, numerous beach scenes … and even a Scottish piper.
Gregory John Brennan: Lost Profession
Looking back on his early career as a bulldozer driver, this rural New South Wales painter laments the days when he was too young to appreciate his outstanding potential as an artist.
Pastels: Once We Were Important
A simplified and well named painting tells a powerful and interesting story. This clever pastel artist is delighted to share her techniques for the benefit of others.
Fibre Art
This artist feels that the hardest lesson she had to learn was to believe in herself … and once she did that, everything started to fall into place and her confidence grew.
Water Lily Magic
Instead of paper and paint, this artist uses fabric and threads … and she uses a sewing machine instead of a brush. The textures, colours and prints of fabrics thrown together with threads fascinate her, and often give inspiration for her designs.
Loading Wheat – 1920s
It is rare to see an artist displaying this level of skill and understanding in capturing the activity and atmosphere of bygone days from Australia’s agricultural history.
‘Jama' – King Cheetah
This exquisitely talented lady believes that every artist has failures … but it is important to remember that every success is better than the one before.
Blahuta's Ute
Early in the year we ran a feature about ‘Utes in the Paddock’ – a landmark project by several notable artists. In this article, one of those artists shares his story and some of his views … and describes the process of creating his own piece of an amazing collaborative work.
Artists' Easels
Many important tools are employed by artists in creating their paintings. Artists’ easels are now available in a host of styles and configurations to enhance the creative process. Some of your favourite art materials suppliers are more than pleased to highlight a selection of the many products being offered.
