Thanks Keith – I don’t know why but I got it fixed in my head that it was best to cut round the windmill and building. You’re quite right though, aside from the highlight on the side of the windmill, everything could be painted over the sky wash. I spent a few days rethinking my entire approach to this painting and have done another version of it that I’m much happier with – shall post it up tomorrow and be interested to hear what you think of it.

I don’t think you needed to worry so much about cutting round the buildings. You could have run the sky over the left-hand side of the lighthouse and the barn, and it would have been covered by later washes.

I love your 5p’s worth Bec and appreciate such a constructive response. You’re right in so many ways – I’ve always struggled with a more prolific sketchbook approach of different subjects in favour of completed works. My approach with all of these recent paintings is to try not to become precious about them but there’s always a niggling ‘this could be the ONE’ babbling away in my head! I’m still committed to another attempt at this one but shall be endeavouring to recapture the spontaneity – I’m already feeling good about it! (Damn – that’s probably cursing me to fail before I’ve even started!) hopefully I’ll be able to post the results next time for a compare and contrast.

Haha – unlike Monet (in so many ways!), I definitely don’t love this view enough to keep returning to it – but it’s become a challenge that I don’t feel I’ve risen to so far and I’m not quite prepared to quit and move on. Nearly, but quite yet. It’s been wonderful receiving the your (and everyone else’s) feedback as I feel re-energised about taking this on again just one more time – so thank you very much!

A very inspirational artist friend of mine always encouraged me to be prolific but never repetitious – to paint/draw/make something and immediately LET IT GO. This frees you to get on with the next thing and never to kill the spontaneity. And makes it easier to give things away that aren’t ‘perfect’.

It’s a bit like being self-conscious about having your photo taken – we don’t want to share/record for posterity an image that we don’t see as flattering. But if you take 5000 photos of yourself (that’s the prolific bit) you kinda run out of energy to keep finding fault with every one. I’m not saying don’t have a critical eye, but it shouldn’t constrain you. And then there’s how you critique your work: As Polly very memorably pointed out (as I was hating a photo she’d taken of me), she didn’t see what I did – she saw how I was feeling not an unfortunate profile. So I reckon critical analysis should always consider the emotion invested in the work – it’s what leaps out (or doesn’t if it’s been beaten to death ha ha).

It might be worth trying some time restricted paintings that aren’t about a ‘finished’ piece. Giving yourself less and less time with each version is a good way to increase that free flowing approach…..

OK thassit! Keep up the good work
Bec xx

So true! it would be dull if it was easy. Be watching and reading your process and re-doing a painting several times, I am convinced that it is worth a go to keep going back to “get it right”. Was this something that Monet had in mind when he painted his pond many, many times or was it because he loved the pond and was inspired by it? I’m looking forward to you marching on with your paint brush. :)

Thanks so much for this Carmel – great to know I’m not alone in my current situation! I feel I can’t let go of this one until I’ve done something I more satisfied with. As you say, as long as I’m learning something from each effort (which I feel I’m sort of doing) – none of this is wasted. As for the added pressure, I think you’re right… I’ve recently sent off four different paintings to a friend so that they can choose the one they prefer which I think is a much better way of going about gift giving of one’s own work. Look forward to seeing you purple pansies!

Thanks so much for your considered (and generous response) Margaret – I really appreciate it. I think that try 4 was the one I enjoyed painting most – and like you say, is the most confident of my efforts. The version I’m working on (in my head!) will probably be closest to this version but I need to sort out the light balance better. Perversely, now I’ve had a break from it and have reconsidered my approach, I’m kind of looking forward to throwing myself back into the fray! Will hopefully have something I’m more pleased with for next week’s post! – Thanks again Margaret and, let’s be honest, it’d be dull if it was easy!