A Start with the Village Horse Chestnuts

My first post for Lucy’s Tree Following Project for which I will be looking at the Horse Chestnut Tree: Aesculus hippocastanum

I don’t know much about these lovely trees yet, except that they are a tree of childhood days; of conkers, sticky buds on nature tables, the magnificent “candles” when in full bloom. “Under the Spreading Chestnut Tree” the children’s chanting rhyme with the accompanying actions.

Shade from the summers heat and a nesting tree for big birds. Also a favourite subject in the much loved Ladybird “What to look For in….” books with the lovely illustrations by Tunnicliffe and in the Shell Guides with S. R. Badmin’s quintessentially English paintings.  More of these artists in future Chestnut posts.
It’s not a native I know, but a magnificent specimen tree for stately homes, parklands and village greens. Although from an economic point of view they are not a very useful tree, they are none the less very beautiful.. so fall well within the “beautiful or useful” category of William Morris. I know that, like many other trees, the Horse Chestnuts are having some problems.
In this case they falling prey to the unsightly leaf miner and the more serious bleeding canker. I will learn more about all of this as I go.  Initially I need to understand the basics and so I am starting with its shape. I made some quick sketches on my walk.

There are several scattered around the village from young to old which is useful. Trees look very different from different angles and are very complex things to draw, but for me sketching is the very best way to see and understand the basic shape.

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This is perhaps the oldest in the village and the one I can see from the front room of the house. The street light gives some idea of its size.

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There are two in Church field, in a group of four trees. A glimpse of the reservoir between the trees.

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Two young trees down the lane one still with its plant stake. Sketches in A5 sketchbook

The Horse Chestnut is described as “ a native in the Balkan Peninsula A. hippocastanum grows to 36 metres (118 ft) tall, with a domed crown of stout branches; on old trees the outer branches often pendulous with curled-up tips”

I now see that the very long lower branches in the older trees hang elegantly down and curl up. The sticky buds on the ends of the upturning branches are just about to burst. Church Field Boundary Trees The two horse chestnuts in a group of four trees, one on the right of this sketch and one next to it. This view is with my back to the reservoir looking back to the church, which, minus dragon, is in the background.

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Village Horse Chestnut

This is a huge tree which overhangs the road. Its lower branches hang down into the garden behind the fence while the roadside branches I think have been cut back. There were wonderful conkers this year.

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The same tree as my No 1 sketch, Ugly Bungalow roof in the back ground.:)
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Tree of Kiev
Coincidentally The Horse Chestnut is a symbol of Kiev. I can only hope that the beautiful flowers to come in the spring will also bring a time of peace and political freedom to its population. It seems the Chestnuts were planted in some respects to spite the poplar loving Russian Emperor Nicholas I..

“In 1842, botanical likings of Kiev citizens and Russian authorities got drastically  different. By the second half of the 19th century Lombardy poplars with the support of royal power finally became a symbol of tsarism, autocracy and conservative «patriarchal» orthodox Kiev, while chestnut trees meant for Kiev citizens disobedience to the central authorities in St. Petersburg, a new urban development and municipal government. Chestnut tree was associated with constructive opposition to absolutism. Step by step, Kievans began to give advantage to attractive chestnut trees (which were also helpful in summer hit because they were shady) instead of «officiously» decorative poplars that had no practical usage.”

Read more from the Discovery Kiev website here Trees as subversive and defiant symbols. Wonderful.

Sketches from the British Museum 2: The African Dance Masks

It was 11.30 am by the time I arrived at the British Museum on Saturday and by then the museum was busy. So instead of wandering about and fighting with the crowds, I went to the Africa Galleries and very luckily found a bench, opposite this magnificent wooden crocodile. It is part of a beautifully lit display of dance masks, some of them sharks, their cast shadows as descriptive as the objects themselves.

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They are labelled as being “19th Century from the Abua or Ekpehia Igbo people in Nigeria

The masks are huge. I searched for some photographs to understand more about how they were worn and found these wonderful images from the Riverine Igbo region (Ekpafia, Abua, Ekpeya) taken in the 1930’s by Gwilym Iwan Jones a Welsh photographer and anthropologist. You can see more in his archives here.

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I then swivelled round on my bench to sketch a few more masks from the case behind me.

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Everything about these masks interests me, from their construction to their use and symbolism. Some of the materials are beads, some incorporate metals, together with natural fibres, wood and found objects.
There is a delightful short video on the British Museum website of children talking about the masks. see it here. I also went back to look at the little stucco Silk Road horse; this time I sketched the figure next to him.

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And made another quick sketch of the big beautiful glazed ceramic tomb horses with their groom.

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I was interested in how both images are changed by the addition of the figures, even though the figures are not attached. In the second one  the “groom’s” hands look as though they would be holding a rope or reins of some sort but the horses have no halters. There is just an invisible tension between them.
I am working on these images over on Beautiful Beasts this week see “Silk Road Horses from the British Museum”.

Sketch Notes from the British Museum 1: Incomplete Animals

In January I resolved to go and sketch somewhere different once a month. I didn’t make it in January, but on Thursday, with Beautiful Beasts and the dragon puppet in mind, I spent a few hours at the British Museum. It is my very favourite place in London and I never leave without finding something new and fabulous. This time the trip was for more for visual research, than sketching for its own sake and I spent a long time just wandering and looking, and then returning to make notes. I made about 20 rough notes of beasts, bits of sculpture, of fabrics and ceramics. I was looking for dragons, found a few, but saw many other bizarre and wonderful creatures too.

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Dragons, lions, a cat, dogs, horses, a pig, a hen, a fire serpent, a harpy and a frog… from various rooms at the British Museum.  Pen in A5 sketchbook.

Incomplete Animals

Following on from my Incomplete Dodo from the Hunterian Museum, and as you might expect in the British Museum, I found some more delightful  incomplete animals. This is a pegleg Chinese Horse

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The Pegleg Horse, the sketch and my sketch kit.

My sketching kit is very simple. One pen, 2 sketchbooks one A5 and one A4 and a water pen which I sometimes use.

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he Peg Leg Chinese Horse, A5 sketchbook

And then I found some wired crouching lion guards from the Nereid Monument in room 17.  One has a disembodied foot, both have missing bottom jaws.. poor things.

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A metalwork lion and one of the great crouching Nereid lions

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Another view of the crouching jawless lion, some of the beautiful big Chinese ceramic horses and a macabre little figure made of lead and glass with an ivory mask face. It was straight out of a Quay brothers film. But this one from the 7thC AD. Turkey. A4 Sketchbook

But my very favourite thing from this trip was a small stucco fragment of a horse being embraced by two disembodied arms, what a beautiful thing it is.

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Fragment of a Horse.
Ming-oi, near Shorchuk, 8th-10th C.  Stucco with traces of paint.

I decided this would be my subject for Beautiful Beasts next week. I returned to the Museum for an hour yesterday and made some more notes which I will post this coming week. I could just take photos but drawing something means you have to spend a long time looking at it.

Sometimes the thing turns out not to be as interesting as you had hoped,  but often it is through the quiet, slow, observation and drawing that you fall in love with it and find some unexpected beauty.

The Simplicity of Line

Over at the artist’s twitter group it’s #linefebruary. So this week I have been doing some line sketching.
Line, to me, means just line, which could be reproduced in only black and white with no halftones. I normally take a wash brush with me to add tonal values but this week for a change I have used just black and white and different combinations of pens, some dip pens, some technical pens

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Everywhere are tangles of brambles.

There is a place on the path where heaps of long mown meadow grass have been slowly drying and disintegrating. They provide cover for small animals who have burrowed into the heaps and the wind has formed  them into swirls.

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I an rather fascinated by these forms and make this white on black study of one of the heaps.

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Windy reservoir …

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…and thumbnails of bits and pieces. All approx A4.

I have put this page in upside down, which makes things even more interesting. They are all based on  the reservoir walks so I know exactly what and where they were, although some bear very little resemblance to the place.
Perhaps you could say they just have something of the essence of each place, which is often all that an artist really wants to achieve. I love pure black and white. It provides a different view and proposes many different possibilities. Some of the marks can be wonderful if you can let them happen.

The Bone Drawings: Beautiful Labyrinth, Something of the Rabbit, Lucy’s Skull and a Tiny Corset.

I have spent a very happy week drawing bones for Beautiful Beasts. After sketching and printmaking it’s great to sit down for some concentrated observation. I started off with sketches and then looked for some particular aspect of the bone that appealed to me. Here are the drawings. For more explanations and photos etc click on the titles to go to the Beautiful Beasts blog posts.

Under the Skin 2: The Beautiful Labyrinth….

A long bone I found near the reservoir. At one end there is glimpse of the interior structure. That’s what I liked

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A4 Sketchbook: pencil.


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The whole bone: pencil


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Detail of above… the part I liked

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Pencil study of the beautiful labyrinthine structure. I could have gone on for days …
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Under the Skin 3 : Something of the Rabbit about it

A curious thing, I now know to be a rabbit’s jawbone.

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Pencil with a stray piece of dry grass.

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Watercolour study

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Drybrush  watercolour study

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Under the Skin 4 : Lucy’s Skull and the Tiny Corset

The lovely muntjac skull that my friend Lucy gave me.

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A4 Sketchbook

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Watercolour Study

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Gouache study

The Tiny Corset

The last bone. It’s a small upturned skull which was casting a long eloquent shadow, or it’s a tiny corset for a fairy, whichever you prefer.

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Pencil:  4 x 2 inches.
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Footbone note : The reproduction of pencil work has always been problematic. It still is. Scanning tends to reflect the shiny dark pencil and lightens the image. It  becomes a poor thing in relation to its original, with many mid and light tones missing. It’s fine as a record but when I see fine pencil work on the internet I can appreciate just how good the original must be.

Sketch Week: Bouncing Jack Russells

Sketch week: Tuesday’s sketch

There is a lot of dog walking here and in this cold weather dogs need coats. This man and his two little terriers were walking in front of me yesterday. I meet them quite often. I might draw them again and add a bit of colour as they both have red tartan coats.
We had two bright and sparky little Jack Russells in our family, so the way they move is familiar to me, especially that unmistakable terrier bounce. Sometimes they seem to have all four feet off the ground.

Ours used to race about on three legs. There never seemed to be enough time in their busy lives to get that fourth paw on the ground.

Pencil sketch in the A5 sketchbook …

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Here they are enlarged a bit…

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“A Certain Sleepy Perfection of Contour”

What can this be?.. Why, a pig of course!

“To begin with, pigs are very beautiful animals.  Those who think otherwise are those who do not look at anything with their own eyes, but only through other people’s eyeglasses.  The actual lines of a pig (I mean of a really fat pig) are among the loveliest and most luxuriant in nature; the pig has the same great curves, swift and yet heavy, which we see in the rushing water or in rolling cloud. “ GK Chesterton liked pigs.. this is from “Rhapsody on a Pig” published in the The Illustrated London News, 8 May 1909.

I think it would be fair to say that G K Chesterton himself had some of those very same luxuriant contours.
And he is so right about the pigs. Those gorgeous soft curves and that wonderful spread of weight as they lie down….

Sleeping pigs…well, most of them.

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Pencil on A4 sketchbook It’s pig week for me over at Beautiful Beasts.

Talk to the Hand

I have been thinking about puppets recently and you know how it is, when you have something in the back of your mind, you tend to see related things everywhere. Down the lane towards the reservoir there are two lost gloves.
They have been there for a couple of weeks now. Someone will eventually take them but for now they have been put on the top of two adjacent posts. I sketched them on Friday.

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A5 sketchbook and pen

It was very windy and in the wind the loose woolly fingers flapped, silently gesticulating to each other. They look as though they are having a silent conversation. I made some more drawings.

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and then a small watercolour..

The Lost Gloves … talk to the hand ….

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Broken Bottle

Number Three of my Lost and Found Treasures.

I tend to pick things up from my walks round the reservoir, as I am sure many people do. Together they form a particular idea of what I see and what interests me. Other’s would choose different things.
The shore line of a reservoir is not quite as exciting as the sea shore so perhaps we reservoir dwellers have to regard ordinary things as extraordinary.

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The muddy broken bottle and the sketches.

This is a very ordinary bottle but still capable of throwing some great shapes!
See other still lifes at #stilldecember on Twitter.

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Found Treasure 3:  Broken Bottle

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Small Gouache Sketch 3 x 2 inches

Unexpected Silver

On this bleak grey day I walked down to the reservoir. The storm has ripped most of the remaining leaves from the branches and the sky was leaden. It looked like snow. Then suddenly the sun came out and illuminated the water.

At this time of the year the sudden light on the water is dazzling and brilliant. The shining water was visible through the trees by the shore, a seldom seen glimpse of silver from this particular path I made some quick sketches and notes but it was too cold to stay long.

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There was a single white feather caught in the dark branches and many inky black coot on the shoreline.

Sketchbook pages A4 Back home I made some black and white sketches:

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Sketches 6 x 4 inches
It’s dark at 4.30….