Industrial Cathedral

Industrial Cathedral
"Industrial Cathedral" charcoal on paper 131 x 131 cm Jane Bennett. Finalist in 1998 Dobell Drawing Prize Art Gallery of NSW Finalist 1998 Blake Prize Winner 1998 Hunter's Hill Open Art Prize

About Me

My photo
Sydney, NSW, Australia
I'm an Industrial Heritage Artist who paints "en plein air".If it's damaged, derelict, doomed and about to disappear, I'll be there to paint it.
Showing posts with label Artist in Residence. Show all posts
Showing posts with label Artist in Residence. Show all posts

Wednesday 1 July 2020

The wheels on the bus go round and round - Painting the London Bus at the Sydney Bus Museum

Today's painting on the deck gallery is another canvas painted at the Bus Museum in September 2017.
Plein air oil painting of the vintage red London 'AEC Routemaster' doubledecker bus at the Sydney Bus Museum by industrial heritage artist Jane Bennett
BUS 7 London bus' 2017
oil on canvas 51 x 25.5cm
Available
























The London bus is having its wheels checked.
Plein air oil painting of the vintage red London 'AEC Routemaster' doubledecker bus at the Sydney Bus Museum by industrial heritage artist Jane Bennett
On the easel at Sydney Bus Museum
BUS 7 London bus' 2017
oil on canvas 51 x 25.5cm
Available
























After World War II, London Transport bought over 6,000 double deckers, all built to a standardized design, mostly the AEC Regent III RT type, similar to the pre-war AEC buses.
The first prototype, known as the AEC Routemaster, was completed in September 1954 and the last one was delivered in 1968.
The first Routemasters entered service with London Transport in February 1956 and the last withdrawn from regular service in December 2005, although one heritage route still operates in central London. The Routemaster outlasted several of its replacements in London, and even survived the privatization of the London Transport bus operators .
Plein air oil painting of the vintage red London 'AEC Routemaster' doubledecker bus at the Sydney Bus Museum by industrial heritage artist Jane Bennett
BUS 7A  Study for London Bus,
Sydney Bus Museum
2019 oil on canvas 23 x 13cm
Available
BUS 7 London bus' 2017
oil on canvas 51 x 25.5cm
Available
In front of my patient model
at Sydney Bus Mu
seum



























The Routemaster had a pioneering design using lightweight aluminium and techniques developed in aircraft production during World War II. It also introduced innovative design features such as independent front suspension, power steering, a fully automatic gearbox and power-hydraulic braking, for the first time ever on a bus. Drivers found the Routemaster surprisingly light and nimble compared with earlier designs.
One of their main advantages was that the body could be lifted off the chassis during overhaul.The London fleet contained more bodies than chassis, as overhauling the body took longer than the chassis. A bus could go in for overhaul in the morning, and come out that afternoon with a different body.
In 2006, the Routemaster was voted one of Britain's top 10 design icons which included Concorde, Mini, London tube map, World Wide Web and the K2 telephone box.

Plein air oil painting of the vintage red London 'AEC Routemaster' doubledecker bus at the Sydney Bus Museum by industrial heritage artist Jane Bennett
BUS 7A  Study for London Bus,
Sydney Bus Museum
2019 oil on canvas 23 x 13cm

This was my first much smaller study of the London bus
The Museum's bus, AEC RT - 3708, was registered NLE-815, and started life in May 1953 with a 'green' Weymann 8545 body, the most common type.
I don't know what it is about the colour, but I can't imagine a London bus in any other colour than red. Must make it go faster!
It had 3 overhauls during its London Transport career - in 1956, 1961, and it didn't get fitted with the iconic 'red' body until its final overhaul in 1965.
It ended its days at Southall garage, then was sold in March 1977, imported to Australia in 1984 and purchased by the Museum in 1989.
Plein air oil painting of the vintage red London 'AEC Routemaster' doubledecker bus at the Sydney Bus Museum by industrial heritage artist Jane Bennett
BUS 7 London bus' 2017
oil on canvas 51 x 25.5cm

All information is courtesy of the experts of the Sydney Bus Museum

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Sunday 18 May 2014

Strike while the iron is hot

Plein air oil painting of an anvil in blacksmith's workshop, Eveleigh Railway Workshops painted during ATP Open Day by industrial heritage artist Jane Bennett
Starting a small painting of an anvil,
one of the blacksmith's
basic tools of the trade
" Anvil" 2014 31 x 31cm oil on canvas

Enquiries

At the ATP community heritage days on the 16th and 17th May, I had 2 exhibitions, one in Bay 1 and 2 of the Blacksmith's workshop and the other in the carriage displayed by the volunteers of 3801 limited, as well as painting throughout the blacksmith's demonstrations .
I am still recovering from being seriously injured not long ago, (fractured pelvis) so I had to be extremely careful. I was given a great deal of help by the volunteers and the management of the ATP, who gave me a room to store my paintings and easels, and a trolley to move them. I am truly grateful, as even just walking still causes me a great deal of pain.
Plein air oil painting of an anvil in blacksmith's workshop, Eveleigh Railway Workshops painted during ATP Open Day by industrial heritage artist Jane Bennett
" Anvil" 2014
31 x 31cm oil on canvas

Enquiries
This time I kept the paintings fairly small and simple, so as to not put too much pressure on myself, while I'm still recuperating.
However, I have always meant to paint some of the heritage tools anyway. I have previously painted anvils as part of a larger, more complex painting, but it is a beautiful and evocative item in its own right.
Plein air oil painting of blacksmith's workshop, Eveleigh Railway Workshops painted during ATP Open Day by industrial heritage artist Jane Bennett
Enquiries
I had often painted Chris before in a variety of poses, but you have to be fast!
However, after I watch for a while I notice various stages of the process, and get a feeling for the timing and rhythm.
It's hard to decide on which of the hundreds of potential poses to choose to paint. I leave the arms in an unfinished state, as I can't decide on whether to paint him wielding a hammer or a pair of tongs.
Decisions, decisions.
Plein air oil painting of blacksmith's workshop, Eveleigh Railway Workshops painted during ATP Open Day by industrial heritage artist Jane Bennett
Starting a painting of the blacksmith Chris.
The blacksmiths of "Wrought Artworks" move quickly.
"Strike while the iron is hot" isn't just an old proverb - it's a way of life.
They must strike quickly, decisively and with force, however their movements must be controlled and accurate as well.
They also must work as a team and have awareness of who and what is around them.
Exhibition of oil paintings in blacksmith's workshop, Eveleigh Railway Workshops painted during ATP Open Day by industrial heritage artist Jane Bennett
Chris quenching chisels
2011-12 oil on canvas 152 x 122cm
Enquiries

I exhibited some of my paintings of the Blacksmiths in a corner of their workshop, so that onlookers could compare the paintings with the real thing.
Exhibition of oil paintings in blacksmith's workshop, Eveleigh Railway Workshops painted during ATP Open Day by industrial heritage artist Jane Bennett
"Blacksmith" 2009 oil on canvas 100 x 75cm
Enquiries
It gave viewers an opportunity to see parts of the workshop not visible to the public due to safety concerns.
Exhibition of oil paintings in blacksmith's workshop, Eveleigh Railway Workshops painted during ATP Open Day by industrial heritage artist Jane Bennett
Enquiries
i displayed some of my smaller paintings and books of photos of paintings of other areas of industrial Sydney on a pair of old dusty workbenches.
Exhibition of oil paintings in blacksmith's workshop, Eveleigh Railway Workshops painted during ATP Open Day by industrial heritage artist Jane Bennett
Enquiries
The ATP  has largely retained the old industrial ambience of the Eveleigh Railway Workshops.

Plein air oil painting of blacksmith's workshop, Eveleigh Railway Workshops painted during ATP Open Day by industrial heritage artist Jane Bennett













All Fired up -the Blacksmiths
Eveleigh Railway Workshops"
2012 oil on canvas 91x 122cm

Enquiries
Some more of my paintings of the blacksmiths were exhibited in front of an old signal box.
Exhibition of oil paintings of blacksmith's workshop, Eveleigh Railway Workshops painted during ATP Open Day by industrial heritage artist Jane Bennett
Enquiries
The visitors on the first day were mostly retired former Eveleigh workers.
Exhibition of oil paintings of blacksmith's workshop, Eveleigh Railway Workshops painted during ATP Open Day by industrial heritage artist Jane Bennett
However, there was a much larger and more diverse group of people attending on the Saturday.
I hope there will be another heritage day next year.

Related posts

Macdonaldtown - A Station without a suburb
ATP Open Day - Saturday, 25 Feb 2012
Singing the body electric
(sydney-eye.blogspot.com)
The village smithy (sydney-eye.blogspot.com)
En plein air with street cred (sydney-eye.blogspot.com)

Sunday 6 April 2014

Another one bites the dust

plein air oil painting of heritage terraces in Millers Point by Jane Bennett, industrial heritage artist
Starting a large panorama on Sunday 30th March about 10am
"Harbour Control Tower and Barangaroo
from High Street, Millers Point" 
2014 oil on canvas 61 x 183cm
Enquiries about this painting :

I have spent most of the past week painting a large panoramic canvas to show the Harbour Control Tower from High Street in Millers Point.

On the far left hand side is a view of the Barangaroo construction site, with giant chunks of recently excavated yellowblock sandstone forming a pseudo-naturalistic cove. 
On the far right hand side, the workers cottages of High Street stare down disapprovingly onto their brash new neighbour. 
In the centre of the picture is the last bastion of the Hungry Mile, the mushroom topped column of the Harbour Control Tower.
plein air oil painting of heritage terraces in Millers Point by Jane Bennett, industrial heritage artist
 Monday 31st March about 1pm
"Harbour Control Tower and Barangaroo
from High Street, Millers Point" 
2014 oil on canvas 61 x 183cm
Enquiries about this painting :


The Harbour Tower was also jokingly known as ''the Pill" because it "controlled all the berths" in the harbour. According to the National Trust, it should be conserved and reused as it symbolizes more than 200 years of shipping in Sydney.
However, this is an unlikely fate, as the Barangaroo Delivery Authority then bought the concrete, steel and glass structure from Sydney Ports for $2.6 million. 
Despite its unsurpassed 360 degree harbour views, the Harbour Control Tower quite obviously doesn't fit into their vision for Barangaroo, so its days are numbered.
plein air oil painting of heritage terraces in Millers Point by Jane Bennett, industrial heritage artist
Tuesday 1st April about 11am
"Harbour Control Tower and Barangaroo
from High Street, Millers Point"
2014 oil on canvas 61 x 183cm
Enquiries about this painting :























Sydney Ports once manned it 24/7, but it has not been operational since April 11th 2011, when vessel control services for Sydney Harbour finally moved to Port Botany.

plein air oil painting of heritage terraces in Millers Point by Jane Bennett, industrial heritage artist
 Wednesday 2nd April about 11am
"Harbour Control Tower and Barangaroo
from High Street, Millers Point"
2014 oil on canvas 61 x 183cm
Enquiries about this painting :






















The tower opened in 1974 to give Harbour Control the best possible views of the harbour to ensure safe passage for thousands of ships each year. The architectural drawings and plans for its construction used to be hung in the foyer of the amenities level, just in front of the lift, until some light fingered wharfie pinched them.

plein air oil painting of the Sydney Harbour Control Tower in Millers Point by Jane Bennett, industrial heritage artist
'Evening Harbour Control Tower
from Moore's Wharf' 2013
oil on canvas 178 x 122cm


























This is my huge canvas painted from my Moore's Wharf studio, showing the last time that the gorgeous sandstone escarpment was completely visible.
It has by now totally disappeared under a layer of scaffolding and the retaining wall for the North Barangaroo Headland Park.
The park will slope from its soi disant naturalistic 1788 coastline up to Clyne Reserve and Merriman street. Obviously the Tower will get short shrift. It is an emblem of another era and different values.
It looks as though Precision Demolition will be getting more work!
I last caught their act at Port Kembla, where they lived up to their name, neatly and precisely dropping the Port Kembla Copper Stack onto the grounds of Port Kembla Copper. Previously I had met them during the saga of the sinking of ex-HMAS Adelaide.
I am surprised, and more than a little concerned, that as the demolition of the Harbour Control Tower was virtually a foregone conclusion, that it wasn't demolished before construction of the headland was so far advanced. However neatly they drop it, it would make a bit of a dent in the painstakingly arranged faux natural headland. Unless they are planning to leave the pieces there as a giant water feature or a Brutalist concrete novelty sundial in the centre of the park. 
It would certainly be a conversation piece.
Or perhaps the charming terraces of Merriman Street are also superfluous to their requirements?
There's no accounting for taste.
oil painting of the interior of Sydney Harbour Control Tower in Millers Point by Jane Bennett, industrial heritage artist
'The Shipping News - Last  view of interior
of Harbour Control Tower '
 2011 oil on canvas 25 x 51cm
Enquiries about this painting :

I had been "Artist in Residence" in the Harbour Control Tower by Sydney Ports Corporation for nearly a decade.
This is the final view of the interior of the top floor. The whiteboard has a list of the very last shipping movements on April the last operational day of the Harbour Control Tower.
The clock has stopped at 10.44am, Tuesday 24th May, and has been left that way.
After the last operational use of the Tower, maintenance staff had to still have access to be able to remove furniture, cables and other equipment. If I arrived early enough, I would be allowed to tag along and do a bit more painting. 
My very last visit was just before its eventual demolition.

Related posts

Saturday 22 March 2014

From the Tampa to Strictly Ballroom

I'll write a few posts about some of the paintings on display at my exhibition of Pyrmont paintings in the members lounge of the Australian National Maritime Museum.
The first two paintings on the left hand wall of the room as you enter, were both painted from the roof of the half demolished Pyrmont Power Station a couple of years apart. I was very pleased that I was able to place these together so that viewers can understand the stages of development of this area of Pyrmont.
Pyrmont painting-plein air oil painting of Pyrmont in the  Australian National Maritime Museum. by industrial heritage artist Jane Bennett
P103 "From the roof of Pyrmont Power Station" 
1994 oil/canvas 92 x 122 cm 

I was "Artist in Residence" at the Pyrmont Power Station for over a decade. At the time of painting these 2 works, it was partially demolished, yet still functional, and served the western side of the CBD as a source for power and lighting. It has now been replaced by Star City Casino.
The rhythmic sweeping lines curving under the bridge are remnants of the old Pyrmont goods line.This was once part of the former Metropolitan Goods Line. There was a goods line from Darling Harbour to Central that had been in existence from about 1856, but a loop line that completed a circuitous route of the inner suburbs became necessary when heavy industry expanded in the early 20th century. Diverging at Dulwich Hill it headed north beneath the Main Suburban line at Summer Hill to Lilyfield before heading east to Rozelle and Pyrmont, and then south under Railway Square through NSW's oldest tunnel to join the Main Suburban line outside Central. This line served the ports at Glebe Island (diverging via a spur from Lilyfield) and Darling Harbour and was approved on 23 November 1914, and the line was finally opened on 23 January 1922. The Darling Island/Darling Harbour section had 19km of track.
The John Street tunnel, a 124m double-track tunnel cut deep into the sandstone under Pyrmont Point, is still in use for the light rail.
During the 1970s and 1980s Darling Harbour traffic reduced considerably and the yards officially closed in October 1984. At vast expense, this goods line was torn up in June 1993 and replaced by the dubious benefit of light rail. Much of the trackbed was used for the light rail that opened to Wentworth Park in August 1997 and extended to Lilyfield in August 2000.
The pile of rubble in the centre marks where an old signal box in the Pyrmont Goods Yard had been just demolished. It was immortalized as the “Spanish café” in Baz Luhrmann's 1992 classic film “Strictly Ballroom”. One person’s eyesore is another’s urban icon.
The brilliant vermilion ship was the “MV Tampa”! It wasn’t notorious then!
The “Tampa” was an early Mark 1 “ConRo” ( roll-on/roll-off container ship) completed in 1984 by Hyundai Heavy Industries Co., Ltd. in South Korea for the Norway based firm, then known as the “Barber Line” and later the “Wallenius Wilhelmsen Line”. It was extensively refurbished and another deck added before it was involved in the controversial event in August 2001 known afterwards as the "Tampa affair".
That wasn't the last scandal involving the MV Tampa.
In October 2006, MV Tampa was one of two Wilhelmsen ships involved in a cocaine-smuggling operation intercepted by the New Zealand Customs Service and the Australian Federal Police. Allegedly 27 kilograms of cocaine had been attached in purpose-built metal pods to the side of the 2 cargo ships bound for Australia. However the New Zealand authorities stated they did not believe the ship's crew or owners were involved.
At the time of this painting Jones Bay Road continued up to the land bridge which then bisected Darling Island and looped around the lower level of Darling Island
All of Jones Bay Road has since been renamed Pirrama Road except for a strange little stub of a street opposite Star Casino. Jones Bay Road used to loop around the whole peninsula, but now the entire street is only about 100 metres long, stretching from the Australian Thermite building ("Darling Island Bond and Free") on the corner at 12 Pyrmont Street, to an apartment block and the 2SM building on the corner of the escarpment.
Pyrmont painting-plein air oil painting of Pyrmont in the  Australian National Maritime Museum. by industrial heritage artist Jane Bennett
P214 "Sydney Harbour from the top of the Pyrmont Power Station(building Star Casino)"
1997 oil/board 40 x 89 cm 
In the early 1980s,when I first started to paint in Pyrmont, the brick building on the right hand side of this painting was the site of Pier 13, where so many immigrants first set foot on Australian soil. Pier 13 was still connected to Jones Bay Road by a land bridge. By the date of this painting, Pier 13 had been painted a gob-smackingly hideous shade of yellow and became first a dodgy carpet shop and later the equally dodgy temporary casino. As you can see, the land bridge has by now been demolished.
Pier 13 has since been replaced by 'Workplace 6', home of 'Google' and Paul Signorelli's restaurants 'Gastronomia' and 'Biaggio'.
The empty space in the centre of Darling Island has since been filled with offices and apartments, which ironically have been given wharf-like styling. Most of the real wharves had been demolished in the 1980s-1990s.

Thursday 20 June 2013

Painters and dockers - Artist in Residence on the tall ship 'James Craig' Part 2


Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
Starting my plein air painting of
"Painters with 'James Craig ' in Garden Island dry dock"
I had originally stored my paints, brushes, canvases, table, chair and easel in the deckhouse of the James Craig, but I realised that the ritual of unlocking and sorting through all my stuff wasted too much time. Now I keep the half-finished canvases on the 'tween deck of the James Craig, and leave the table and easel in a corner on the floor of the dry dock.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
unfinished plein air painting of
"Painters with 'James Craig ' in Garden Island dry dock"

It's quite a hike down from the ship to the floor of the dry dock.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
unfinished plein air painting of "Painters with 'James Craig '
in Garden Island dry dock"

I choose a position where the ship looms toward me between the walls of the dry dock.
Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
Unfinished plein air painting of "Painters with 'James Craig '
in Garden Island dry dock"

I try to make sure that I have enough room for the mast, rigging and the dockyard crane overhead.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
unfinished plein air painting of
'James Craig in drydock being painted'
2013 oil on canvas 100 x 75cm

I knew that it would be overcast and so prepared a few canvases with a black imprimatura (underpainting). I find that this gives the clouds a more 3 dimensional quality.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
Artist Jane Bennett with her unfinished plein air painting
of 'James Craig in drydock being painted'
2013 oil on canvas 100 x 75cm
Available

Portrait of the artist in full PPE (personal protective equipment) regalia.


Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
Artist Jane Bennett with her unfinished plein air painting
of 'James Craig in drydock being painted'
2013 oil on canvas 100 x 75cm
Available

Hard hat, hi res jacket, tinted safety glasses, earmuffs and metal capped boots.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
Unfinished plein air painting of
'James Craig in drydock being painted'
2013 oil on canvas 100 x 75cm
Available

There is another tall ship, the HMB Endeavour, in the dry dock, but I can't get too close to her as she is being sandblasted back to her original wood and can barely be seen in the dust haze.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
Unfinished plein air painting of
'James Craig in drydock being painted'
2013 oil on canvas 100 x 75cm
Available

The dark bulk of the 'James Craig' stands out dramatically in front of the threatening clouds.


Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
Unfinished plein air painting of
'James Craig in drydock being painted'
2013 oil on canvas 100 x 75cm
Available

I was worried that it was going to rain. It's risky starting such a large canvas as it takes so many trips back up to the top. The dockyard steps are narrow and a wet canvas has to be carried on its own without other luggage.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett.
Unfinished plein air painting of
'James Craig in drydock being painted'
2013 oil on canvas 100 x 75cm
Available
Suddenly I realized that I wasn't the only painter on the dock floor, as 2 white clad men started to haphazardly spray patches of red on the prow of James Craig.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
Unfinished plein air painting of
'James Craig in drydock being painted'
2013 oil on canvas 100 x 75cm
Available  

They cheekily "offer" to pose for me. They don't actually mean it, but I paint them in anyway.
Their figures provide a useful gauge to judge scale. This painterly device is known as "staffage" - the size of the figures can be compared and contrasted with the size of the ship
Tim Drinkwater, the dockyard manager of the Sydney Heritage Fleet, told me that the painters would only be there for 8 minutes, but that was long enough for me to block in the basic shapes.
The painters came up later to take photos of my painting of them.
They will be back to finish their painting on Tuesday.
I like the patchy 'work in progress' look of the hull, so I'll try to finish my painting before theirs.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
My half - finished painting of
'James Craig in drydock being painted'
2013 oil on canvas 100 x 75cm
Available 
This canvas is in a 'portrait' format - vertical rather than the more usual horizontal one, which is unusual for a painting of a ship.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
My half - finished painting of
'James Craig in drydock being painted'
2013 oil on canvas 100 x 75cm
Available 

I wanted the ship to dominate the canvas and used the extreme perspective to make it feel as though it is towering over the onlooker, and the prow almost poke you in the eye.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
My half - finished painting of
'James Craig in drydock being painted'
2013 oil on canvas 100 x 75cm
Available 

I am quite short, so I have to fold the legs of the easel up and set it on the ground as I'm not tall enough to paint the masts and rigging with it in the ordinary position.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
My half - finished painting of
'James Craig in drydock being painted'
Available 

At least this way it won't fall over in the wind.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
My half - finished painting of 'James Craig in drydock being painted'
2013 oil on canvas 100 x 75cm
Available 
They keep moving the dockyard crane. Any further to the left and it will be out of the picture. I can only just manage to squeeze it in without it looking too cramped.


Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
My half - finished painting of
"Painters with 'James Craig ' in Garden Island dry dock" 2013
oil on canvas 75 x 100cm
Available 

I like the final position of the crane, though, as it won't be obscured by the masts and rigging. It gives the composition a little more drama, as it looks as though it could topple into the dock with a gust of wind.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
My half - finished painting of
"Painters with 'James Craig ' in Garden Island dry dock"
2013 oil on canvas 75 x 100cm
Available 

The end of my first full day painting on the floor of the dry dock - time to lug my easel, paint, chair, paints, brushes and large wet canvases all the way up the stairs of the dock and across the gangplank to my studio on the 'tweendeck of the James Craig. It's a long way up and takes several trips so I won't need to join a gym anytime soon.

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
My studio on the 'tween deck of the 'James Craig'
World's coolest studio!
 
Available

Plein air oil painting of tall ship James Craig in Garden Island Drydock painted by industrial heritage artist Jane Bennett
'James Craig in drydock being painted'
2013 oil on canvas 100 x 75cm

Available






Plein air oil painting of tall ships James Craig and HMB Endeavour in Garden Island Drydock painted by industrial heritage artist Jane Bennett
'James Craig and HMB Endeavour in drydock 2'
2013 oil on canvas 75 x 100cm
Available


 
































Related posts

Australia Day 2011 at Darling Harbour Part 1: Endeavour