Artist in Residence at the Sydney Heritage Fleet Part 6 - 'Hail, hail, the gang's all here!'

I've finally finished painting this monster.
It literally nearly killed me.
My first attempt to paint the entire Rozelle contingent of the Sydney Heritage Fleet ended in disaster .
My canvas stretcher had snapped in two after it was caught by a gust of wind. I fell into the murky waters of Blackwattle Bay and was lucky not to be seriously injured.
This tested the limits of the possibilities of plein air painting.

First version of SHF6 'Sydney Heritage Fleet at Rozelle' 2013 

oil on canvas 122 x 183cm

Available

But all the time and trouble has been worth it.
The entire collection of Sydney Heritage Fleet vessels is here in all its glory, and more details are visible in this canvas than are possible to see from the park opposite Blackwattle Bay.

SHF6 'Sydney Heritage Fleet at Rozelle' 2013 

oil on canvas 122 x 183cm

Available

At 122 x 183cm, this canvas is even larger than the first!

I completed about 80% of it from the park, but to unscramble the confusing mass of masts, ropes and rigging, I had to paint the finishing touches from the Rozelle headquarters of the Sydney Heritage Fleet itself.

I am a member of ASMA, the Australian Society of Marine Artists.
In 2008 the Sydney Heritage Fleet in conjunction with the Australian Society of Marine Artists inaugurated an Artist in Residence programme, with the commission from sale of paintings going towards funding the Fleet's maintenance.
Our group of 10 artists will hold an exhibition of our completed paintings on the 'tween decks of the tall ship 'James Craig', which is the jewel in the crown of the Sydney Heritage Fleet, from 27th April 2013 - 3rd May 2013.
As well as this enormous canvas, I will exhibit 16 other paintings. Some of these were painted at the Rozelle headquarters, some from the Noakes slipways, others from the Australian National Maritime Museum and others from vantage points around Sydney Harbour.
The official opening will be 2pm on Saturday 27th April by Tanya Plibersek MP.
Everyone is welcome!

Exhibition SALT IN THE AIR From Saturday 27th April - Sunday 4th May 2013 (asma-artistinresidence.blogspot.com)

Related posts

"Lashed to the Mast" - Plein Air painting as extreme sport
'From the Hungry Mile to Barangaroo'
Artist in Residence at the Sydney Heritage Fleet - Part 4 'Blowing in the wind'
SlippingAway
Follow the Fleet- Artist in Residence at the Sydney Heritage Fleet-
Part 5
Jane Bennett paints the 'Lady Hopetoun' (asma-artistinresidence.blogspot.com)

"Lashed to the Mast" - Plein Air painting as extreme sport

I wanted to try painting a large canvas of the spectacular view of Goat Island from Moore's Wharf for my solo exhibition "From the Hungry Mile to Barangaroo" which is now on display at the Frances Keevil Gallery.

I never do anything by halves, so I got the biggest canvas that would fit inside my station wagon - 122 x 183cm!

My Artist's Studio in a suitcase

I always pack my paint, brushes and other necessary items such as lunch into trolley luggage, as it is less of a strain on my back than carrying a bag. When I use a small easel, such as a French box easel, I also pack it into trolley luggage so I can roll or drag it rather than have to carry it.
I was worried about the canvas going hang-gliding over Sydney Harbour, or even snapping in two which happened while I was painting the Sydney Heritage Fleet from Blackwattle Bay.
The solution was to take a studio easel as well as a French box easel, and to use cable ties to secure the canvas to the studio easel, and the easel to a large chunk of timber.
The most important thing is not to forget to bring a good sharp pair of scissors to remove the cable ties!
The studio easel had casters so I could move it around without too much trouble. I used the French box easel to store my paint, medium and brushes.

I've had to cable tie the large canvas to my studio easel

The renowned 19th century marine painter J.M.W.Turner used to boast that he was once "lashed to the mast" to witness a storm at sea as inspiration.

I've had to cable tie the large canvas

to my studio easel- and then cable tie

the easel to a timber block!

I've always loved Turner's paintings and now I feel that I am literally following in his footsteps!

Timber block and easel

Quite literally.

Like Turner,who also had a predilection for painting enormous canvases, I'm also very short, so I had to stand on this useful block of wood so I could reach up to paint the sky!

Timber block and easel used by
plein air painter Jane Bennett

It felt like a long way down!

Starting a large plein air painting

of Goat Island from Moore's Wharf

about 7.30am.

I like to prime the canvas with a coloured ground before I paint. This technique is called "imprimatura" and it helps to reduce the glare reflected by a white canvas outdoors, as well as giving more depth to the tones.

Usually I prime a canvas blue when I'm about to paint Sydney Harbour, but this black primed canvas was originally intended for an interior of the Eveleigh Railway workshops.
Another essential ingredient is really good coffee, as you can see from the plunger on the chair. I always pack a non-leaking thermos of hot water in my trolley luggage. Unfortunately the milk has to be longlife UHT milk, as fresh milk will go off in the sun by the afternoon, and there isn't always any shade where I paint, as I mostly paint on wharves or industrial sites.

My large plein air painting of
Goat Island from Moore's Wharf
at about 8am

Black actually turned out to be a good choice. 
The day started bright and sunny, but the clouds gathered quickly. 
The calm morning Sydney Harbour seascape I had originally intended to paint was soon transformed into a brooding study of an impending storm.

My large plein air painting of
Goat Island from Moore's Wharf
at about 9am

 Plein air painting is full of abrupt changes of mood and direction, which is why I enjoy it so much.
It feels almost as much like a sport as art.
The amount of physical strength involved in just being able to handle a canvas of this size out in the open air is surprising. I have to work out just so I can keep lugging my easels up and down stairs.
The other thing that is underestimated by the people who view the finished canvas in a pristine white-walled gallery, is the amount of concentration required to sustain the atmosphere over the hours required to finish a work of this size.

My large plein air painting of
Goat Island from Moore's Wharf
at about 9.30am

 Light, shadow and colours of the sea and sky change constantly, and it takes the reflexes of an elite tennis player to even attempt to capture these fleeting effects.

My large plein air painting of
Goat Island from Moore's Wharf
at about 10am

Apart from the skill needed to paint these fleeting effects, it also takes a great deal of experience and judgement to decide which are worth capturing.

My large plein air painting of
Goat Island from Moore's Wharf
at about 11am

 By noon, I had most of the canvas painted,and it was looking very promising, but an hour later the weather had changed dramatically.
Dark clouds started to cover the sky and the sea changed colour from turquoise to prussian blue, then to slate grey.
The wind whipped up, and I had to decide whether it was too risky to continue.

My large plein air painting of
Goat Island from Moore's Wharf
at about noon

If I decided to continue the painting on another day with similar weather conditions, there was the risk of not being able to complete it in time for my exhibition. On the other hand, if I pressed on, it might get so windy that it would be physically dangerous to keep on painting.
I had almost as much canvas to cope with as some of the smaller yachts out on the harbour, who were starting to have trouble.
And if I wasn't careful, my canvas would have travelled just as fast in the wrong direction!

My large plein air painting of
Goat Island from Moore's Wharf
at about noon

 Also, the colour, mood and light conditions were so different from when I started that it would mean repainting almost everything!
The sensible choice probably would have been to put the canvas away and start a small study of the stormy conditions.
But I liked the dramatic light effects so much that I took a calculated risk and quickly repainted the canvas to reflect the changed conditions.

The completed canvas

'Storm, Goat Island' 2013
oil on canvas 122 x 183cm

Enquiries about this painting

I had to work very quickly. I didn't dare take a break for lunch in case my canvas wouldn't be there when I got back.
But I'm glad that I took the risk, as the canvas has really captured the colour and mood.
The brilliant yellow buoys surrounding the excavation of the North Barangaroo Headland Park contrast strongly with the ominous sky and dark, choppy sea.

'Storm, Goat Island' 2013
oil on canvas 122 x 183cm

Enquiries about this painting

 Art vs. life!

'Storm, Goat Island' 2013
oil on canvas 122 x 183cm

Enquiries about this painting

This photo best shows the painting in context with the landscape.

However large the canvas actually is, it will always look like a postage stamp compared with the real thing. I can assure you that this canvas is a lot bigger than I am!(I am 5' 1" which is fairly short even for a girl.)
By the time I took these photos, I was so worried about the canvas blowing away that I had to cable tie it to the container - I didn't dare risk putting it on the easel!

'Storm, Goat Island' 2013
oil on canvas 122 x 183cm

Enquiries about this painting

And finally a few days later, here it is hanging in my solo exhibition "From the Hungry Mile to Barangaroo" at the Frances Keevil Gallery. 

 

Related posts

Artist in Residence-Sydney Heritage Fleet Part 4

From the Hungry Mile to Barangaroo

Painting the 'Poolya' at Glebe Island

Under the Bridge

Starting my painting commission at dawn,
under the Anzac Bridge, looking at Sydney City Marina over to the western side.
'Under the Bridge 1- early morning' oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney

The Anzac Bridge has always held a special place in my heart.
Even before I was given the amazing opportunity to paint it from the top, I had painted the progress of the construction of its pylons in the background of many of my Pyrmont paintings during the early-mid 1990s.


'Under the Bridge 1- early morning' oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney
Enquiries about similar paintings
Many other people also love this bridge.
Recently I was given a very special commission to paint the Anzac Bridge.

'Under the Bridge 1- early morning' oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney
Enquiries about similar paintings
But not from the top this time.
From underneath.
The "Underbelly".

'Under the Bridge 1- early morning'

oil on canvas 76 x 76cm 2012

Sold : Private Collection Sydney
So now I'm painting on the other side of Blackwattle Bay.
Behind me are the dragon boat teams, and beside me are the construction sheds of the people doing maintenance work on the Bridge.
My canvas is 76 x 76cm and has been primed with black acrylic paint to help me gauge the colour values against the glare of the morning sun.

'Under the Bridge 1- early morning'
oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney
I've started to paint in the pale blue morning sky.
The building in the background is "evolve", part of the Jackson's Landing development, which was built on the site formerly occupied by the 'Caneite' building of the CSR Refinery.
The mysterious 'great balls of Pyrmont' which now adorn the park in front of this building were digesters originally used in the Caneite factory to turn sugar cane waste into masonite and similar building products. They still bear the scars of marine worms and barnacles that they accumulated after rolling off the wharf and spending a few years underwater.
One of the men from Waterways Constructions took a fancy to them and fished them out.
Now they are "works of art".

6.30am 'Under the Bridge 1- early morning'
oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney
The morning sun lights up the Glebe Island silos and the old Glebe Island swing bridge.
At the moment Glebe Island is almost deserted, but soon this will change when they start construction of a new temporary exhibition space while the Darling Harbour space is undergoing refurbishment.

A promising start 'Under the Bridge 1- early morning'
oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney
Enquiries about similar paintings
After 2 hours, the silos and the bow legs of the pylons supporting the Anzac Bridge are starting to take shape. The Anzac Bridge is a beautiful, elegant and supremely functional piece of design, but from certain angles it can sometimes look a bit bandy-legged.
There are several bridges around the world of similar design. I remember walking across a huge version in Rotterdam, and being very surprised when they rang an alarm and people walking across started to scatter to either end. The bridge appeared to 'break' in the middle and a huge container ship moved through the gap in the centre.

At the end of the first session 'Under the Bridge 1- early morning'
oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney
However my first painting session was cut short unexpectedly.
At 8am I got a phone call from the hospital saying that after reviewing some of my mum's blood tests they wanted me to bring her in so that they could operate on her, so I stopped painting and rushed to get her.

Stage 2 Half finished -'Under the Bridge 1- early morning'
oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney
During the next painting session, I made sure to paint the green and yellow Devine tug berthed at Sydney City Marina, as I knew it would soon move away.

Next week it was on the other side of the old Glebe Island swing Bridge, so I was lucky to catch it.

To the far left is one of the chimneys of the White Bay Power Station, and on the right are some rotting stumps belonging to the old Glebe island swing Bridge.

Stage 3 Nearly finished -'Under the Bridge 1- early morning'
oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney
Enquiries about similar paintings
This painting is nearly finished, but the colour and shadows need a bit of adjusting before I'm happy with it.

Stage 4 Nearly finished -'Under the Bridge 1- early morning'
oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney
Almost finished.
I was a bit on edge as I had to make sure that I didn't get locked in with all the dragon boats.There are several clubs but nobody seems to know when the last club will leave. My painting site is hidden by the construction area, so I have to keep checking to see if there are any cars left.
There are lots of different clubs. Some of the rowers say that it will close about 2 - 3pm, and some say as early as 11am.
I don't want to be locked in!
I'm working fast!

'Under the Bridge 1- early morning'
oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney
I needn't have panicked about being locked in.
The construction guys have promised that if I get locked in they will let me out, and there are constant security patrols.
Tuesday to Thursday mornings there is a boat repair course for unemployed people, so I have a bit more access than I thought I would.
I was worried about completing this commission as I thought that my access would be restricted to very early on Saturday mornings.
As my mum has been so ill, I can't predict when I'll get any free time.
A bit of glazing to add colour highlights and some rose pink early morning clouds will complete the painting.

Stage 2 Half finished -'Under the Bridge 2- storm warning'
oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney
Enquiries about similar paintings
But even though it was so close to being finished, there were a few twists before it was finally complete.
The weather has been variable - sometimes very windy and a couple of wild storms.
One morning I turned up and it was so cloudy that I almost decided to head back home again.
I'm glad I didn't, although I couldn't paint for long before it started raining.
I always take a couple of spare canvases just in case, and luckily I had one the same size as the one for the commission.
The sun crept out from behind the clouds every now and then - playing across the bridge pylons and the last vestiges of the working harbour beneath.
The colours changed the mood so much that I had to start another painting rather than add to the one that I was half way through.

Stage 3 Nearly finished -'Under the Bridge 2- storm warning'
oil on canvas 76 x 76cm 2012
Available for sale
Enquiries
Exactly the same time of day as the earlier painting , but the stormy conditions give such a different mood, and a complete change of palette.
One of my favourite paintings is "The Tempest" by Giorgione. I love the sense of foreboding he has created by such simple means - a few clouds, shadows and highlights, and the resulting painting has a mysterious poetry that defies analysis.

'Under the Bridge 2- storm warning'
oil on canvas 76 x 76cm 2012
Available for sale
Enquiries
At first I was worried that I wouldn't have enough time to complete my commission - and now I have 2 canvases!
I don't know which canvas my client will choose.
I've emailed both and she's said that I've made it difficult for her - she loves both of them! This is her birthday present to herself, and very important to her, so I wanted her to be very happy with the result.

The big decision is tomorrow.

Update

She finally decided on the early morning painting.

Enquiries about similar paintings

Related posts

Artist in Residence at the Sydney Heritage Fleet 

Artist in Residence at the Sydney Heritage Fleet Part 2

Follow the Fleet

Blowing in the Wind

Slipping Away

 Changing Pyrmont - guest post by Jane Bennett

Pyrmont paintings past & present - My exhibition in the Maritime Museum

Artist in Residence at the Sydney Heritage Fleet- Part 5 ' Follow the Fleet'

My first attempt to paint the entire Rozelle contingent of the Sydney Heritage Fleet ended in disaster when my canvas stretcher snapped in two.
I was better prepared for my second attempt, with a bigger easel, stronger canvas stretcher, more ballast and longer cable ties.
Armed with a canvas stretched on the strongest and heaviest stretcher frame I could buy, this time I took my "studio" easel. It might be called a studio easel but I can manage to stuff it in the back of the car and use it for plein air painting.
I brought the longest cable ties that I could find to tie the canvas to the easel, and the easel to my trolley luggage, which I am using as an anchor.
The canvas stretcher weighs about 10 kilos; my large easel weighs at least 15 kilos and the trolley luggage with all its contents of extra paint, brushes, palettes, turps, painting medium, sketchbooks, lunch, thermos of water, folding table, first aid kit, spare clothes, hat and boots weighs in at a good 25 kilos. I also took the French box easel, just in case. It took 4 trips to lug this stuff the 200 metres from the car to my painting site, and 5 to lug it back, as a wet canvas has to be handled on its own.
If all of that starts to be blown around in the wind and into the water it really is time to wimp out and go home.
I'll never need to join a gym or a bootcamp. Who knows, large scale plein air painting could become the latest fitness craze!

My plein air painting of the

"Sydney Heritage Fleet from Blackwattle Bay"

2012 oil on canvas 122 x 183cm

Available

It isn't immediately apparent which bits belong to which vessels.
I tried hard to take a photo showing both the painting and all the ships in the same frame to show some of the difficulties.
Apart from the distance making details hard to see, there is a narrow window of opportunity to do any painting. I have to choose a day that has no more than the gentlest breeze, and has enough sun to throw some light on my subject. Even then, there are only a few hours of painting time between when the early morning haze lifts, and when the afternoon sun starts to dazzle my eyes.

My plein air painting of the

"Sydney Heritage Fleet from Blackwattle Bay"

2012 oil on canvas 122 x 183cm

Available

Photography doesn't really work, as a telephoto lens flattens and distorts the relationships between the vessels and the colours are highly misleading. There is such a mad jigsaw puzzle of funnels, prows, awnings and lifeboats all jumbled together. Bits that belong to one vessel can easily be mistaken as belonging to another .
For understanding the close up details, I find it better to visit the Rozelle shipyard and run my canvas past the gauntlet of all the volunteers who have devoted their lives to rescuing these ships. If I've made any truly embarrassing mistakes I can rely on them to correct me. Loudly, often and in great detail!

My plein air painting of the

"Sydney Heritage Fleet from Blackwattle Bay"

2012 oil on canvas 122 x 183cm

Available

In the centre of my painting, the 'Bronzewing' and 'Currawong', tugs recently acquired by the Sydney Heritage Fleet, are face to face like two old friends having a chinwag.
Crammed behind them, the funnel of the a coal-fired steam tug 'Waratah' juts out at a jaunty angle. 'Waratah' was built at Cockatoo Island in 1902.
After a lot of untangling. the steam tug 'Lady Hopetoun' appears shadowed in the background of the dilapidated hulk of the 100 year old ferry 'Kanangra'. The 'Kanangra' is another link with Cockatoo Island. I remember catching her in the morning when I was painting on Cockatoo island in the early 1980s. I think she was retired by about 1985.

My plein air painting of the

"Sydney Heritage Fleet from Blackwattle Bay"

2012 oil on canvas 122 x 183cm

Available

Beyond the 'Kanangra' are the runts of the litter, the 1908 motor launch 'Protex', the 1943 motor launch 'Harmon' and the 1955 motor launch 'Berrima'.

My plein air painting of the

"Sydney Heritage Fleet from Blackwattle Bay"

2012 oil on canvas 122 x 183cm

Available

To the right of the canvas is the graceful 1903 "gentleman's schooner", 'Boomerang', which I have just finished painting on the slipway at Noakes.

My half finished plein air painting of the

"Sydney Heritage Fleet from Blackwattle Bay"

2012 oil on canvas 122 x 183cm

Available

All of these are dwarfed by the bulk of the 1927 steamship "John Oxley", currently being restored to its former glory.

My half finished plein air painting of the

"White Bay Power Station from Blackwattle Bay"

2012 oil on canvas 41 x 51cm

Available

By 1pm the changes in the direction of the light had made it difficult to see any useful details on the ships.
It was still about an hour before the wind would change, so I started painting a small canvas of the silhouette of the White Bay Power Station.
I have frequently painted this beautifully brutal building, from the inside as well as the outside. However I have rarely painted it from Blackwattle Bay, so I'm making up for this oversight.
The wind whipped up about 2pm, so both canvases are going well, but still unfinished. Till next time.

Related posts

Artist in Residence at the Sydney Heritage Fleet Part 1
Artist in Residence at the Sydney Heritage Fleet Part 2 : The 'Lady Hopetoun'
Slipping away
Artist in Residence at the Sydney Heritage Fleet - Part 4 'Blowing in the wind'
'From the Hungry Mile to Barangaroo'
"Lashed to the Mast" - Plein Air painting as extreme sport
Painting the 'Poolya' at Glebe Island
Jane Bennett paints the 'Lady Hopetoun'
Exhibition SALT IN THE AIR 27 April - 3rd May 2013 (asma-artistinresidence.blogspot.com)
Boat at Goat (janebennettartist.blogspot.com)