Little Fishing Boat in Samos

Little Greek Fishing Boat in Samos - by Elaine Ask 2019
300 x 400 mm Oil on Canvass
Little Greek Fishing Boat in Samos – by Elaine Ask 2019
300 x 400 mm Oil on Canvass
Little Greek Fishing Boat in Samos – by Elaine Ask 2019
300 x 400 mm Oil on Canvass
Ψαροκάϊκο στη Σάμο

Sometimes the canvass you have to work with, doesn’t quite match the proportions of what you wish to include in it. See a photo below of the actual scene.

Photo of the same scene taken before starting on the painting above. Here you see that the boat is more elongated than eventually depicted in the oil painting, and of course my favourite ultramarine blue predominates moving away from an accurate colour rendition of the sea.

Pastel Drawings in Greek Taverna

"Greek Taverna at Night"
 "Ελληνική ταβέρνα τη νύχτα"
Pastel Drawing by Elaine Ask 1986 410 x 290 mm unframed


“Greek Taverna at Night”
“Ελληνική ταβέρνα τη νύχτα”
Pastel Drawing by Elaine Ask 1986
410 x 290 mm
520 x 420 mm framed
"Greek Taverna"
 "Ελληνική Tαβέρνα"
Pastel Drawing by Elaine Ask 1986 410 x 290 mm unframed
520 x 420 mm framed
“Greek Taverna”
“Ελληνική Tαβέρνα”
Pastel Drawing by Elaine Ask 1986
410 x 290 mm
520 x 420 mm framed

I don’t often draw in pastel, but fortunately these two favourite pastel drawings have survived 33 years to date!

Oil Painting Every-Day Life Scenes

In this oil painting by Elaine Ask, Saskia sits in an armchair, staring at the TV, though you don't see the TV.
“Saskia Aged 15”
Framed Oil on Canvass
1994

This is a homely domestic scene. The teenager has an almost vacant, look, as she sits watching TV, and certainly doesn’t appear to be that happy. You can’t see what she is thinking, as she is wrapped up in her own little world. Its evening time, and in the top left hand corner of the painting, adjacent to a small plant, the little lamp on top of the wooden desk casts reflected colours onto the desk itself and the wall to the right, on which a painting of a child playing the violin hangs. The armchair on which she sits has a yellow cellular blanket draped over it, while the second armchair next to her is adorned with colourful cushions. On the far left is a patterned carpet/rug.

So many colours and patterns, yet somehow they all hang together!

Greek villagers in Sarti, Halkidiki.  An oil painting by Elaine Ask 
oil on Canvass 1984
Greek Villagers Sorting Out Their Crop of Beans
Oil on Canvass 1984
610 x 457 mm

Another painting from life , created ten years earlier than the one shown above, depicts Greek villagers going about their business in the summer of 1984

Painting from life is not like a photograph

A photo is a moment in time, the shutter clicked to capture a subject that excites visually or emotionally, or it can simply be a notebook to record facts and ideas. Just as in photography, the choice of a subject for a painting can be made in a flash, or it can require slowly made decisions to choose that moment when the lighting is right and it all comes together. Before starting this painting, I walked all round the area, taking photos of potential subjects, then painted it on the spot, spread over two evenings, not finishing till almost nightfall. Below are some of the photos I took before choosing the painting that would emerge. The first three photos show what I did not choose to paint – but did consider – as they didn’t suit the size and proportions of my canvass, and it the case of the first photo, would work much better in graphic media, rather than oils.

How a painting comes to be. Preparatory photos and the resulting oil painting by Ask 2019
The painting that ensued. As you can see I had to compress the elements on the horizontal axis in order to include the sections that interested me compositionally.
“The Wall ” 700x 500 mm 2019 -Aegina.

When the magic happens…

I was walking back from shopping in Aegina town, having bought a microwave, kettle and two ring electric table top cooker – a surprise gift for my Airbnb hosts, when I decided to explore another path back to my Airbnb “home”. It took longer than I thought it would, so I tried to follow a little path through an orchard, as the shop would be delivering my purchases after they shut for midday. The path lead to a house so it was either a case of turning back and being super late , or cutting through their garden (naughty!). I reckoned as it was Greek midday quiet time, that they would all be sleeping, so decided to risk it . I ended up in a little dirt road , and there on the corner was the YELLOW HOUSE! I could immediately see the painting in my mind, but just hoped the light would still be in the right direction by the time I got back again later.

The Yellow House.  This oil painting is in a private collection., so not available for sale.  Painting by Ask , May 2019, in Aegina
“The Yellow House” Oil on Canvass
Ελαιογραφία “Το Κίτρινο Σπίτι”
2019
Αίγινα
Ask with her oil painting - The actual yellow house  itself is seen too  in the distance
Not the most flattering photo of me, but at least you can see the Yellow House that so excited me, albeit after the light had faded at the end of the day.

Painting from life through my eyes.

Ask painting in Greece May 2019
Its almost nightfall by the time I finish, so the light has changed.
Linear Expressionism
Oil on Canvass
700 x 500 cm
Aegina, Greece
“Εκφραστικές Γραμμές”
Αίγινα 2019

A painting starts with my eyes, as I choose the spot that will work in this size of canvass and light falling on the image. This choice of subject could come immediately , almost by magic, or after a few hour’s walk round the area, searching.

I add a turps-thinned oil-paint-wash to cover the stark white of the canvass, usually in a shade of blue, then while it is drying I lay out the palette with my paints – three or four of each colour reds, blues, yellows and several larger blobs of white. (Never any black or muddy tones of brown, , ochre, or mixable colours like green or orange). Then I sketch out the composition, either in charcoal or ultramarine thinned with turps: the lines and swirls that define the shapes and emotions of the subject. The limited palette and tinted background helps to balance the colours together in harmony, while each mark is deliberate and carefully planned.