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The End of Tyndall Beach - 34" X 30" - OOC (FINISHED)

edited October 6 in Post Your Paintings
I've already painted this scene once but decided to do it again to see if I could make it better than the first. Not sure I've succeeded. There are still a few adjustments to make. And I need to take a better photo without the glare at the top. 

Comments/suggestions/critique very welcome.

Thanks looking.  :)




  • As always, beautiful. Love the million little brushstrokes. Nothing to critique for me..
  • Thanks so much, @Richard_P. I've made some adjustments and I hope it will look better tomorrow when I take a photo outside in sunshine. 

    Hope the muse returns to you soon.  :)
  • Really great, especially like that most of it is desaturated and there is a tiny area of saturate green grass on the top where the sun is catching. Really nice reflection too. 
  • It’s wonderful how you create structure, “texturize” the rocks with the strategic brush strokes arrangement. Love also the reflective surface of the wet sand and the back-lit trees. Impressive work!
  • The sand looks like it has more texture in this one.  The reflections look better.  
    Maybe it’s the lighting When you photographed but this one seems lighter overall.
    How do you feel about doing this one again as well as selling a second version of this?  I know you struggled with that question earlier.
  • edited October 2
    Thank you @ArtGal, @gar3thjon3s, @BBB and @GTO. I really do appreciate your taking the time to look and comment.  :)

    @GTO, I tossed it around in my head for ages and something @PaulB said resonated with me, which is that I never promised anyone I'd not paint the same picture twice. And this one is slightly different in that it's lighter and I made changes to the rocks.  Many artists, Monet for example, made paintings of the same subject over and over, so I think it's ok to do it. I have to do these smaller ready-to-go pictures so I'll have enough for the show and the three I'm going to re-do were going to be in this next show anyway but they got sold before. Once they're done I hope I'll have enough time to do another couple of big abstract/realist seascapes. 

    I was very disappointed when I looked at the key dates for the Glover Prize yesterday. Finalists are not announced until after my show and so if I enter any of the big seascapes I've done thus far I won't be able to include them in my show and if even if they don't get into the Glover I won't have them for my show. That's why I need to do these smaller ones and some more big seascapes so I can have both enough for the show and entries for the Glover. This is getting to feel like hard work! :/   Don't quit your day job folks. If it all gets too much I'll just forget the Glover this time around. I'll give it my best shot, though.  :)
  • @tassieguy another fabulous painting, you certainly keep busy dont you! I like how you captured filtered portions of the light across this one, congrats :)
  • @tassieguy well, you’ve chosen one of my favorites to paint again.  I’ve painted the same painting twice with minor variations as well, so I get it.  I am hoping you do well at the Glover.  It’s exciting just to enter for a big show like that.  
  • Thanks very much, @[email protected] :)

    @GTO, thanks for you well wishes re the Glover.  :)
  • This is great once again. Have you ever though of putting a central focal point in your paintings?
  • This is one of my favourites ,Rob. I’d never tire of looking at it. ❤️
    You can do it over and over again with slight variations.  Look at Monet and his water lilies! 
    Each one slightly different but equally stunning.  
    The composition in this one is spectacular. 
    I can see your dilemma , and it’s a real dilemma. If I were you I’d go all out to win the Glover prize because I think you’ll definitely get a mention , and this is what will put your paintings on the map , will raise you to a different level. Once you’ve done this , the sky’s the limit. You can name your price. 
    You deserve to do well financially because you put 100% effort into your work. You’re not some fly by night artist ‘having a go’. 
    I’m hoping that you’ll get to the stage where you can do fewer paintings , take a slower pace , but your work will be more or less guaranteed to sell at large prices.  
    This has gone way beyond a hobby for you but don’t let it stress you out. 
    This time next year , you’ll be in a stronger position. 
    Make sure the Glover gets your best work. The rest will follow. 

  • kaustavM said:
    This is great once again. Have you ever though of putting a central focal point in your paintings?
    I hate to disagree with Kaustav but I think having an obvious focal point in your paintings would totally ruin them. 

  • This is incredible Rob!   Gosh, I keep scanning it and every part is so perfect.  And the water!!  wow.  Amazing work!
  • Beautiful work @tassieguy

    I get a comforting familiarity looking at your work.

    Somehow the scenes that you paint give me the feeling that I have been there before, which of course I haven't.

    Maybe they conjure up past memories of similar places I have been to, I don't know, but I do find it wonderful. 

    You are truly a master of your work.

  • Always stunning work! 
  • edited October 5
    Thank you, @sI1, @kaustavM, @Hilary, @Julianna, @MichaelD, and @Leo2015. Your comments are greatly appreciated. :)

    @KaustavM, I have a thing about just sticking things in my landscapes to create a central focal point. For me, the focal point has to be there naturally. In this one I guess the focal point is close to the central vertical line formed by the trees and their reflections where it is intersected by the horizontal line of the rocks at the waterline.  The actual nexus is at a golden mean point just to the right of where that hotizontal line meets the base of the cliff. To me, that's the focal point but it's not an obvious one   The relationship with the golden mean is not exact and I wanted it to be felt sublininally rather than in your face, but, to me, it makes a satisfying composition while remaining faithful to what is actually there. I could stick a dog on the beach, or a fisherman, or a romantic couple walking hand in hand but, to me, these are just cheap devices that would detract from what the picture is really about, which is the landscape and the light.

    @Hilary, I'll do my best to get enough work together for both my show and for the Glover. Thanks again for all the encouraging comments.  :)
  • Great stuff Rob. As usual I can’t find anything to fault. I’m wondering, did you find this any easier the second time around? Any less enjoyable?
  • edited October 3
    Thanks, very much, @Roxy

    It was a little quicker than the first time because the composition had already been worked out and I had all the reference matetial ready to hand but it was just as hard to paint. I  rushed it in the early stages because I expected it to be a breeze but then I had to go back to fix lots of areas that were a bit slap dash. Also, I wanted it to be a slightly lighter colour overall. And then I decided I wanted to change some of the rocks...  All in all, it was a bit quicker than the first but slightly less fun.   :)
  • Holly  crap. in the middle of class and decided to just try clicking on one of your discussions that led me to this piece. almost had a heart attack! and you were wanting "me?" to critique anything YOU? have done? Pardon me but,..... are you pulling my leg? all I can do is to sit here in awe and keep staring at the work! now I'm scared to see the rest. i need a glass of water .........
  • Wow, this is spectacular work.  The rocks are so strong and rugged while the softness of the sand and water combine for a fantastic work.  I agree with Hillary.  Enter for the Glover prize.  Your work should win something if not first prize.  Your work is so realistic and does make me want to stare at it for hours looking at all that delicious detail.  The water that is cycling through the wave process is brilliant with the wet sand barely recovering from the last wave with the new one coming in fast, the texture of the rocks, and great trees to bring my eyes upward; truly a master artist.
  • edited October 6
    Thanks very much, @A_Time_To_Paint:)

    @Shahin, thanks.  :)
  • @tassieguy, I'm dead tired as I just dug my entire giant pond with my own hands and have begun the process of cementing it on my own too. still, if you like later at night I will be happy to give you my solid critique based on everything I saw of all your work. would you like me to?
  • edited October 6
    Thanks, @shahin. That's not necessary. You probably need to rest after your pond and class. I didn't raise the matter for myself but for others here - especially beginners who would benefit greatly from your expertise and encouragement.  :)
  • hey man? I wanna critique your work,,,YYYOOOUUURRR work...... ;)

  • Fantastic painting, stunning and I do not find the right words in my English to express what I want to say.
  • Thank you, @Mayeoli. I very much appreciate your taking the time to look and comment.  :)
  • Amazing!  They always are.  Nothing to criticize.  Every rock and water droplet perfect.  When is your show and the Glover?
  • Thanks very much, @oilpainter1950. My show is in early January and the Glover Prize is in March but entries have to be in by January so there's an overlap. Not sure what to do about that. It may be that I'll just do my January show and leave the Glover until next time.  :)
  • Incredible. I’m with those that think you should enter Glover. Do what you have to do but just enter! You brought up Monet and actually I was looking at your technique with the photo blown up. It reminds me of Monet in the way (at least it seems) you use a lot a small brushstrokes and dabs of paint when you work and the result is stunning realism. And you really know how to compose a picture no matter the subject. Beautiful job and good luck with the show and Glover! Keep us posted!
  • Thanks so much, @HondoRW. Much appreciated.   :)
  • You can do the Glover too!!!!!   You can do it.  I know it is daunting and you have a lot going on but it is possible.  I know what you mean about entering shows, having to hold those paintings with uncertainty and the dice game that has to be played.  I understand but I think that it will be sad if you skip the Glover and I know you can figure out a way.  I love your work!!!!  You're a gift to the world and the world needs to see more of your work.  xoxoxoxoxo
  • @Hilary I know he can do it.  It will be a shame if he misses Glover.  I hope he knows how much we support and encourage him and he can figure out a way.  You're the esteemed professional so perhaps you have better words.  :-)   I do hope you are painting again Hilary!!!  xoxoxoxo

  • Thanks so much, @Julianna and @Hilary. You guys are great.  <3:)<3:)
  • I hope you know how many fans you have on this site , Rob. All of us want you to enter and do well in the Glover. 
    Whether it’s this year or next year , you WILL achieve it , and that’s the main thing. 
    I guess we might have to be a bit patient, ( not one of my own qualities ).  😊
    Probably not @Julianna’s either.  😊😊
    But we are fully behind you as I think everyone on this forum is. 

  • I hope you can enter too Rob. But don't burn out! :)
  • edited October 10
    Thanks again, @Hilary. :)

    And thanks, @Richard_P.  Yeah, burn out could be a problem if I don't start pacing myself.  I got the canvas covered on another tonight. Will post tomorrow after I take a photo of it in sunlight.  I'm retired yet I've never worked so hard. But it's wonderful. 

    I value you guys and this place so much. I wouldn't have even gotten a start in painting without you.  And you help keep me going. And grounded.   I don't get out much these days and I've stopped looking at the news but, despite all the craziness going on in the world, you guys remind me that there actually is other intelligent life and goodness out there beyond my little studio. :)
  • What a lovely thing to say @tassieguy
    You totally deserve all the support you receive. You give it back in spades.  
    And your work is not hard to love. Anyone with any sort of appreciation of  nature and natural beauty is enchanted by it. 
    Don’t let yourself get stressed out and start overdoing things. There’s plenty of time for you to accomplish everything you want to do. Plenty of Glovers to win.  Take it slowly and as my father used to say ‘If you get it easy , take it twice ! ‘ 😊
    You’re right not to watch the news. 
    I find I’m a bit addicted to it , and it’s not healthy. 
  • @tassieguy, so here goes my "hopefully" constructive criticism of your work in general. first, I would ask you to understand that I am a  head overheal fan! whatever I would have to say is only to further improve the work but only in my own little head and maybe not so much in the real world in which you're in. your reality is yours and mine is mine. I'm only making an attempt to cross fusion them somehow. I'm not even certain if that's a good thing. Once again I think you should be aware that I'm only attempting to impose a few of my own views into yours and how much of that is a good thing I'm almost certain that we probably would disagree. Once more, I admire the hell out of your work. 
    I would not consider your pieces as a true realist. In that sense then I wouldn't really consider them as dynamic. 
    I'm almost certain my view on realism will differ from yours. I speak by the experience of having shared my views with others. realism to me is " your interference into reality toward further beautifying the subject through the means of line "movement" and colors without destroying the pillars on which reality stands. "
    in that sense, I do not consider any work as a realist that simply has a subject that looks identical to the real thing but to put it in short is done in a very painterly fashion. for the lather doctrine, I have a different name but not realism.   that is why many refer to my work or at least some good realist work out there as great impressionist pieces because to them realist is a notion very close to something photographic! of course, I do not consider your pieces as photographic at all since they are far from it """however""" not necessarily in both senses of "line; movement" and " colors".  I consider your colors to be realist one hundred percent meaning that they are far from the real colors of the subject matter in reality and they are born out of your realist self or your artistic intuition if you will. so when it comes to colors you are a string realist to say the very least because you have created a symphony that sounds lovelier than the sounds already in existence in nature when it comes to colors. 
    my critique is really about the "line" or the movement of your brushwork which I would not consider as true realist. to make it short, I find your movement to lack dynamism. true realist movements in my very silly and humbled view must carry that dynamic sense that is to say the explosive alive entity within those strokes should be able to constantly form into further symphonic sounds and movements rather than coming to a holt beyond a certain point. I think explaining this part is a bit tough because you and I would have to be in one place being able to point out on different fragments of different works in real life but none the less I will try to show what I mean in an attached photo or two maybe. 
    allow me to get a little more into it. If I were to describe your strokes using my own colorful descriptions I would think of "grains of rice" every time. of course out of a million people who would be given grans of rice to put a painting together you would win the medal every single time. you have this incredible ability to bring the maturest harmony with a dead-end tool being simple grains of rice. so you're already god in my book let me say! here is the thing though, grains of rice at the very end of the day are still grans of rice. they don't bend, they don't break and they don't lose their overall shape. in that sense, they lose their dynamism because simply put they don't have a longer or even endless range of reconstruction of their sound. as an example and an exaggeration of the point, imagine having been given tiles and be instructed to make a face with them. there is only so far you can go with it. what paint and brush can do provided that they are utilized in a certain way and a certain sense of the word, they can actually create a very dynamic sound in movement. even the thickness or thinness of paint can change the entire musical scheme that creates and recreates beauty.  notice for example this flower, it was a quick demo on a student's piece that may have taken 30 seconds to do but notice the way the colors and the textures blend together? doing that with grains of rice just goes so far versus in a way like in this photo it actually can mold and remold into completely different sounds creating harmonies often so different than strokes that were put on canvas moments before or even moments after. long story short, there is a complete absence of "uniformity" into its DNA and I think it is that absence of uniformity in the language of brushwork that makes the difference between something dynamic and none dynamic hence a true realist versus a none realist or at least a not so strong or pure realist? 

    so at the end, I really am not sure if I were able to get my point across. I often suck at it. that's why you need to know me on daily bases for months before really knowing what the hell I'm ever talking about. 
    I'm in the middle of my concrete work and my fingers can't even move. I made my critique only because I think of your work as beyond worthy. I think you are a master in every way. I simply have the issue of alphabet or notes as I give them great importance when it comes to wanting to be a part of the realist doctrine at its very best and not just an imitation of it. once more, you've got me bowing toward your work. I am jealous and I am envious and speechless toward all this capability. my compliments all the way. I wish you were in LA so I learn a thing or two from you. and on that note, I need to be taken away on a stretcher.......... be well
  • edited October 11

    @Shahin, thank you for that very lengthy critique.  All those words! They would have been enough to provide comments on every new work posted in this forum by other members for the next several weeks, which I wish you would do – it would be a much more admirable use of your time and especially helpful for newbies.  Just a couple of sentences is enough.  Anyway, you wrote way too much for me to absorb. All I was able to glean from it was that we have very different conceptions of “realism” and that you think my brushwork lacks dynamism.  One could argue endlessly  and pointlessly about what constitutes realism, so I won’t waste a lot of words on that.


    Your point about brushwork I take note of and thank you for. Brushwork is a very individual thing and in the end it comes down to personal taste. You are heavily into bravura brushwork which, IMHO, can look awesome if it happens organically. However, there is a  risk of it becoming just a cheap device – especially where edges are deconstructed post hoc just for effect. To me, that's just cheap fireworks and is not a direction I wish to go in. However, I will think more about the types of marks I make in my landscapes and try for greater fluidity rather than the granular pointillism or virgulism I have adopted so far . I’ve only been painting for a few years and I’m still developing in all sorts of ways so thanks again for your thoughts on brushwork. They may be very helpful.

    Love your work.  :)

  • The main issues for a new painter in my opinion are drawing accuracy, composition and values. Since you have both mastered those the fact that you are only discussing differences in style is a really good thing! :)
  • @shahin and @tassieguy

    Your above posts make for interesting reading.

    I totally agree that brushwork is a very individual thing.

    The old saying `different strokes for different folks` is very apt here.

  • Actually Rob, just noticed one thing to C&C on that might be useful :)

    The rock lying on the beach. It looks soft on the edges (presumably because it's lying in sand), but it looks out of focus to me compared to the sharper areas around it. Perhaps have a look at that in daylight and see what you think?
  • edited October 12
    Thanks, @Richard_P. Yes, now that I look at it again  I guess it's softness could cause it to be mistaken for a dead dog lying half buried in the sand. I'll tweak it a bit to see if I can enliven it.  :) 
  • Your attention to detail is spectacular. You might try linocut, I bet you would be great at it.
  • Thanks, @Datura.  I admire your linocuts. The last one of the dear was absolutely beautiful!  :)
  • tassieguy said:
    Thanks, @Datura.  I admire your linocuts. The last one of the dear was absolutely beautiful!  :)
    Oh thanks, it means a lot. Printmaking and linocutting is like a meditation:)
  • @MichaelD yes and my point is actually the opposite. im not a believer of the different strokes for different folks thingy. I believe only a few of those ways can open the gate of dynamism! of course im often wrong about many things
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