Making landscape art in 2020
Updated: 21 October 2020
Hard work, messy bits, and the tyranny of inspiration
So I'm almost released from having to concentrate on my accounts – yippee, and yippee again!
I now have a well‑developed system, instead of the half baked, strange child of admin I had before. I hardly know myself!
The drive to bank painting plans for the dark months ahead has immediately filled the space that's opened. Almost as though it was waiting quiet and fixed in the wings, while numbers stormed the stage.
Yorkshire Wolds Collection
So the art project I identified at the end of last year is finally coming together – at long last! 'It's hard work' was the dry quip from a passing older chap, while I waited outside a garden centre this week – art projects and life, in 2020, perfectly summed‑up. I salute you, sir, in your brevity.
The dales of Frendal, Horse, Millington, Nettle, Well and Thixendale (all great names), as well as others, are now in my project sketchbook.
Whenever the sun makes an appearance, it's 'cat on a hot tin roof' time – there's no settling while indoors. The need to be out in the hills with sketchbook and paints is overwhelming. The end of November, my deadline for completing all reference material, fast approaches.
Art's messy bit on Instagram
Some of the "messy bits" of creating my Yorkshire Wolds art collection are now on a new Instagram feed. It shows reference material I collect and a bit of the process. Link below.
I'm not sure of the wisdom of a second Instagram account if I'm honest. I've never been addicted to social media – quite the reverse.
Most importantly, lots of progress on my Wolds Painting collection has happened, and my excitement is growing. Winter in my studio should be productive, all being well 🤞.
A new link to 'Collections' is ready at the top of the page – it doesn't work yet. Though small, it's another to‑do ticked off.
There's no guarantee of success making art regardless of experience, but I'm optimistic I'll 'nail this one'.
Inspiration is a terrible thing
2020's effect on me seems to relate to inspiration.
I've never understood artists who talk about inspiration using words like elusive, fickle and strikes. I don't recognize that at all and never have.
For me, inspiration is a nag – it never shuts up. It's pushy and demanding, and it's always interrupting me wherever I am. It has no 'off' button, and never leaves me alone.
Even when seriously ill, it was still firing on all cylinders. My problem then was having the energy to respond to it.
And this is why inspiration is a tyranny. Artists in its grip have no way out, and they don't always have the means to satisfy it. The frustration then is not good.
Does that all seem like hell? Do I sound like a tortured artist, just not in the way artists are supposed to be? I'm not in hell and I'm not tortured, quite the opposite.
2020 has placed restrictions on everyone, and no doubt it's affected people in different ways. 'Loosing' a big chunk of the year to lockdown at a central point in my art project has been trying. As hardships go, it's nothing, of course.
This year, I've learned inspiration gets me out of the house when times are dark, and keeps me fired. Inspiration gives me something to dream about – unrestricted. It's a wellspring of strength and clarity that feels like it'll never run dry.
2020 has shown me the depth of inspiration as a sustaining force, and I feel lucky it's nagging right now.
Why do I make this kind of art?
Growing up in the countryside meant I spent every dry day outside in the landscape, preoccupied with its wonder and magic.
From the single blade of grass and the magical, mysterious thing we call a cloud, to the epic and breathtaking vista, it all still fascinates this kid.
It's why I make British landscape paintings and art prints now.
Britain is an artist's scenery paradise
I'm based in Yorkshire. Yorkshire is not alone in its distinctiveness or diversity of scenery. I can say this since visiting Devon, Northumberland, Cumbria, Lancashire, Pembrokeshire and The Shire of Inverness, to name a few. Variety, in fact, is a characteristic of the UK terrain from the tip of Scotland to the foot of Cornwall. It's not surprising British landscape art spans more than 250 years.
Naturally, Yorkshire subjects dominate my collection at this time. I'm ever hopeful of being able to paint further afield, though. I've already got many sketches of 'foreign' parts elsewhere in the UK waiting for paint or lino.
More art by kind:
What kind of art do I make?
I primarily paint landscape oil paintings and print limited edition linocut original prints. All my art, so far, is of the British countryside, seaside/coastline and its surrounding seas. My collection of original, unique art, currently includes Northumberland, Yorkshire, and The South Hams in Devon.
I work in my studio from reference and outside in front of the scene. My Plein‑air paintings often form part of the reference for my studio paintings and prints. I'm always adding to my gallery of contemporary landscape paintings and prints, covering the North of England and the much painted Southern Counties.
Buying my paintings and linocuts for sale
Updated: 17 December 2019
My contemporary British landscape art prints are available from these galleries in Yorkshire. Some have my lino prints in stock, both framed and unframed. Check the gallery pages to see what they have. They're all welcoming, knowledgable, helpful people, and they won't pressurize you to buy.
If you've read my latest update above, you'll know I'm spending 2020 making art. I won't be releasing much during the year. The art displayed on this website is available to buy, however, unless stated.
I've been trying to make it possible to buy from this website without the need to email me. Unfortunately, it's proved a bit of a mission. So it's still not possible at this time, I'm sorry to say.
Vote for your favourite on my Instagram feed @lynneroebuck
Looking to pin my art? Check out my art Pinterest account.