As I grow older, I cherish Sundays more and more – especially this year when I finally don’t work on Sundays. I’m discovering the beauty of “taking time”: I don’t rush my breakfast, dog-walking, reading, doing something about the house, if I must. The feeling of prolonged time is so palpable on Sunday, yet there is also this special silence and relaxedness that is so characteristic of the fin de weekend. Whereas before I’d be thinking of what else to do for the next day, this time, this October, I’m just looking forward to the dog-walking and evening tea.
Over the years I’ve done so much and gone so far that I can’t help taking time and looking inside rather than collecting the impressions of the outer world. My religious views also suggest the inner work, the improvement of the inner vision and wisdom, and I am glad this is so. The year 2014 was a turning point in my religious outlook, and I’m glad to be among the faithful. I’ve never been an atheist, but the years of agnosticism or misconception of the role of the church are also firmly in the past.
Hence tonight, as I’m looking out of my window, I feel this immense warm gratitude to each and every person on my path that, knowingly or not, made me who I am now. As the city is sinking into the dusk, I’m catching the last glimpses of Sunday – to imbue the coming week with calm and joy.
As I’m reading through Art History books of my English-language library, I’ve immersed myself into a book on Turner’s trails in North and South Wales. I bought it on my visit to Valle Crucis Abbey in Denbighshire in 2009.
My visit to Dinefwr
I visited Dinefwr Castle two years earlier, in the summer of 2007. I was accompanying my husband to Carmarthen, and on a free day we decided to travel to see one of the castles. Dinefwr in Llandeilo turned out to be the closest, we didn’t have to change buses, and we thoroughly enjoyed it. I wrote about the trip in my Carmarthen Cameos and even received a long comment from a once citizen of Llandeilo, in whom my post awakened lovely childhood memories.
Turner’s Dinefwr Castle
Dinefwr Castle, in its turn, inspired Turner: he visited it in 1795, and in 1796 he exhibited the watercolour painting, Llandeilo Bridge and Dinevor Castle. It can now be seen at the National Museum of Wales. Just like in his other paintings, he juxtaposes different viewpoints, making both castle and hill more magnificent and closer to the viewer than they really are. The bridge, as we can see, used to be insecure: in the watercolour Turner depicts it being supported by an uprooted tree. Following his intention to combine the past with the present, Turner concentrates entirely on the foreground, which is ridden in misery, whilst the silhouette of the glorious past glows in the light of the setting sun. The eye of the viewer may travel from top to bottom or the other way round, but in any case, one is moved to consider the fate of Wales and its people.
And this is the extract from the aforementioned Cadw book that sheds light on the variety of techniques an artist could use to enhance the desired effect:
Whilst this picture was undergoing conservation in 1993 an unexpected discovery was made that shed new light on Turner’s experimentation with watercolour technique at this time. Bonded onto the back of the paper was another sheet painted with the same scene, though in a different technique and seemingly unfinished. At first this was thought to be a preparatory sketch that Turner had abandoned, but further investigation revealed that it was almost certainly a deliberate attempt to imitate in watercolour an effect that he had found possible with oil by superimposing layers of pigment. Here he seems to have tried to exploit the translucency of the watercolour paper and enrich the level of reflected light from the surface of the finished picture by placing additional painted work underneath the paper (from: On the Trail of Turner in North and South Wales, p. 30. Cardiff, 2008 (3rd ed.)
To summarise, Turner made another painting of the similar scene on the back on the final picture in order to enhance the light and expressivity of the watercolour. Given his secrecy about his working methods, I’m very intrigued to find out what other methods and techniques he deployed to obtain a previously unknown artistic effect.
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