David Siddall

Since the appearance of the first images taken from 'man, the design has always been a means to study and learn about the world. All artists of all time, known or completely ignored, they performed studies and sketches of the surrounding reality, looking through the drawing and 'observation to capture the beauty.

If the paintings (made for clients or exhibitions) are the face of "official" that the 'artist wants to give of himself, his diaries, containing studies and notes, are an intimate and personal aspect of his art.

I am convinced that the work of a painter can be understood and appreciated only by knowing that he is pursuing research in newspapers and 'constant observation. For this reason I have set out frameworks themselves, but sketches, travel notes and sketches that precede the birth of each work and give it meaning. You will find notes
related to the painting techniques, reflections, still life studies, or travel notes.

Maybe you'll notice some repetition, or even misspellings, but I hope we can forgive because of the spontaneity of the images and the sincerity of thoughts written ...

Enjoy your visit,

David Siddall

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Civitavecchia is a strange city, there have been dozens of times, but I have never departed from the port area. I say strange because it is a typical city of passage, of which you do not know much and you're almost convinced that begins and ends between the quays of the dock, because you've never seen anything else.
Returning from Rome for an exhibition, I had to wait several hours 's board, but it is also full of luggage' is once I am able to move from that area that I already knew, that the edge of town between the port and the railway trains, and unable to see Civitavecchia, I have decided to study its inhabitants through the passage under the walls restored soon. These results ...

(The pictures, taken in December 2009, were copied by some loose papers in which he had drawn the sketches of travel in November. I wanted to copy them here, because I think they are interesting and because I wish this was the end of this block, a sort of encyclopedia of the world, a camera sui generis)

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Bruno told me once (when I was already back from the trip to Bolsena) have found, quite by accident, in a forest near the town, the remains of an Etruscan necropolis, then used again in the middle of the Middle Ages as Christian cemetery. Everything was abandoned, forgotten by all but still imprinted in the collective memory of the locals, as is the case for the ancient legends with a grain of truth.
To inform him of the road were some elderly people. Bruno told me to come there in the late autumn, he found the place covered with dew, hidden behind a gray veil of mist. Every time I think of Bolsena I remember this story and I'd like to visit the necropolis, breathe in the mist ...

(Picture left) The chairs rested at the tables, the lake is calm and all the boats tied up, everything from a sense of loneliness and melancholy sadness, a sense of anticipation ...

In this city there is something old and abandoned, like an eternal sense of anticipation. In June, the city seems dead, empty restaurants, the streets empty eyes bored even of its inhabitants. On the banks of the lake at this time, it seems that we can breathe in the nostalgia and decay, but at the same time the 'aristocratic pride in a fascinating and mysterious. Walking through the village you will see that all are waiting on 'door of the coming tourist season, which restores a breath of life, lasts two months and then back to boredom, waiting and longing (XVI June 2008) ...

(Right image) The room where we slept the board was in the lower part of the medieval village, at the 'top floor and the window you enjoyed this show ...

(The images and texts are not dated 30/12/2009, the photos which are taken up watercolor painting and the text at the top right back to the three-day trip from Ferrara to Civitavecchia, held in June 2008)

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Despite picture for years whenever I offer more attention to the nuances of the shadows of objects, I remain fascinated and surprised by 'infinite range of colors that nature can create in one square cm.

Unfortunately, often for as little time available and the expiry of the renditions I find myself just paint the shadows with a bistro (dark brown + blue) by filling in the colors represented objects, rather than enhance them. I believe that this attitude is unprofessional on my part, now I will study in depth the subject and, when possible, paint from life or plein air, eliminating the photograph. Painting is my profession, but I'll never be a professional painter till I'm able to paint as true artists, as depicted in past centuries (from the sixteenth to nineteenth century) now has lost his way ...

The shadows of the pitcher go from the warm earth, the dark until you get to red and purple ...

Every shade of color varies with the 'object that is formed or the surface on which is projected ...

The shadows of the apple from purple-blue (darker) to reddish-purple, dark green, bistro ...

The shadows of the box they all tend to grow on land and in the dark shade in most parts come with a reddish-purple ...

For the glass bottle, the discourse is much more complex theory of sepia brown-purple, dark shadows tend to be dark purple with more bits of very dark brown-blue or bistro, but it takes the reflected color of the objects that surround it, rendenoli However, darker and tend to bistro ...

'S label is similar to the box, but, being lighter, barely reaches the purple hues ...

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To achieve a Tuscan landscape seemed right to use shades of Sienna!

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Snow-capped mountains are more likely to violate the bistro, another important element for the shades of shadows is the 'altitude and in this case I think it affects not just ...

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Study of shadows or bistro of a Mediterranean landscape.

On these architectures, the bistro is more tending to the land (shades of brown and orange), I realized that the shadows change depending on the surrounding land, in this case is to assume that all around there is some body of 'water. The shadow also affects the condition of the sky that can vary both in the sense that under the meteorological latitude. In this case it is a Mediterranean landscape overlooking the sea on a sunny day.

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Motl I had to paint quickly, since the branch began to sag as soon as detached from the plant ...

I'm appreciating more and more work in mono, I seem more alive than color ...

All the time trying to eliminate every single trace of my paintings and I now realize that they are the beauty of the monochrome painting and values it.

The stain is the sign of imperfection, and this is its beauty, being imperfect is human!

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Urbino for me has always been my second hometown. I know her as a child growing up and I began to appreciate more and more.

Walking the ladder, now know by heart, there is something magical, the story seems to be able to breathe ...

The buildings in brick, roof tiles, the houses on each other ...

After Cagliari, is my city.

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