Dear art follower, Your interest in my artistic creations means a great deal to me, and to express my gratitude, I would like to offer you something special. As a gesture of appreciation and to share my art with you, I'm giving you the opportunity to download a free art print in A3-format  from the North Sea coast in the Netherlands, of a winter landscape from Yorkshire, Winter seascape or a snowy winter landscape from Wales. Download the Artprint and print it at home or have it printed by a print shop on nice paper. You can also use the print as a screensaver or desktop background to get into the Christmas spirit. How to Claim Your Free Art Print: Sign up for the newsletter and receive a code for the free Art print. If you are already a subscriber, you have received the code in the newsletter. Visit my website: https://www.wimvandewege.com/christmasartprint Choose your favorite artwork Enter Your information and the giftcode. As a subscriber, you get a code, where you can download the art print for free. Go through the purchase process, enter the code and you can immediately download the art print for free. Download the Free Art Print Once you've made your choice, simply click on the download button. This will get you a digital version of the artwork, only free for personal use. Share Your Art Experience Let me know on this blog post which artwork you've chosen and why it appeals to you! I'm always interested in the stories and emotions my art evokes in others. This offer is a small token of gratitude for the support I receive from my art community. I hope the artwork finds a special place in your world and contributes to inspiration and beauty in your life. Thank you for sharing this artistic journey with me. Together, we make the world a bit more colorful!

Painting plein air at the beach is a remarkable experience. The vast stretches of empty sand, the ever-present sound of breaking waves, and the majestic clouds create a sense of freedom and space. If you've ever painted at the beach, you know that this subject requires a different approach compared to plein air painting in the countryside or city. In those places, there are many more reference points and anchor points for perspectives, and the numerous objects provide more visual material. The same applies to color. At the beach, you often have to work with pastel shades that are close to each other. Observing carefully before starting is perhaps one of the most crucial skills for a plein air painter. The empty space of the beach provides little visual material. To make the painting attractive, you can fill the empty space within your composition with people, or you can explore the nuances of colors in the sky, sea, and sand. I aim to demonstrate the latter in this article. For this demonstration, I am using acrylic on 60x50 cm acrylic paper. The weather is not very warm outside, which is suitable for this medium due to its drying time. 1. I almost always start with a quick sketch using paint or charcoal. This time, I choose charcoal because I'm not entirely sure where to place the horizon: should I emphasize the sky with little beach or vice versa? Ultimately, I decide to feature more of the beach, as I want to showcase the color nuances. The water in the foreground contributes to a beautiful sense of depth, so I deliberately position it on the right side of my composition, guiding the viewer's eye towards the upper right corner. 2. The top of the sky (directly above me) will be painted with cobalt blue, while the horizon will have a cerulean blue color. These colors are applied to the water in the foreground. I work quickly to blend the colors directly into each other. While the paint is still wet, I mix titanium white with a small amount of Naples yellow and apply it to the blue at the horizon, creating a sense of depth. 3. In this step, I focus on the beach. I use yellow ochre and burnt umber as the first layer, mixing them directly on the acrylic paper. I use a cloth to remove some paint at the horizon, exposing the white surface and making the brown colors more transparent. 4. With bold strokes, I paint the row of dunes and the strip of sand on the right side, without concerning myself with details. Since the paint from the previous step has dried, I apply a new, diluted yellow layer with water, which is then gently rubbed away with a cloth. The flat surface of the paper allows the paint to blend beautifully. I use the back of my brush to scratch some lines in the sandy area, giving me a better idea of depth and perspective. 5. I apply titanium white to depict the clouds and the reflections in the water. Naples yellow helps to give a lighter hue to the beach at the horizon. I deliberately avoid painting the surface too densely. I leave some areas open or remove layers with a cloth to make the beach interesting and avoid creating a large, uniform surface. The clouds also receive a transparent Naples yellow layer. 6. I accentuate the shadowed parts of the clouds with Payne's gray. I know it might be too intense at this stage, but after it dries, I will add a lighter layer to create a layered effect and make the clouds a more interesting part of the painting. I use permanent red violet and Prussian blue to highlight the water's edges, preparing for a smooth transition between water and beach in later stages. 7. I moisten the beach and sea again to blend the colors smoothly. Unfortunately, the paper has slightly buckled, but I will address that later. I update the clouds with a light gray. 8. The row of dunes receives more emphasis with Prussian blue and burnt umber. I soften the light reflections of the clouds in the foreground. 9. Using a transparent layer of red violet, I add more color to the bottom of the dunes and the foreground. I accentuate the distant dunes on the horizon with a touch of permanent yellow, a suggestive line that represents sunlit dunes. Personally, I find suggestive elements more intriguing than meticulously painted details. 10. I refine small details: the row of dunes is touched up, and the seawater acquires a greenish tint with the transparent yellow layer, as if the sun is shining on part of the horizon. I use paint splatters to enliven the sandy area. I ensure that the splatters follow the perspective lines and cover the parts of the painting that should not be speckled. I update the sky above the horizon to add more depth. 11. A few walkers are added through small dots, enhancing the perspective in this beach scene. My tip: start with bold strokes, work swiftly, and avoid investing too much time in details - those can be refined in the final steps. Get outside and get to work with paint and brush. If you need help with that, contact me, I can help you with plein air painting. Are you interested in a workshop? Then email me. Good luck!

Today, I would like to take you on a visual journey through the enchanting landscape of Wales, a place that has touched my soul and inspired my brush. As we wander through this picturesque adventure together, I will share the background of my recent creation, "Wales Countryside 13." Wales is a land steeped in mystique, enriched with history, and infused with natural splendor. My artistic journey to this captivating part of the United Kingdom has ignited my creative flame and resulted in a series of paintings capturing the essence of Wales. "Wales Countryside 13" is the latest artwork in this series, depicting the extraordinary landscapes that have stolen my heart. In this painting, you'll see the rolling hills of Wales, adorned with lush greenery that appears to dance under the gentle caress of the wind. The air is permeated with tranquility and serenity, and the sun casts its golden rays over the landscape, bathing everything in a warm glow. Each brushstroke is thoughtfully placed to capture the vibrancy of natural colors, from the deep green of the valleys to the soft blue of the clear sky. As I worked on this painting, I relived the moments of wonder I experienced during my journey through Wales. The landscape, with its breathtaking combination of mountains, lakes, and coastlines, stimulated my senses and kindled my imagination in unprecedented ways. I invite you to join this artistic journey and savor the beauty of Wales through the eyes of my brush. "Wales Countryside 13" is more than just a painting; it is a celebration of the natural splendor our world has to offer. Explore this latest artwork on my homepage and let yourself be transported to the enchanting landscapes of Wales. May this painting serve as a window to the calming and inspiring atmosphere I encountered during my journey, and may it invite the viewer to embark on their own exploration of this picturesque corner of the world. Visit the artwork #wales #welsh #wales mountains #wales online galleryaleslandscape #welshlandscape #snowdonia #welshart #walesart #Wales painting #welsh #waleslandscape #welshlandscape #snowdonia #welshart #walesart #wales painting #wimvandewege #abstractart #expressionisticart #contemporaryart

Recent months have seen new works and many studies, focusing on layered painting and painting the essence as quickly as possible. These so-called 10-minute paintings oblige you as a painter to immediately depict the essence and atmosphere you see and experience at that moment. No time for details and fiddling. Everything must be put directly on the canvas or panel) with the right colors and the right touches of paint. I learn a tremendous amount from this and it sharpens your mind to leave out unimportant details. Not easy, but very instructive and fun. I work with acrylic or gouache (dries nice and fast) on small panels or paper. Working method: I sit/stand somewhere and decide what I want to paint. I put the primary colors + white and Prussian blue ready on the palette. Set the timer of my mobile for 10 minutes and start I always start with the sky, so I can place the horizon over the sky The foreground with large touches of paint. Think in layers!!! The horizon is flattened with shades of gray Important details are added last. The difficulty is in time and details. Often you want to 'just' touch up a tree or an object. Don't, because that will make your painting too contrived again. Try to work spontaneously and keep the big picture in mind. Below some studies from the Arkemheenpolder.

Lost in the Enchanting Landscapes of Wales: My Artistic Adventure Wales, a country that feels like a green and mysterious paradise, is steeped in myths and legends. It's renowned for its enchanting landscapes that have inspired artists and nature enthusiasts for centuries. As an enthusiastic painter, I had the privilege of spending two weeks in this breathtaking land. During this time, I immersed myself completely in the art of plein air painting. My journey took me from the serene southern coast to the majestic northern mountains, where I explored the various facets of the landscape, from rolling hills to rugged peaks, in all kinds of weather conditions. The Picturesque Southern Coast My adventure began in the south of Wales, in the enchanting region of Pembrokeshire. Here, I discovered the beautiful coastline and rolling landscapes. The picturesque villages, cherished cottages, and the beauty of the surroundings left me speechless. My base was near Newport Pembrokeshire, where I also visited the charming Gallery Yr Oriel. This gallery has been passionately showcasing and selling my artworks, ranging from Dutch landscapes to Welsh landscapes, for many years. The gallery, located at 5 Bridge St, Newport SA42 0TB, United Kingdom, is well worth a visit. * The photo presentation may take a while to load. Sketching and Painting in Nature Armed with my painting supplies, I let myself be guided by the rugged coastline, the moving waves, and the distinctive cliffs. I found inspiration in the natural beauty around me and tried to capture the essence of the moment on my canvas. During my journey, I created various sketches and paintings that reflected my experiences. Connecting with History and Nature A visit to St. Davids Cathedral on a rainy day proved to be a valuable experience. The beautiful cathedral, construction of which began in 1181, exudes history and created an atmosphere of enchantment and admiration. Exploration in Mid-Wales The unpredictable Storm Betty forced me to end my camping adventure and provided the opportunity to explore mid-Wales. Here, I encountered rougher and higher hills, with the Etan Valley serving as a source of inspiration for my plein air paintings. The landscape of mid-Wales, where I hiked and climbed with my painting gear, offered me an overwhelming sense of freedom to do what I do best: paint. Enchanting Mountains in North Wales My journey continued to the north, where majestic mountains and dramatic landscapes awaited me. The Snowdonia mountains became my canvas, especially when sunlight pierced through the clouds, creating a unique interplay of light and shadow. Capturing this spectacle on canvas was a challenge, but it brought the breathtaking moments to life in an impressive way. Fotos A Profound Connection with Nature Plein air painting in Wales was more than just capturing landscapes; it was about forging a deep bond with nature. Whether standing on a cliff with the salty sea breeze in my hair or on a mountaintop surrounded by the scent of pine, I felt at one with my surroundings. The changing weather conditions added an extra dimension to my creative experience, forcing me to adapt my artistic vision. Sketches an paintings Conclusion: An Unforgettable Artistic Journey My two-week artistic journey through Wales was full of discoveries, challenges, and inspiration. The diverse landscapes and variable weather made this journey an unforgettable experience. Wales offered me a wide range of creative opportunities, and my artworks reflect not only the beauty of the land but also the profound artistic journey I underwent. Watch the video about thee painting proces of artwork Wales countryside 12

Wales countryside, a landscape painting demonstration with emotion and power, which is also reflected in my painting. Some 30 thin layers of paint create incredible dynamics and will challenge the viewer every time with the question: What do you see, what you didn't see yesterday? An evocative landscape full of movement, feeling, color and music. Enjoy the video. The painting will be available on my webshop after the weekend. Wales countryside 12, 100x100, acrylic, oil, ink and oil pastel . . . #wimvandewegepaintings #painter #contemporaryart #abstractlandscape #gesturalabstraction #artcollector #modernartist #artforsaleonline #wallartforsale #artforinteriors #theworldofinteriors #artist #fineart #walesartists #elledecor #landscapeart #contemporarylandscape #homedecor #colour #expressionistart #landscapepainting #vogueliving #artforsale #coast #abstractpainter #homeandgardens #emergingartist #lovewales #seascape #interiordecor

Composition and , of course, many other terms are the foundation of every artwork, and sometimes you forget that during a painting session. Even if you have been painting and/or drawing for years, it's good to occasionally take a close look at an 'old' work and question whether the composition is compelling enough. Some pieces turn out to be much more interesting than others. This article highlights a few points about the theme of composition. To illustrate, I went plein-air landscape painting demonstration in the polder, in the area of Bunschoten-Spakenburg. THE RULE OF THIRDS The surface is divided into nine (equal) parts. The essential elements of the composition are placed along these lines or at the intersections. It prevents the focal point of the composition from being in the center of the surface, where your eyes might linger. On the other hand, placing it at one of the four intersections, as shown in photo 1, makes it much more intriguing; your eyes follow these points, creating liveliness. The horizon is positioned along the first or second line. Experiment with this technique. CREATING MOVEMENT THROUGH LINES Depth and movement can be suggested through the use of lines. It is essential to incorporate lines throughout the composition. These lines can range from literal ones, such as a road or a ditch, to the lines formed by pieces of land or the contours of hills – basically, anything that guides the viewer's gaze through the landscape. In photo 2, I deliberately chose the road and the ditch to serve this purpose. SYMMETRY OR ASYMMETRY A symmetrical composition (equal on both sides) generally feels calming, while asymmetry (unequal on both sides) creates a more dynamic feel. This can be achieved by placing objects off-center or using different sizes and shapes for elements in the painting. When everything is perfectly symmetrical, it can become static and dull. A non-centered composition can add interest and movement to a painting. COLOR Colors with higher intensity come forward compared to colors with soft edges that recede in space. Dark objects can appear to recede if their edges are softer, while dark objects with sharp edges come forward. As objects recede into the distance, their color becomes grayer, with a decrease in color saturation. Therefore, the green at the horizon is different from the green in the foreground. This is known as atmospheric perspective. LIGHT Light plays a crucial role in a landscape painting. Where does the light come from? Which areas receive accents, and which do not? In my landscapes, I often add a light accent in the sky on the upper right side to strengthen the composition's movement and an accent somewhere in the landscape, to the left of the center. In this photo, you can see this in the bend of the road. Try it out for yourself! FOREGROUND The foreground should not be empty, as if there is nothing interesting happening there. Use color and texture, for example, through your brushwork, to make the foreground captivating. However, be mindful not to make it the sole focus (see step 1). In the foreground of this painting, I used a coarse and thick brushstroke to create interest without stealing all the attention. BALANCE The painting must be balanced; it should feel "right," with neither side heavier than the other. Place your painting, take a few steps back, and observe it with the above points in mind. 2023

EuropArtFair Built up the booth yesterday at the Westergasfabriek in Amsterdam. I had never been there before, but what a great building it is, magnificent. I have a stand of 8 linear meters so after much puzzling I selected a number of artworks to exhibit. It is always difficult to choose, which one to take and which one not. After an afternoon of hanging, taking off and hanging again, it's okay and I set up my little info table. All in all, I am satisfied. Now let the visitors come. Friday night was a VIP evening with a lot of interest. Today we will see what the fair will bring. I am looking forward to it. Claim your free tickets with code DLN23 https://europartfair.com/tickets/

The last few months have been hard at work finishing the new Wales countryside series, a series of paintings inspired by the extraordinary landscape of Wales in all its facets. The landscape of Snowdonia in Wales is truly spectacular. It is an enchanting area characterized by majestic mountains, serene lakes and lush valleys. The prominent Snowdon mountain range, with its impressive peak, dominates the landscape and offers breathtaking views. Rugged rock formations and sheer cliffs provide a dramatic backdrop. Green meadows, adorned with colorful wildflowers, stretch as far as the eye can see. Streams and waterfalls create a melodious sound as they wind their way through the landscape. This area exudes a sense of pristine nature and adventure and is a true paradise for hikers and nature lovers. The series now includes 3 more paintings (there will be more) and is a product of the evolution in my painting style which has become looser and more spontaneous. The paintings are composed of many thin layers of paint, sometimes as many as 30, to achieve suggestion, depth and dynamics. The layering creates a work of art that is still full of discovery after years. Layering creates a work of art that never bores. The first layers are set up in acrylic, then the many layers follow in oil, ink and pastel. The three paintings will be exhibited for the first time at the EuropArtFair in the Westergasfabr

Based on the Ameland sketches, I am currently working on "translating" them into expressionist paintings. I am currently in my studio and have continued the series this morning. A few weeks ago, when I was on the beach and it was very windy, I noticed how quickly the colors and shapes were changing. Sand creating an extra layer of ground at a height of 10 cm and clouds that change every second. At that moment, the idea arose to represent the speed and dynamics of that moment in a series of sketches. So, not a neatly and accurately painted sea, but rough movements and spontaneous lines that showcase the dynamism of that moment. I create a series of paintings capturing the transition from a stormy sky to a clear, bright one. Some depict the moment just before a downpour, while others show the aftermath, with pastel shades and the vivid blue of the sky dominating the scene and casting almost no shadows. The paintings are not yet complete, and I am still working on them to reach full satisfaction. However, the initial layers of thick paint and spontaneous cloud formations, which can almost be considered abstract, have been applied. I purposely chose a low horizon in one painting to highlight the sky and a high horizon in another to accentuate the beach's dark shadows.

A week ago, I visited Ameland once again. It felt like coming home. This is such a wonderful island. The peace, the space, the beautiful beaches, and the diversity of birds and flora are a feast for the eyes and ears. I arrived quite early at the ferry terminal in Holwerd and because I still had plenty of time before the ferry departed, I went for a walk in the Holwerter salt marsh area. The sun had just risen and the colors were fantastic. The vastness of this nature reserve. Ebb and flow are crucial for the development of the salt marsh. The tidal water brings sand and clay particles, causing the salt marsh to increase in size and height. Creeks and channels play an important role in this, as these natural "blood vessels" allow seawater to penetrate deep into the area. I will definitely paint here sometime. With my car full of paintings, I head towards Gallery Philadelphia in Nes. Located in the heart of this cozy village is Gallery Philadelphia, housed in a beautiful historic building. Owner Esther Nagtegael is herself a talented Dutch goldsmith and visual artist, and has created many magnificent works of art and jewelry. In addition to her own outstanding art, her gallery features works by various artists in diverse styles and techniques. The gallery is definitely worth a visit. At the moment, there are about 10 artworks hanging in my gallery, all of them depicting Ameland seascapes. Several have already been sold. At the entrance, there is a large piece measuring 200x130 cm, a real eye-catcher when you step into the gallery. What I love so much about Ameland is, first of all, the island feeling. You are on an island and you have to make do with what this island has to offer you. There is no more. No traffic jams, crowds, busy shopping streets, or noise from people and city sounds. Although it can be busy here with vacationers, it is very quiet on the beaches and in nature. Peace, peace, and peace again, that's what draws me to Ameland. Fortunately, amidst work obligations, I was able to do some painting in 't Oerd, a beautiful nature reserve and primal landscape where you can enjoy a lovely walk in the midst of nature. I captured this landscape on a 60x40 cm canvas panel. Those were truly delightful moments. Are you nearby? Then visit the Philadelphia gallery in Nes and purchase a valuable piece of art.