Becca Thorne

@beccathorne.bsky.social

3104 Followers 1703 Following

Parent of 2 wonderful autistic boys, accidental artist, occasional writer & mountain-lover (Afraid of heights). #cPTSD https://artachart.com/

Very muted tones and expressive brushstrokes to depict sparse bogland. Attack winds from the centre foreground back towards hills along the skyline: thickly layered paint creating dark areas of mud and dense vegetation, contrasting with lighter marks to create definition and suggestion of reflection on water. A few white areas of bog cotton in the foreground; bare ridgeline beneath clouded night sky, with moonlight filtering through. Limited palette of olive green, raw sienna, lamp black and various whites.
Bogland landscape in muted colours of greys, greens and yellows. Thick paint and expressive brushstrokes to create movement and a sense of place, with heavy clouds or smoke in the background, backlit towards the top.
A loose, expressive painting of the local bog where I walk each day. Large brush strokes used to muddy the colours, with random areas defined by different tones. Blue filters through in the foreground, plus white tufts of bog cotton. The shadowy skyline is rough and windswept, with very little colour, almost blending I to the sky. The latter is either heavily clouded or filled with smoke: a reference to the recent wildfires.
A 4 image poster celebrating renewable energy: wind, waves and sun.
Limited palette oil painting of my father sitting on a grassy wall facing the viewer, arms crossed over his walking stick and a pipe in his mouth. Behind him is the Mawddach Estuary and Cadair Idris range. It has been painted to look like the old, faded black & white photo I used as reference. He is gone, yet still rooted in the landscape.
Seascape in oils depicting the view across a windswept bay. Gold, olive and white vegetation in the foreground, sweeping left around the bay to the skyline, with suggestion of low hills in the distance. A stormy sky fills the top half of the canvas, with a shadow of gold top left, to reflect the gorse below.
Charcoal drawing of a woman’s profile, eyes down. Strong definition around the nose and near side eye, with soft blended shading to suggest the shape of her face and lock of hair.
A screenshot containing images of 9 original paintings for sale.
Landscape painting in a loose, semi abstract style and limited palette of indigo, olive green and 4 whites. Dark blue water of a bay in the foreground, with steep cliffs and a narrow river curving back into hills and forests. Suggestion of trees along the ridge line in olive and indigo, and an expansive ‘mackerel’ sky filling the upper third of the canvas.
Abstract landscape in oils: blurred, impression of a rural skyline with thick, dark paint applied in a roughy ascending left to right ridge. Patches of titanium and unbleached white above and below, accentuating depth and shadow, the moon above right, low in the sky, and the rest of the composition a blurred expanse of light and shadow. Very limited palette of olive green, belladonna and 2 whites.
Limited palette painting of a rugged coastline, with rough outline of 2 boats beached on the shore. Outline of posts and chain in black, beneath steep cliffs and dark sky. Greys, whites and turquoise, plus a few green marks in the foreground.
Limited palette painting of a coastal scene: suggestion of boats on the beach right of foreground, sea to the left and beyond. Dark shadows of cliffs rising on the horizon, blurred by fog and dusky light, with clouded sky above. Dark greys, whites and turquoise, with black marks.
Abstract seascape: orange, yellow, green, black and turquoise shapes in the foreground, representing fishing nets, buoys and lobster pots on the shore. Stormy sea and sky beyond, in a limited palette of blues and whites.
Oil painting of a coastline in the foreground, running diagonally left to right. Marram grass and coastal plants merging into the sea. Swirling indigo water with white-topped waves and a dark horizon line beneath a clouded sky of indigo, white and gold.
The almost ghostly suggestion of a female figure on the seabed, arms outstretched and body twisting to face the viewer as if about to swim to the surface. Just olive green, warm white and unbleached titanium for the figure and seabed, with indigo for the dark water and shadows around her.
Limited palette coastal landscape: just olive green, warm white and unbleached titanium. The mouth of a river in a sweeping white curve opening into the foreground, with forested land to the left and right of the double bend, and a low ridgeline on the horizon. Gloomy sky in the same palette, with a line of fluffy white clouds to the left side, just above the ridge.
Heavily layered, textured multimedia abstract landscape. Limited palette of olive, gold and grey, with suggestion of a field or hedgerow, large dark shadow of a tree and golden light on the horizon, filtering through shrubs and grasses. Suggestion of mixed grey and white clouds above early evening fading light.
Landscape painting in progress, using just olive green and warm white. Dark suggestion of land on the left, sloping steeply down to a curved, glowing river of light. Low hills beyond, blending into the sky. But will see how it evolves 🙂
Abstract landscape painting: a large, sheer cliff-face, dropping down into the sea. Dark reds and browns, with bright cadmium red roughly outlining the base of the cliff and right hand slope of the cliff top. Outline of further ridges beyond, beneath a red sky.
Charcoal sketch of a horse grazing. Minimal details.
Abstract seascape in charcoal and oil pastel: a lot of charcoal scribble in the foreground, over a base of bright blue pastel, smudged together in places, with a faint horizon line in charcoal beyond.
Rural landscape at sunrise: olive green and gold hills beneath a clouded sky in the same palette. Faint outline of the contours drawn in pigment sticks and smudged lines and clumps of trees in dark, thick olive green, blended into the hillside.
Limited palette seascape: a base layer of Payne’s grey over white primer, then just olive green, warm white and a hint of Indian red yellow. Crooked skyline, with suggestion of land and buildings, merging with sea below and sky above. Slightly golden light on the horizon, picking up details of waves below. Very simple composition.
A mountain landscape with dramatic sky. Sunlight held behind dark storm clouds and a washing line cutting diagonally across the foreground, from the centre to the right hand side. The clothes are being blown by the wind, clinging onto the line. Palette is Payne’s grey, olive, raw umber, unbleached titanium and warm white.
A mixed media painting of summer wildflowers and grasses, twisted and intertwined beneath a clear blue sky. Predominantly reds, with scribbles of greens, yellows, black and white.
Mountain landscape panted almost entirely in indigo, with a touch of yellow blended with the sky. Rocks in the foreground with a bridge or walkway leading onto the hill; loose marks suggesting contours and vegetation, beneath a clouded sky.
Painting of a coastal landscape: a crooked coastline curves from bottom left up to the centre of the horizon, with a turbulent sea to the left of it and land to the right, largely filling the composition. The paint is predominantly applied with a palette knife: thickly in places, but blended in others to give texture and contrast. The ocean palette is indigo, Payne’s grey, olive and white; land and sky is olive, new gamboge, green gold and Indian red yellow, with strong gestures and scratched marks to suggest trees and vegetation.
A semi-abstract painting of the Mawddach Estuary, from Barmouth, north Wales. A beached, bright yellow boat right of foreground, green blue water behind, stretching back to the line of Barmouth bridge crossing the bay and the Cadair Idris range beyond. Bright blue and ochre splashed across the sky. A palette of bright blues, ochre, deep yellow, olive and cadmium orange.
Limited palette (olive green, indigo, warm white) landscape. High ridge line ascending left to right below pale, clouded but not dark sky. Hillside cloaked with shadows of trees, blurred and faded. Unfinished painting.
Semi abstract seascape and very difficult to describe! Blue-grey sky above a rough, thickly painted sea. Ochre and orange coast left of the composition, with blurred colours and lines suggesting land in the foreground. Limited palette of blues and ochres, with a bit of black and white.
Messy seascape in oils: viewed from a beach, waves breaking onto the rocks in the foreground with dark, sheer cliffs either side. An ochre sky, with dark clouds to the left, with an orange sun appearing; patches of blue, white and pale yellow - also reflected off the ocean.
Painting in progress depicting a mountain landscape. 2 steep, rounded peaks developing, through many layers of colour and texture. Deep shadow in the pass and smaller contours etched into the hills, and a clouded sky above. Palette of new gamboge (ochre), Prussian blue, lap black and warm white oil paint, plus additional scribbles with pigment sticks.
An uneven, dark stone wall running across the foreground, descending slightly left to right. Behind, turbulent waves breaking against tall, dark cliffs, and a sheet of rain obscuring the background as it passes over the cliffs. Limited palette of predominantly raw umber, some lamp black, Payne’s grey and warm white.
Graphite head and shoulders drawing of a middle aged man, with face partially incomplete. Facing the viewer, but looking to the side, with a pipe in his closed mouth and suggestion of jacket, collar and tie.
A messy, scribbly oil painting from my brother’s photos of Prussia Cove in Cornwall. An uneven stone wall leads from centre foreground back to the curve of the cliff on the right, parallel to the trail; All sides from the ridge line drop down to the narrow, rocky cove. A couple of cottages are nestled in the ridge line, beneath a clouded, rainy sky.
Detail of an unfinished painting of Prussia Cove in Cornwall. Painted looking along the wall as it curves into the hillside, leading the eye back to the rounded cliffs. The slopes are covered with rough vegetation and trees; a cottage is visible behind the tree line along the ridge, blurred by clouds and rain. The palette is a mix of greys, greens and gold, with extra scribbles in oil sticks to add detail and texture.
An image of a painting displayed against a white wall with pieces of pottery in front and on shelving beside. Full description on next image.
An almost Classical style landscape in oils: Expansive sky with sweeping clouds, shadows and patches of lapis near the top of the panel. The impression of land beneath the clouds on the left, leading across the foreground, with areas of olive and new gamboge/ochre, almost lost between the drifting clouds and waves breaking onto the coast at the very bottom of the composition. More lapis beneath the foam.
A screenshot from instagram announcing that I have been awarded a scholarship by artist Frances Bell and Workshops in Yorkshire. 😃
A dark oil sketch using just olive and warm white. A rounded, weathered ridge line almost at the top of the composition, sloping inwards to a winding river that curves towards the foreground with rock shapes scribbled around. Above the horizon is a full moon, resting just above the valley and illuminating the dark sky around it. Flecks of white moonlight reflected off rocks along the river.
Abstract coastal panting: much layering, scraping and swirling of paint to create a sense of deep, rough ocean in the foreground! Blues, greens and whites, with a few scribbles with an oil stick. Calmer, lighter strokes behind, with the outline of coastal cliffs beneath a cloudy sky in the same palette and fast brush strokes.
A depiction of sunset over the coast: palette predominantly reds and oranges, with a little warm white and indigo. Waves crashing into the coast, with rocks and suggestion of a beach on the left side. An almost white low sun, with circles of hazy light radiating outward in a dark red, orange and pale blue sky. Foam crested waves along the horizon, fading into pale blue, orange and red ocean.
Stormy seascape in reds, oranges, raw umber and indigo. Suggestion of land and rocks on the left side of the foreground, with waves smashing against them. A vibrant orange sky reflected off the water, and white foam and spindrift lighting up the darkness.
A panoramic mountain landscape in oils. Limited palette of dark olive, raw umber, unbleached titanium, warm white, new gamboge (ochre) and lapis, over super heavy gesso roughly applied to create a lot of texture. A mountain range in autumn or winter, with sparse vegetation and bare rock. Dark shadows punctuated by light, the ridge line smudged with mist and sunlight, a lone bare tree in the foreground. The sky is predominantly fair-weather clouds, with traces of yellow light and patches of blue (lapis, in very small quantities!).
Unfinished section of a winter landscape painting, dominated by a hillside with almost colourless vegetation and scattered snow. Suggestion of grasses etched into the paint and a thick, textured surface. Dark shadows under the rolling ridge line and a grey-white winter sky above.
A charcoal portrait of a man in profile, chin slightly raised and eyes squinting against the light. Only the side of his face is shown and that is largely in shadow. His face is weathered from decades of outdoor work & illness - tiny pits and scratches worked into the layers of charcoal & chalk.
Semi abstract painting of the ocean: deep blues beneath the waves, with thickly textured warm white and ochre spray beneath an ochre sky and warm white, again thickly painted splodge of sun.
A portrait of the artist’s autistic son in oils. Painted in a style similar to the Pre-Raphaelites, he is depicted in profile, chin raised, arms held out in front of him and long, dark, wavy hair back over his shoulders. He almost blends into the background with a muted palette of dark olive, Italian raw umber and ochre, with slight touches of red on his lips and complexion. The area around him is shadow and light, and the entire composition is heavily textured to mimic fresco paintings, with cracks and scratches in the surface.
An abstract landscape as metaphor for self-compassion and nurturing. The ridge line sweeps in a dark curve almost at the top of the panel, with dark grey-blue and almost black sky above. Just below the surface is a swathe of off-white curving over a very dark 'hillside' of dark olive - almost black. Much lighter patches of paint show through the thick brush strokes, and an area - almost like a cave - of glowing off-white and pinkish light and dark lines suggesting trees (possibly). Down the left side of the hill is another sweeping line of grey, again with light shining through where the paint is thin. Brush strokes are random, loose and expressive, providing movement and softness.
Semi-abstract scribble of a field of tangled wildflowers - predominantly poppies. Layers of green, blue, red and yellow oil paint, with rough sketches of flower, stem and leaf shapes drawn over the top in oil pastel.
Portrait of a man sitting on the ground facing the viewer, with his back to an estuary and mountain range beyond. He has his legs stretched out in front of him and hands resting on a walking stick, a pipe in his mouth. The palette is muted: almost entirely French raw umber, dark olive and warm white, with touches of Payne’s grey & ochre. One side is illuminated, whilst the other is heavily shadowed. The idea is to create a sense of transience and stillness (Wyeth was a master of this). The man’s clothes are almost transparent in places, whilst his legs and feet resemble a photographic negative.