Paul Proud was asked to paint six lighthouses off the Atlantic coast. From these originals a limited edition of signed prints was made. Barry Bowman explains the motivation and background to the project.


IMAGINE trying to explain the beauty of lighthouses to people who work with them every day. Imagine trying to find words to describe the fascination that lighthouses hold for so many people-to people who look upon them as the tools of their trade. Then imagine trying to evoke the intrigue and awe of these structures to people who probably look upon them as items to be maintained, and mere buildings of stone and glass. Then you may begin to see the dilemma I face when I try to give you an insight into the Atlantic Lighthouse project.

An attraction to lighthouses is a feature shared by people all over the world. While you can understand the affinity mariners may have for these buildings, where is the fascination for a non-sailor living in Lucan who gets seasick on the fast ferry? I think it is what they represent to the mind's eye. No child ever grew up without hearing great stories set in lighthouses, of daring rescues and sometimes of dastardly deeds done within the lonely confines of a storm bound lighthouse.
It is unlikely that there has ever been a person who even for one fleeting second has not wondered what it would be like to spend weeks working in one of these strange looking buildings. Perhaps with company, or perhaps on your own, maybe even marooned until the weather relents, and lets relief through.

Maybe its the challenge of self sufficiency that confronts us all, as we imagine ourselves in the remotest location yet still within relatively easy commuting distance of our loved ones. Would we be able to face by ourselves the unknown forces that would confront us? Would we be able to solve problems, fix what required fixing or cope with yourself only for company? Would you enjoy your own company for weeks on end? Of course there would be the radio and the telephone but, for the dreamer, the use of such modern inventions would appear as a weakness.

When the automation of lighthouses was completed, I suspect that a little part of everyone was sad, because a little part of their daydreams was about to vanish. And I think that is what holds the fascination for people unconnected with the lighthouse service. It is the embodiment of their daydreams. A place where they can go to when they don't want to be near anybody, and a place where they feel they are not answerable to anybody else, for a little while anyway.
Sure, Lighthouse Keepers can tell it like it actually is, or explain the feelings that they have for their place of work, but the rest of us can have our daydreams and our imagination, and maybe we all need an imaginary lighthouse we can retire to in times of need.

Discussing the fascination of lighthouses, the conversation drifted to the idea of trying to capture the elusive feature that sparks everyone's imagination. If painting was going to be the medium, then an artist that is well known for his water scenes would have to be approached. Paul Proud, who has received commissions from all over the world for his work, knew immediately what we meant when we spoke of the intrigue that lighthouses generate amongst people from all walks of life.

'But how do you capture it in a painting?' we asked. 'You don't try. That is the secret. You paint what you see and don't try to embellish it. If you do this successfully people will connect immediately. People who know the lighthouse will recognise colours, shadows, skylines and all the bits that make up the image in their own minds. If they see their image in your painting, whatever is special about lighthouses for them is there in front of their eyes. Some people won't connect and it may take other paintings to grab their attention.'

For most of the winter of 2001 and the spring and summer of 2002, Paul Proud visited various points along the Atlantic coast. Hiring a plane that enabled him to circle the chosen lighthouse for up to an hour at a time enabled him to make sketches and take photographs that would eventually transmute into the final oil painting. Each painting took over six weeks to complete and in many cases the site had to be revisited. Was he happy with the outcome? 'Very. It was a great project, hugely interesting. You cannot help but think of the human interest and involvement that is attached to each of these lighthouses over the years.'
'You have the get the run of the water exactly right'. says Paul. 'You don't want to be tapped on the shoulder two years from now, and be told by some sailor that there is no way the current runs in that manner, and did you even look at the thing, and he wouldn't trust you to paint his kitchen.'
Indeed.

Paul Proud was born in Dublin 49 years ago.
He now lives on a barge, which is also his studio, on the River Shannon near Athlone.
The paintings can be viewed on www.atlanticlighthouses.com

Further information can be obtained from Atlantic Lighthouses at 01-2842254. Copies of the signed prints are available, normally retailing at €125 per print, unframed. There is a 10% reduction for enquirers mentioning this edition of Beam.