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Don Breckon's Great Western Railway by Don Breckon Hard Cover with dust jacket
Don Breckon's Great Western Railway by Don Breckon
80 pages
Copyright 1986, 1992, 2003
CONTENTS
Acknowledgements6
Foreword7
Introduction9
THE PAINTINGS
Changing Trains32Waiting at Dymock56
Country Pannier34Coasting Home58
Evening Service36Engines at Swindon60
Dumbleton Hall leavingPassing the Farm62
Kingswear38Waiting at Witney64
The Train and the Sea40Driver's View66
Somerset Freight42Country Connection68
Swindon Roundhouse44Vale of Rheidol &70
Passing St Winnow46Crossing the Cornfield
Double Header at Dainton48Dulverton Station72
Meeting the Train50Picnic74
Day Trip52Broad Gauge at Paddington76
Night Train54Royal Train Crossing
Barmouth Bridge78
PREFACE
This book was first published in 1986 in a large format. Six years later it goes to print again in a smaller sized version, and I have been asked to write a new preface.
The introductory text in this book is an outline of how drawing and painting came together with my lifelong interest in railways and the Great Western Railway in particular. Childhood influences, teenage `doodlings', my training as an art teacher and subsequent exploration of abstract art follows the trail which has led to my present-day work.
The sketches are for the most part working drawings, the rough layout of an idea for a future painting, or a reminder in the form of a quick sketch for future reference. I use a camera for gathering
detail, but to draw, even roughly, between photograph stage and final painting combines the accuracy of the former with the life of the latter. Sketch books full of drawings which have never come to anything lie on my shelves for years, but they still have the spark of an idea. Whilst browsing through these rather dog-eared pads, a small rough sketch will sometimes trigger off an idea for a new project.
The paintings in this book have been chosen to illustrate a variety of aspects of the Great Western Railway - trains set in the English landscape or the Welsh mountains, in the snow or in the night, express trains and branch lines, engines in grimy sheds or washed by the sea along the coast. The people are almost as varied - railwaymen, passengers, and small admiring boys on the one hand and, on the other, people sparing only a glance for the passing train.
Opposite each painting the caption gives technical or historical details, with a description of how the painting came about and the problems or pleasures in working it through. When I have visitors to my studio and we are discussing a painting on the easel I sometimes sense that the story behind the work is as interesting to them as the finished result. This book is an opportunity for me to invite a wider audience to look at the paintings, together with the details of how they took shape.
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