Dyf was entranced by the rolling landscape of Brittany, he first visited in 1960 where he immediately saw the potential for new subjects, in the glistening waters of the river surrounded by rolling fields of wheat and tiny clusters of houses with their church spires peaking out from above the trees. To watch Dyf paint was entrancing, even as an old man, he would stand rather than sit before the easel, working with extraordinary vigour and intense concentration. His palette was a rainbow of fresh colours and his hand continually darted back and forth from the canvas. At intervals he would step back or consider briefly another picture before returning to the easel, his eye refreshed. Usually he sketched straight onto the canvas, which he set up on his travelling easel. He would work on a subject for two or three hours and return the next day, in search of the same light on the landscape.
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Dyf was entranced by the rolling landscape of Brittany, he first visited in 1960 where he immediately saw the potential for new subjects, in the glistening waters of the river surrounded by rolling fields of wheat and tiny clusters of houses with their church spires peaking out from above the trees. To watch Dyf paint was entrancing, even as an old man, he would stand rather than sit before the easel, working with extraordinary vigour and intense concentration. His palette was a rainbow of fresh colours and his hand continually darted back and forth from the canvas. At intervals he would step back or consider briefly another picture before returning to the easel, his eye refreshed. Usually he sketched straight onto the canvas, which he set up on his travelling easel. He would work on a subject for two or three hours and return the next day, in search of the same light on the landscape.
