Frederick Judd Waugh: Breaking Waves
Rocky Coast and Sea
Frederick Judd Waugh: Breaking Waves
Rocky Coast and Sea
Frederick Judd Waugh: Breaking Waves
Rocky Coast and Sea
FJW from a Sotheby's Sale
Frederick Judd Waugh: Breaking Waves
Rocky Coast and Sea
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Peter Rostovsky
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Hobie Porter
www.hobieporter.com
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Harbor Reflections
CW Mundy
www.cwmundy.com
In the calm waters of the harbor, reflections become a much more important part of the composition.
Masts and ropes provide interesting linear elements.
These paintings also exploit the contrasting tones on opposite sides of the hulls of the boats, best seen in the late afternoon.
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Alejandro Cabeza
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Albert Bierstadt
detail
The German American painter Albert Bierstadt heightens the sense of drama in this work through the use of strong contrasts: white spray against rocks, or a dark tree against a light background. He locates these tonal contrasts so that the viewer's eye finds points of interest in different areas of the composition. This is particularly important in a large painting.
At the height of his career, Bierstadt was the most popular landscape painter in America.
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Viking Ships
William Ritschel
Christian Krohg, Leif Erikson
Francis Dicksee, Viking Funeral
NC Wyeth
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Benes Knupfer
Duel of the Tritons, 43 x 88 1/8 inches.
This mythological marine by the Czech painter Benes Knüpfer (1843-1910), is from an upcoming Christie's sale. He lived in Italy for many years.
When you use the website to zoom in, you can see that the brushstrokes are quite Impressionistic.
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Kemper Art Museum
William Trost Richards, Gathering Cold, c.1885
Two marines from the collection of the Kemper Art Museum, St Louis.
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Andrew Tischler
The most spectacular part of the WA coastline is at its the southern end.
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The Silver Surface
detail
Though born in Paris in 1873, Amedee Julien Marcel-Clement is best known for his scenes of boats along the coast of France.
To create an illusion of a silvery surface, he used a variety of cool greys, broken up by creams and whites, over a warm ground.
Once he found an effect that worked for him, he returned to it many times.
The repetition of similar elements in different paintings suggests that these are studio works constructed from sketches, rather than exact recordings of actual scenes executed on site. However the freshness and energy of the sketches survive in the final works.
Source of images: Burlington Paintings
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The Bridgewater Sea Piece
Possibly my favourite marine painting, J.M.W. Turner's Dutch Boats in a Gale (the Bridgewater Sea Piece), 1801, was painted as a pendant (companion piece hanging below) to a similar scene by Willem van de Velde for the 3rd Duke of Bridgewater. See below:
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Turner's application of oil paint became increasing transparent and washy as he matured, and his oils began to look more and more like watercolours. This fluidity allowed him to create wonderfully subtle and luminous atmospheric effects.
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Horses
Rowland Wheelwright, The Enchanted Shore
Lucy Kemp-Welch, Horses Bathing in the Sea, 1900
Lucy Kemp-Welch, Sea Horses
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People on the Beach
Elihu Veder, Greek Girls Bathing.
Frederik Hendrik Kaemmerer, A Beach Stroll.
Gabriel-Charles Deneux, Les peintres de retour du Mont Saint-Michel.
Frederick A Bridgman, Seaweed Gatherers.
Thomas Cooper Gotch, The Sand Bar.
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These painters have used figures to great effect in enlivening their beachscapes. Rods and pitchforks carried by the figures add diagonal linear elements. Clothing is also an opportunity to introduce some red or dark accents to contrast with the neutral coloured surf and sand.
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Polly Seip
I love the use of wide format in these works, and the exploration of the changing effects of light on the sea.
Here's a link to her studio blog: pollyseipfineart.blogspot.com
Here's another example of a wide format composition, by the British painter Frederick William Hayes. This is from the collection of the Victoria and Albert Museum.
Criccieth, Wales, late 19th century.
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Maritime Time
Charles Vickery, Racing Clippers 'Ariel' and 'Taeping', 30 x 40 inches.
Geoff Hunt
Harvey T. Dunn, For a Space of Minutes, 1915
Unknown, Rogue Wave, Queen Mary
Gordon Grant
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Winslow Homer - Fishing
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Kissing the Moon
Saco Bay
The Herring Net
Fog WarningThe last painting, Shark Fishing, 1885, is a watercolor.
Homer's work as an illustrator seems to have given him a wonderful eye for image-making. He makes strong, iconic images that reproduce well, and would not be out-competed by text.
This is due to: interesting viewpoints, simplicity of design, zooming in to the subject, strong tonal contrasts, and energetic lines.
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Albert Julius Olsson
Albert Julius Olsson (1864—1942) was born in London, the son of a Swedish father and English mother, the 'artist was within him' and he was wholly self-taught. A daring yachtsman, some of his marine scenes look back at the coastline from onboard ship. His work was in the late impressionist style of Henry Moore.
From the examples of his paintings I can find on Google image search it seems Olsson was particularly fond of painting the sea in moonlight.
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From the examples of his paintings I can find on Google image search it seems Olsson was particularly fond of painting the sea in moonlight.
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Reading
Charles Sprague Pearce, Reading by the Shore, c1883-1885
Sir William Orpen, Grace Reading at Howth Bay.
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Some Australian Marines
Arthur Streeton, Fossil Bay, Mentone.
Conrad Martens, The Heads Port Jackson.
Ken Taber, Morning Storm, NSW.
Neil Taylor, Shadow Tide, Acrylic.
Piguenit, The League-long Roller Thundering on the Reef.
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More Pages to Explore .....
