Marine Arts and Artifacts Specialists
Home
Contact Us
(949) 642-7945 
MARITIME PAINTINGSMARINE THEMED PAINTINGSSHIP MODELSSAILOR ARTSARTIFACTSINSTRUMENTSBOOKS & EPHEMERA
  advanced :: search >
show all  Page:    1  2  3  4  5  6  7  next

 

 
 
 

Charles Camoin
French (1879-1965)

Ramatuelle

Above the edge of the city of Ramatuelle on the Saint Tropez Peninsula, a herdsman takes in the view of the Mediterranean glory beyond the city. The medieval town his today home to the luxurious beach of Pampelonne, playground of the world’s wealthiest. In Camoin’s time, it is still primarily a small town, situated near Gassin and immortal San Tropez. The homogenous architectural style of Spanish clay and red-tile roofs is in common use, in contrast to today’s elegant hotels and resorts.

Touches of earthy brown build the foreground hillside and feed the growth of the largest green tree that brackets the reaches of the painting. Interesting to note that the artist used a suggestive, skipping stroke here and for the rooftops he was more concerned with the geometric parallel lines and deep tones depressions between the tiles.

Deep lush foliage cuts the coastal hills and canyons in this view, and the idle sense is that the day is more relaxed and less frenzied than today’s pace. The ocean is a deep blue, the sky is lightened with clouds beyond the trees, and no one cares if the man is at leisure while the two blackish goats hit the canvas as shadowy spectres, oblivious to our watching presence. The artist strode this canyon, and found a pleasant escape for us all..

Admin Details
view details
 

 

 
 
 

Jean Pierre Cassigneul
French (1935-)

Les Tents Bleu

An absolutely superior work by artist Jean Pierre Cassigneul, on a glance this painting of a woman walking her little dog on a beach boardwalk is instantly appealing. Subsequent views make this charming narrative portrait even more so. The vibrancy of the use of primary colors invokes a clean, bright simplicity to their world, and the slightly exaggerated, lithe stature of the central woman and a yellow-dressed companion sliding off stage right make a viewer wish to visit more of their stories.

The linear flow of the painting translates the ocean’s distance and dark-blue horizon’s depth, and delineates the boardwalk’s wood planks to the stretch of white-sand beach. The French-style blue beach tents capture the work’s title, while the partial flag overhead and a colorful patterned scarf compete for the attention of the breeze. The small brown dog is having none of it, ready for the leash-holder to began again after her introspective pause.

One would be remiss not to notice the fashion present: beret and floral pin accent the first woman’s outfit in contrast to the fore-mentioned scarf, and the modest yet feminine 1920s cut of the dresses complete with coordinated heels, and the “graffito” belt, created in the thick oil by the artist’s linear cross-hatched scratches . A overall very desirable work by Cassigneul, an artist we feel is increasing in esteem and demand.

Admin Details
view details
 

 

 
 
 

Chinese School
Chinese (1775-1900)

Macao

The oldest European buildings in China are along the once curved crescent shore of the Praya Grande, where the Portuguese explorers established and fortified their trading foothold with an entire continent. When they arrived in 1553, the small fishing village overlooked by a temple of an ocean goddess immediately became an important cultural center of the world, with the initial interactions between the East and West. Ever since, this port loaded with temples and churches has played a role in the cosmopolitan course of world trade. (The harbor is extensively filled in and built upon today.)

In this view, more than 300 years after the Dutch established contact in the early 17th Century and western ships first sailed in the harbor, a British Sidewheel Steamer is in the port of Macao, surrounded by more than 20 Chinese vessels. The artist’s perspective, looking northwest towards the Praya Grande’s center, brings Praha Hill and its stone stairway in view, with the church on top. The inlaid stone walkway of the port city is full of human figures, one wearing a special red jacket while the rest wear blue or white. One westerner in a top hat at the stern post of the closest Chinese ship directs its crew outward bound. As a natural harbor and a point of first contact, many sailors were required to remain at Macao, while some ships would anchor and others would push on to Whampoa. Only the merchants and captains directly involved in the negotiations of buying and selling were allowed access up the river beyond Whampoa to Canton. Travel would be via local craft only. From the Chinese artists who produced port and ship paintings directly for their nautical visitors, paintings of Macao are substantially rarer than other views.

Admin Details
view details
 

 

 
 
 

Montague Dawson
British (1895-1973)

Heave Away, Racing Cutters

A trio of English racing cutters compete over an ocean course in this lively mixed-media watercolor and gouache work by maritime art master Montague Dawson. The challenge of yachting skill is quantified by speed, and the crew of each yacht knows it must act as a harmonious unit to get the most out of their cutters. With the helmsman hard on the tiller to brace the rudder, the two sailors are heaving the main sail to turn the cutter yacht back into the wind. Once the trailing yachts make their turn, the three vessels will all have the task of tacking into the breeze to make the finish line.

Dawson excelled at realistic portrayals while keeping his art fluid and loose. Unmatched in his portrayal of the chaotic power of the ocean, here he has caught a moment with the lead cutter dipping the starboard rail deep, leveraging every tool available to make the brisk turn and keep the lead. The full sails of the chasing yachts shows the prevailing wind’s headlong direction. The mix of media allows Dawson a freer, flowing style. He excelled in yacht subjects of this media in the 1930s.

As an artist, Dawson strove for realism while mastering the artistic aesthetics. The individual character of the three yachtsmen in the cutter’s deep cockpit is remarkable, and one may actually feel their rising spirits as they lead the match. Their competition is still in sight, and they know that victory is round this mark and to be found across the finish line.

Admin Details
view details
 

 

 
 
 

Richard Hayley Lever
American (1876-1958)

The Old Lighthouse and Fleets of St. Ives, Cornwall

An impressive large view of the Cornwall seaside port of St. Ives, this is a top-level painting by the artist Richard Hayley Lever. The diversity of activity on Smeaton’s Pier with spectators, shoppers, and a horse-drawn fish cart is complemented with the two fleets of sailing ships: The colorful fishing boats finishing their day’s work at anchor, and the multitude of pleasure-seeking sailing boats. Dominating the center is the Old Lighthouse, built in 1830 at what was once the pier’s end. The north-shore pier was built out in 1890 and another lighthouse was built at the new terminus.

One of the primary English coastal fishing villages, it evolved over the years in part due to its relative mild winters and cooler summers, so today it is regarded a premier English coastal vacation resort. Such diverse beauty made it a popular artists’ community as well, and Lever found this and became a resident artist for more than 10 years. This view is from his second-story art studio looking toward St. Ives Bay.

Hayley Lever made a sensational impact in America with his interpretive Post-Impressionism with aggressive impasto application, brushwork and daring coloration, in part directly inspired by Vincent Van Gogh. This particular epic work would have been in demand after his first American exhibition at the Carnigie International in Pittsburgh. American buyers clamored for his scenes after he exhibited “Port of St. Ives, Cornwall” in 1910.

Admin Details
view details
 

 

 
 
 

Arthur David McCormick
Irish (1860-1943)

A Pirate's Discussion

Even rogues must follow directions and their own code to achieve success. Pirates such as these salty men would have measured such by the contents of their purse, stashed wealth and of course, the quality and size of their ships. No fewer than 16 pirates are depicted, most listening with attention to the tale being spun by one of their members mid-deck. With his audience arrayed opposite him, it has the feeling of a tale recanted of a epic battle moment and a miraculous escape or fate for one of their own. One mate listens close-by while working the rig, while others are seated beyond within, a tri-corner hat-wearing pirate in a long coat stands at a quarter-deck railgun, directing a sailor manning the wheel. Two others are up the next deck, scouting with a telescope.

Strong colors with interesting specific details reside throughout McCorkmick’s painting. A sky-blue slice of brilliance holds the upper corner with clouds bracketing, and shadows play over the men and their ship. The geometric harmony of the parallel deck planks makes a nice uniform contrast to the somewhat loose and chaotic outfits of the pirates, each with his chosen unique head-covering. Makes a viewer wish paintings could talk, to be brought into the action and story. McCormick blends the romantic nature with realistic touches to make his paintings highly and widely collected.

Admin Details
view details
 

Page:    1  2  3  4  5  6  7  next
Marine Themed Paintings - Search Results, Marine art, Maritime art, Marine Arts AND Artifacts, Maritime paintings, Marine paintings, Maritime gallery.

Director's Statement About Us Essays & Articles Gallery Archives Artist Listing
    
website stats
   
Related Links Site Map Contact Us
back to top
Click here to scroll down
scroll down