BRITISH SCHOOL, 19th century
NAVAL ENGAGEMENT
Oils on canvas
24 x 36 1/4 in. (65 x 92.1 cm)
Private collection
In the 18th and 19th century, English painting
finally developed a distinct style and tradition again. Sir James Thornhill's
paintings were executed in the Baroque style of the European Continent and
William Hogarth reflected the new English middle-class temperament — English in
habits, disposition, and temperament, as well as by birth. His satirical works,
full of black humour, point out to contemporary society the deformities,
weaknesses and vices of London life.
Portraits
were, as elsewhere in Europe, most easy and most profitable way for an artist
to make a living, and the English tradition continued to draw of the relaxed
elegance of the portrait style developed in England by Van Dyck. By the end of
the century, the English swagger portrait was much admired abroad, and had
largely ceased to look for inspiration abroad.
The early
19th century also saw the emergence of the Norwich school of painters.
Influenced by Dutch landscape painting and the landscape of Norfolk. It was
short-lived due to sparse patronage and internal faction prominent members.
The Pre-Raphaelite Brotherhood movement, established in the 1840s,
dominated English art in the second half of the 19th century. Its members
concentrated on religious, literary, and genre works executed in a colorful and
minutely detailed almost photographic style. More
on British School, 18th & 19th
century
Frederick William Scarbrough, (1860-1939)
Pool of London, with St Paul's in the distance
Watercolour
15.0" x 23.0"
Private collection
St Paul's Cathedral, London, is an Anglican cathedral, the seat of the Bishop of London and the mother church of the Diocese of London. It sits on Ludgate Hill at the highest point of the City of London and is a Grade I listed building. Its dedication to Paul the Apostle dates back to the original church on this site, founded in AD 604. The present cathedral, dating from the late 17th century, was designed in the English Baroque style by Sir Christopher Wren. Its construction, completed in Wren's lifetime, was part of a major rebuilding programme in the City after the Great Fire of London.
The cathedral is one of the most famous and most recognisable sights of London. Its dome, framed by the spires of Wren's City churches, has dominated the skyline for over 300 years. At 365 feet (111 m) high, it was the tallest building in London from 1710 to 1967. The dome is among the highest in the world. St Paul's is the second-largest church building in area in the United Kingdom after Liverpool Cathedral. More on St Paul's Cathedral
He painted mainly in watercolour in a style similar to Charles Dixon, William Lionel Wyllie and Charles Napier Hemy. He painted sea scenes along the east coast of Britain from Scotland to Whitby and East Anglia, however it for his atmospheric paintings of busy shipping in the pool of London that he is best known. He exhibited from 1890 through to the early 20th century, settling in Lincolnshire. He continued to exhibit right up until 1939. His work is impressionistic in style, often painted in late afternoon or early morning to capture the soft quality of light and the different reflections on the water. More on Frederick William Scarbrough
FREDERIK TUDGAY, (British 1841-1921)
STEAMER MARGERY, c. 1872
Oil on canvas
23 x 36 in. (58.4 x 91.4 cm)
Private collection
The cargo steamers on Loch Awe (locally known as barges) were run by various owners from time to time. The first, named S.S. Margery, was built from wood .
Delivered to the Thames as the first steam packet service on the river, between London and Gravesend. It was also the first steamship to cross the English Channel (Newhaven to Le Havre), arriving in Paris 16/3/1816. In 4/1816 it was used for passenger service on the River Seine between Elbeuf and Rouen.
Service on the Seine was not a commercial success and ended in 1818(?). French sources claim she returned to England as MARGERY; others that she was abandoned on the Seine, where her timbers lay as late as 1888. More on the paddle-steamer Margery
Frederick Tudgay worked as a painter of ship interiors for the Green Shipyard in Blackwall, giving him direct access to study ship design and construction techniques. Besides his noted accuracy, his works are appealing for the strong artistic merit seen in his treatment of sea, sky and background elements.
Working in London during the last half of the 19TH Century, the Tudgays painted almost exclusively on direct commission from owners and captains, producing accurate ship portraits known for their fidelity to vessel design. Today, their works are considered important examples of British marine painting, sought after by knowledgeable collectors the world over. More on Frederick Tudgay
J. Tudgay (British, 19th century) and Frederik Tudgay (British, 1841-1921)
Battle of Heligoland, 9th May 1864
Oil on canvas
35-1/2 x 58-3/4 in. (90.1 x 149.2 cm.)
Private collection
On the morning of 9 May, the two squadrons encountered each other off the island of Heligoland, then controlled by neutral Great Britain. Tegetthoff attacked with his two frigates while the slower Prussian vessels lagged behind, unable to effectively engage the Danish warships. Tegetthoff's flagship, Schwarzenberg, bore the brunt of the Danish gunfire and caught fire three times, the last of which could not be put out quickly and forced Tegetthoff to seek shelter in the neutral waters around Heligoland. Though Denmark claimed a tactical victory in the battle, the Danes were forced to end the blockade of the German coast. An armistice came into effect three days after the Battle of Heligoland. By the time fighting broke out again in June, further Austrian warships had arrived to strengthen the Austro-Prussian naval forces, and the Danes did not seek to challenge them. More on The Battle of Heligoland
Frederick and John Tudgay (1841-1921), see below
Bernardus Johannes Blommers, (Dutch, 1845-1914)
Figures on the Beach
Oil on panel (laid down on panel)
9.5"h x 14"w
Private collection
Bernardus Johannes (Bernard) Blommers (30 January 1845
in The Hague – 12 December 1914 in The Hague) was a Dutch etcher
and painter of the Hague School.
He learned lithography early in his career, and then
studied at the Hague Akademie under Johan Philip Koelman until 1868. His early
paintings were mostly genre works depicting fishermen and their wives, heavily
influenced by Jozef Israëls. The later works (from about 1890) are more loosely
painted, although maritime and genre scenes remained the primary subject
matter. His work was critically successful during his lifetime, being sought
after by English, Scottish and American collectors. Blommers was also active as
a teacher; among his pupils was the American painter Caroline van Hook Bean,
who became his daughter-in-law in 1913. More on Bernardus
Johannes
Betsy Podlach, United States
Christina (Commission)
Oil and egg tempera on linen
58”:58”
Private collection
I am an American painter who considers the Italian Venetians and the american abstract expressionist painters my mentors – they are the painters whose paintings I most love, and wanted to learn from.
I of course consider Leonardo Di Vinci and Michelangelo indespensible to my attempts to create form regarding the human body. More on Betsy Podlach
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