Marine Art: March 2020

02 Marine Paintings - Linda Weir, With Footnotes, #260

Linda Weir, (British, born 1951)

Men Coming Home. St Ives Harbour, June 2008

Oil and ball-point pen on canvas

35.5 x 46cm (14 x 18 1/8in)

Private collection

St Ives is a seaside town, civil parish and port in Cornwall. The town lies north of Penzance and west of Camborne on the coast of the Celtic Sea. In former times it was commercially dependent on fishing. The decline in fishing, however, caused a shift in commercial emphasis, and the town is now primarily a popular seaside resort.

The origin of St Ives is attributed in legend to the arrival of the Irish saint Ia of Cornwall, in the 5th century. The parish church bears her name, and St Ives derives from it.

St Ives was the most important fishing port on the north coast. The pier was built by John Smeaton in 1767–70 but has been lengthened at a later date. The octagonal lookout with a cupola belongs to Smeaton's design. More on St Ives

Linda Weir

High Days and Holidays, St Ives, c. 2009

Oil on canvas

51 x 61 cm, 20 1/8 x 24 1/8 inches

Private collection

Linda Weir was born in Manchester in 1951, and studied at Manchester Metropolitan University, attaining a foundation in Visual Studies, a BA in Fine Art and a PGCE in Art. She went on to receive an MA in Fine Art from Nottingham Trent University.

Linda held many teaching positions between 1983 and 2003 including at the University of Nottingham and Manchester Metropolitan University. She was a member of the Manchester Academy of Fine Art and a founder member of the Manchester Artists Studio Association.

Linda won a place at Falmouth School of Art in the 1980s but was unable to take it up. Twenty-five years later, she finally arrived in West Cornwall and now lives and paints in St Ives where she produces impasto oils, all ‘en plein air’. She describes being in Cornwall as a “constant thrill” and finds it an “intensely inspiring place”.

Linda has exhibited extensively in one-woman and mixed shows across the country, most notably at the Royal Academy Summer Show. More on Linda Weir

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02 Marine Paintings - Donald Hamilton Fraser, With Footnotes, #259

Donald Hamilton Fraser R.A. (British, 1929-2009)

Study for Seascape, Sailing Dinghy

Oil on paper

21.5 x 26.5cm (8 7/16 x 10 7/16in)

Private collection

Dinghy sailing is the activity of sailing small boats. There has always been a need for small tender boats for transporting goods and personnel to and from anchored sailing ships. Together with other smaller work craft such as fishing and light cargo, small inshore craft have always been in evidence. Charles II of England had a private sailing boat presented to him[2] when he returned from exile to England in the 17th century, and he sailed for recreation and competition. More on Dinghy sailing

Donald Hamilton Fraser was born in 1929 in London. He studied at St Martin’s School of Art in London from 1949–1952. He was elected a fellow of the Royal College of Art in 1970, and became an Honorary Fellow in 1984.

Donald’s first solo exhibition was in 1953, and that same year he received a French government scholarship to live and work in Paris. For a time upon his return to England, Donald supplemented his artist’s income by writing for Arts Review. From 1958–1983 he taught at the Royal College of Art, and tutoring future luminaries of the art world. Throughout his career Donald contributed widely to artistic debate, writing as both critic and author. In 1983 he designed 4 commemorative stamps, celebrating 14th March, the Commonwealth Day. He was elected a full member of the Royal Academy in 1985.

Famed for his abstract landscapes, Donald’s richly colourful works quickly established him as one of the most distinctive Modernist painters of his generation. Energy and vitality infuse his work, in which a dramatic use of colour creates an air of the unreal, while marks of his palette-knife technique lend rich texture to the painting surface. More on Donald Hamilton Fraser

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02 Marine Paintings - Arthur Hayward, With Footnotes, #259

Arthur Hayward, (British, 1889-1962)

Smeatons Pier, St Ives

Oil on canvasboard

26.5 x 36.5cm (10 7/16 x 14 3/8in)

Private collection

The origin of St Ives is attributed in legend to the arrival of the Irish saint Ia of Cornwall, in the 5th century. The parish church bears her name, and St Ives derives from it.

Arthur Hayward (British, 1889-1962)

St Ives Harbour

Oil on board

25 x 33cm (9 13/16 x 13in)

Private collection

Arthur Hayward, 1889-1971, was born at Southport, Lancashire, Hayward studied architecture at South Kensington but gave it up for painting, and subsequently studied at the Warrington School of Art.. During WWI he served with Royal Field Artillery, and returned to Newlyn, being addressed as Captain Hayward.

He joined the Committee of the NSA, serving specifically on the Entertainments sub-committee, as his organisation skills were well known. After working at Newlyn and Paul, he moved to St Ives, and established a St Ives School of Painting (c1924) of which he was the named Principal.

He played a part in St Ives and Newlyn's artistic life through the formation of an exhibiting set calling themselves the CORNWALL GROUP. More on Arthur Hayward

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02 Marine Paintings, With Footnotes, #258

Charles Meere, Australia, 06 Dec 1890 - 17 Oct 1961

Australian beach pattern, c. 1940

Oil on canvas

91.5 x 122.0 cm

Art Gallery of New South Wales

Charles Meere was one of a group of Sydney artists whose work modernised classical artistic traditions as a means of depicting national life during the inter-war period. The epitome of his vision is Australian beach pattern, a tableau of beach goers whose athletic perfection takes on monumental, heroic proportions. Meere created a crowded and complex composition through the pattern of figures, which appears as a still-life of suspended strength. This iconic painting encapsulates the myth of the healthy young nation symbolised by the tanned, god-like bodies of the sunbathers.

This work was a finalist in the 1940 Sulman Prize and was acquired by the Gallery in 1965. More on this painting

Matthew Charles Meere (6 December 1890 – 17 October 1961), generally known as Charles Meere, was an English-born artist who studied art in England and France, served in World War I, and eventually settled in Australia in 1932. While pursuing his Sydney art practice, he also worked as a commercial artist, exhibited widely and taught life classes. He achieved considerable artistic and commercial success, winning the Sulman Prize in 1938 with Atalanta's Eclipse, a neo-classical interpretation of the Greek myth.

Meere is best known for his stylised art deco paintings dating from the interwar period, most notably Australian Beach Pattern (1938–40). Alternately criticised or praised for its studied formality, this painting has been variously interpreted as a celebration of Australian beach culture, a glorification of heroic racial purity, or as a nuanced reflection of Australia's unpreparedness for World War II. It was among the quintessential Australian images chosen for the opening ceremony of the 2000 Summer Olympics program and was included in the major exhibition of Australian art held at London's National Gallery in 2013. More on Matthew Charles Meere

Anne Zahalka, (b. 1957)

The Bathers, c. 1989/2008

c-type photograph

93.5 x 110cm

Private collection

This work directly refers to Charles Meere's iconic painting "Australian Beach Pattern" (1938–40) (Above). Zahalka has used the same composition as the painting but has changed the characters to be more culturally diverse, thus altering the stereotypical view of Australian culture and challenging traditional representations of the beach. More on this work

Anne Zahalka (born 1957) is an Australian photographer. She was born to a Austrian mother and Czech father. Zahalka subsequently developed an interest in Australia's migrants and diverse cultures. Zahalka studied at East Sydney Technical College and Sydney College of the Arts, and began participating in group exhibitions in Australia and Germany in the early 1980s.

Zahalka is one of Australia’s most highly-regarded photographic artists. She has exhibited extensively in Australia and overseas for more than twenty years. In 2007, the Centre for Contemporary Photography in Melbourne, mounted a major retrospective of her work. Zahalka has been the recipient of numerous awards and commissions. Her works are held in most major public collections in Australia as well as numerous private and corporate collections in Australia and overseas. More on Anne Zahalka

“I think photography is always about loss: lost moments, lost people, lost things. My work rewrites the narratives and histories of our past to include those not depicted within the national picture” Anne Zahalka

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01 Marine Paintings - With Footnotes, #257

William Lentz Weiss

Boston Harbor Scene, c. 1920

Oil on Canvas

23 x 31 in

Private collection

Boston Harbor is a natural harbor and estuary of Massachusetts Bay, and is located adjacent to the city of Boston, Massachusetts. It is home to the Port of Boston, a major shipping facility in the northeastern United States.

Since its discovery to Europeans by John Smith in 1614,[2] Boston Harbor has been an important port in American history. It was the site of the Boston Tea Party as well as almost continuous backfilling of the harbor until the 19th century. By 1660 almost all imports came to the greater Boston area and the New England coast through the waters of Boston Harbor. More on Boston Harbor

William Lentz Weiss lived in East Gloucester, MA and Philadelphia, PA. He was a member of the Salmagundi Club. In 1907 and 1924, he exhibited at the Pennsylvania Academy of Fine Arts. In 1907, he exhibited at the Art Institute of Chicago. More on William Lentz Weiss

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01 Marine Painting - With Footnotes, #256

Edgar Yaeger, (American, 1904 - 1997)

Trans Atlantic S.S.Co.

Watercolor, ink and pencil on paper

4.75 x 7.75 in

Private collection

Edgar Louis Yaeger (1904–1997) was an American modernist painter from Detroit, Michigan.

Yaeger studied at the Detroit School of Fine and Applied Arts, by which he was awarded the Founder's Society Purchase Prize. Subsequently, with the backing of the Anna Scripps Whitcomb Traveling Scholarship, Yaeger embarked on a study tour of eight European countries, from France to Czechoslovakia.

Yaeger was best known for his contributions to the Michigan Federal Art project and the Works Progress Administration scheme during the Depression era, to which he contributed a number of murals that were displayed in public buildings. Some of his contributions are located at the West Quad Dormitory at the University of Michigan and the Detroit Public Lighting Commission Building. More on Edgar Louis Yaeger

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01 Marine Paintings - With Footnotes, #256

Roy Cross, (British, b. 1924)

The clipper 'Reindeer' arriving at Boston Harbor, c. 2007

Oil on canvas

24 x 36 inches (61.0 x 91.4 cm)

Private collection

USS Reindeer (1863) was a steamer purchased by the Union Navy during the American Civil War.

She was used by the Union Navy as a gunboat assigned to patrol Confederate waterways. Reindeer joined the Mississippi Squadron just as Union Army and Navy efforts to open the entire Mississippi River system to Federal shipping finally reached fruition with the capture of the South's river strongholds at Vicksburg, Mississippi, and Port Hudson, Louisiana.

It was Reindeer's job to protect Northern shipping from Southern raiders. After Confederate Brig. Gen. John H. Morgan crossed the Ohio River and invaded the North with some 2,500 troops early in July, Reindeer joined a group of Union gunboats which patrolled the river for 10 days to prevent his crossing back to the southern bank and escaping. Aided by Union troops under Major General Ambrose Burnside, they chased Morgan for almost 500 miles before they caught up with him at Buffington Island on the 19th and captured about half of the invading force.

On 15 November, the gunboat was transferred to the Cumberland River for similar duty. In the months that followed, she frequently engaged Confederate batteries which fired upon her from temporary positions along the riverbanks.

She was sold at public auction on 17 August 1865 to J. A. Williamson, et al., and was redocumented as Mariner on 5 October 1865. The ship operated as a merchantman until she was stranded and destroyed at Decatur, Alabama, on 9 May 1867. More on the USS Reindeer

Roy Cross (born 23 April 1924) RSMA GAvA was a British artist and aviation journalist best known as the painter of artwork used on Airfix kits from the 1960s. Airfix is a UK manufacturer of injection-moulded plastic scale model kits of aircraft and other objects.

Born in Southwark, London and mainly self-taught, he learned his craft at the Camberwell School of Art and as a technical illustrator for training manuals for Fairey Aviation during the second world war. He progressed from there to producing advertising art for the aircraft industry and other companies. He illustrated for The Aeroplane and the Eagle comic.

In 1952 he joined the Society of Aviation Artists. He started in 1964 with box art for Airfix's Do 217 and his last work for them was the box art for the German heavy cruiser Prinz Eugen (1974). He went into marine paintings. More on Roy Cross

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01 Marine Painting - With Footnotes, #255

Fausto Pirandello, (1899 - 1975)

Bathers on the rocks, c. 1931

Oil on panel

cm 61,5x51

Private collection

Fausto Calogero Pirandello (17 June 1899 – 30 November 1975) was an Italian painter. Because he spent his holidays between Rome and Sicily, the landscapes there would have a prominent presence in his paintings. He studied Classics until he was called to arms in 1917 by the Ragazzi del '99. He was not sent to the front because of his health condition however. After the war, Pirandello decided to dedicate himself to sculpture rather than return to his studies, but because of his health problems again, he was forced to paint instead. The artist would have his first studio for painting in Alta Valle dell’Aniene, in1924. Pirandello made his first public appearance at the III edition of the Biennale Romana in 1925. When he was in Paris he would attend the group of the Italiens de Paris. He would also study the works of Cézanne, Picasso, Braque, and the painters from l’École de Paris. His first exhibition in Paris involved Emanuele Cavalli and Francesco Di Cocco in the house of Countess Castellazzy-Bovy, and he would later have his first solo exhibition in Viena in 1929. He returned to Rome in 1930. During this time, he exhibited at the Rome gallery. He would remain close to the Roman School, where he would be associated to the group of the ‘tonalists’. During the post-war period, the exhibition activity intensified with regular participation in the Roman Quadrennials, the Venice Biennials, and in private galleries. During the 1950s he not only took part in numerous exhibition in Italy, but abroad as well. One of which would include an anthology in Palazzo Barberini in Rome in 1951. Pirandello would have his first solo exhibition in the United States at the Catherine Viviano Gallery in New York. He received multiple awards such as the First Prize at the VI edition of the National Quadrennial d’Art of Rome in 1951, the Gualinon Award in the context of the XXVI Venice Biennale of 1952 (which will later dedicate a whole room to him in 1956), the Marzotto Prize in 1953, the Fiorino Prize in 1957, the Michetti Prize in 1964, and the Villa Award in 1967.

Fausto Pirandello passed away in Rome on November 30, 1975. More on Fausto Pirandello

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01 Marine Paintings - With Footnotes, #254

Neapolitan school sec. XVII

Galleon coming out of a port

Oil on canvas

cm. 65x82

Private collection

Galleon, full-rigged sailing ship that was built primarily for war, and which developed in the 15th and 16th centuries. The name derived from “galley,” which had come to be synonymous with “war vessel”. A high, square forecastle rose behind the bow, the three or four masts carried both square and fore-and-aft sails, and one or two tiers of guns were carried broadside. The largest galleons were built by the Spanish and the Portuguese for their profitable overseas trade; the famed “Manila galleons” of Spain made an annual trip between Acapulco, Mex., and the Philippines, carrying silver west and raw silk east, for more than 250 years. More on Galleon

Italian School 18th century. The Neapolitan school was very influenced by the Baroque style, along with Caravaggio (paintings by Fracanzano, Saint-Pierre repentant (The penitent Saint Peter), Solimena, L’Annonciation (The Annunciation), Giordano, La Vierge adorant l’Enfant (The Virgin Adoring the Child)…)

Classicism is evident in various ways in the paintings of Vanni, Mola, Agar et l’Ange (Agar and the Angel), Badalocchio or Lorenzo Lippi with the superb Allégorie de la simulation (The Allegory of Simulation).

Finally the Venetian school from the late 18th century is also represented by two of its vedute [stars]: Guardi and the superb Apothéose de la maison Pisani (Apotheosis of the Pisani Family) by Giambattista Tiepolo. More on Italian School 18th century

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