01 Classic Works of Art, Marine Paintings - With Footnotes, #141

MALCOLM MORLEY (1931–2018)

Flying Cloud with Montgolfier Balloon, 1998

Lithograph on Rives BFK mould-made paper

37 3/4 × 47 in; 95.9 × 119.4 cm

Private collection

Flying Cloud was a clipper ship that set the world's sailing record for the fastest passage between New York and San Francisco, 89 days 8 hours. The ship held this record for over 100 years, from 1854 to 1989.

Flying Cloud was the most famous of the clippers built by Donald McKay. She was known for her extremely close race with Hornet in 1853; for having a woman navigator, Eleanor Creesy, wife of Josiah Perkins Creesy who skippered Flying Cloud on two record-setting voyages from New York to San Francisco; and for sailing in the Australia and timber trades. More on Flying Cloud

Joseph-Michel Montgolfier (26 August 1740 – 26 June 1810) and Jacques-Étienne Montgolfier (6 January 1745 – 2 August 1799) were paper manufacturers from Annonay, in Ardèche, France best known as inventors of the Montgolfière-style hot air balloon, globe aérostatique. They launched the first piloted ascent, carrying Étienne. Joseph Michel also invented the self-acting hydraulic ram (1796), Jacques Étienne founded the first paper-making vocational school and the brothers invented a process to manufacture transparent paper. More on Montgolfier

Malcolm Morley, British, (1931–2018), London, United Kingdom, based in New York, New York, is best known for his hyperreal paintings and sculptures that pull subject matter from Old Masters, family portraits, current events, travel brochures, and other visual detritus. Using a grid system to transfer the images onto canvas—reminiscent of the Minimalist grid—he also transfers the borders, tears, and folds in order to foreground the objecthood of the image. Of his attempt to move beyond the strictures of photorealism, Morley says, “I make a handmade painting from a readymade.” Dissatisfied with merely reproducing the image, he draws from the vivid colors of Pop Art and collage techniques to further draw attention to the image as an object. More on  Malcolm Morley

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01 Classic Works of Art, Marine Paintings - With Footnotes, #112

Pieter COOPSE, (active Amsterdam 1668 - 1677) 

Naval PC battle between English and Dutch

Oak panel, three reinforced planks

70 x 108.5 cm - 27 1/2 X 42 3/4 IN.

Private collection

Pieter Coopse or Pieter Jansz. Coops (ca.1640, – 1673), was a Dutch Golden Age seascape painter and draughtsman from Hoorn in the Northern Netherlands.

According to the Netherlands Institute for Art History, he was a pupil of the seascape painter Ludolf Bakhuizen who resided at Hoorn in 1662-1663. He signed his name P.Coopse, sometimes with a second initial J for Jansz, but he seldom added a date. He painted marine subjects and landscapes, in the manner of Bakhuisen and Van de Velde, flourished about the year 1672. His pictures are generally of a small size, well composed, full of subject, and vigorously painted. There is a picture by him in the Gallery at Munich, which is attributed to Bakhuisen in the catalogue, though the name may be discovered on it: in England the dealers are more cautious; they remove it. Ploos van Amstel and others have given facsimiles of some of his drawings; but it is only recently that his own countrymen have discovered his merit as a painter in oil. More on Pieter Coopse

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01 Classic Works of Art, Marine Paintings - With Footnotes, #141

Montague Dawson R.S.M.A., F.R.S.A., 1895-1973, BRITISH

RACING HOME, THE CHINA CLIPPERS CHRYSOLITE AND STORNOWAY ALMOST NECK-AND-NECK, "The RIVALS"/ The race of the Chrysolite

Oil on canvas

28 by 42 in., 71.1 by 106.8 cm

Private collection

While the majority of Montague Dawson’s works take place on the high seas, Racing Home is a rare composition with a shipboard perspective, focused on the men who propelled these ships around the world. Life on a clipper could be harsh and dangerous; even under a bright blue sky, the weight and surging power of the waves is tangible. 

Racing Home, the China Clippers Chrysolite and Stornoway Almost Neck-and-Neck is a dramatic realization of the  “tea race” conducted in 1852 between two clipper ships engaged in the Liverpool-China trade. These races pitted the most advanced ships from the docks of Aberdeen and Liverpool, built for speed as well as maximum capacity, with the best captains and crews. A speedy trip home from the far East granted bragging rights to the crew and would enable the owners of the ship to command higher freight fees, resulting in huge sums of money. Tea merchants would offer incentives for fast passages as well, adding a premium of £1 per ton of tea to the first ship to dock. The outcomes of these yearly races were intensely followed by the public, reported in the columns of newspapers throughout the United Kingdom, and many bets were placed on the outcome in London and throughout the ports of Britain. More on this painting

Montague Dawson RMSA, FRSA (1890–1973) was a British painter who was renowned as a maritime artist. His most famous paintings depict sailing ships, usually clippers or warships of the 18th and 19th centuries. Montague was the son of a keen yachtsman and the grandson of the marine painter Henry Dawson (1811–1878), born in Chiswick, London. Much of his childhood was spent on Southampton Water where he was able to indulge his interest in the study of ships. For a brief period around 1910 Dawson worked for a commercial art studio in Bedford Row, London, but with the outbreak of the First World War he joined the Royal Navy. Whilst serving with the Navy in Falmouth he met Charles Napier Hemy (1841–1917), who considerably influenced his work. In 1924 Dawson was the official artist for an Expedition to the South Seas by the steam yacht St.George. During the expedition he provided illustrated reports to the Graphic magazine.

After the War, Dawson established himself as a professional marine artist, concentrating on historical subjects and portraits of deep-water sailing ships. During the Second World War, he was employed as a war artist. Dawson exhibited regularly at the Royal Society of Marine Artists, of which he became a member, from 1946 to 1964, and occasionally at the Royal Academy between 1917 and 1936. By the 1930s he was considered one of the greatest living marine artists, whose patrons included two American Presidents, Dwight D Eisenhower and Lyndon B Johnson, as well as the British Royal Family. Also in the 1930s, he moved to Milford-Upon-Sea in Hampshire, living there for many years. Dawson is noted for the strict accuracy in the nautical detail of his paintings which often sell for six figures.

The work of Montague Dawson is represented in the National Maritime Museum, Greenwich and the Royal Naval Museum, Portsmouth. More on Montague Dawson

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01 Classic Works of Art, Marine Paintings - With Footnotes, #96

Jacob Lawrence, 1917 - 2002

Tension on the High Seas - June 22 - 1807. American Sailors of "The Chesapeake" Captured by the British. in pencil on verso. From the series Struggle....From the History of the American People., c. 1954-56. 

Egg tempera on board

406x305 mm; 16x12 inches.

Private collection

Tension on the High Seas, Jacob Lawrence's 19th panel from his Struggle series, depicts a British naval officer inspecting three bound and wounded captives seized from the American ship, The Chesapeake. Lawrence illustrates a dramatic episode of the British navy "impressment" of possible deserters by force. Despite America's efforts to remain neutral during the Napoleonic Wars, this humiliating episode in the summer of 1807 upset both the American government and public. It was one of a series of provocations leading up to the War of 1812. More on this painting

The War of 1812 (which lasted from 1812 to 1814) was a military conflict between the United States and Great Britain. As a colony of Great Britain, Canada was swept up in the War of 1812 and was invaded a number of times by the Americans. The war was fought in Upper Canada, Lower Canada, on the Great Lakes and the Atlantic, and in the United States. The peace treaty of Ghent, which ended the war, largely returned the status quo. However, in Canada, the war contributed to a growing sense of national identity, including the idea that civilian soldiers were largely responsible for repelling the American invaders. More on the war of 1812

Jacob Lawrence (September 7, 1917 – June 9, 2000) was an African-American painter known for his portrayal of African-American life. As well as a painter, storyteller, and interpreter, he was an educator. Lawrence referred to his style as "dynamic cubism", though by his own account the primary influence was not so much French art as the shapes and colors of Harlem. He brought the African-American experience to life using blacks and browns juxtaposed with vivid colors. He also taught and spent 15 years as a professor at the University of Washington. More on Jacob Lawrence 

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02 Classic Works of Art, Marine Paintings - With Footnotes, #135

Willem van de Velde the Younger  (1633–1707)

A ship in the open sea in a flying storm/ De windstoot, c. 1680

Oil on canvas

h 77cm × b 63,5cm

Rijksstudio

A large ship is in distress. A gust of wind broke the mast and one of the sails broke loose. It is a seventy-one British warship. Willem van de Velde II joined the English royal family in 1672, together with his father, who was also a marine painter. More on this painting

Willem van de Velde the Younger  (1633–1707)

The Cannon Shot/ Het kanonschot, Circa 1680

Oil on canvas

Height: 78.5 cm (30.9 in); Width: 67 cm (26.3 in)

Rijksmuseum 

A Dutch warship in a calm, with its sails loosed, fires a cannon shot. Two sloops float to either side of the man-of-war, and another Dutch ship with lowered sails can be seen in the distance. The tranquillity of this scene contrasts starkly with The Gust (Above), in which a storm-battered English warship drifts rudderless on the high waves. More on this painting

The gunshot has been painted with great care, in a realistic style. It is unclear whether Van de Velde painted the Dutch ships on this work from previous studies or whether he might have traveled there specifically for it. However, Van de Velde was known to know his objects through and through, and that also applied to the ships on Het kanonschot. That was also necessary, since he would hardly have found a buyer if the details of his ships had not been accurate to the last detail. More on these works

Willem van de Velde the Younger (bapt. 18 December 1633; died 6 April 1707) was a Dutch marine painter. A son of Willem van de Velde the Elder, also a painter of sea-pieces, he was instructed by his father, and afterwards by Simon de Vlieger, a marine painter of repute at the time, and had achieved great celebrity by his art before he came to London. By 1673 he had moved to England, where he was engaged by Charles II, at a salary of £100, to aid his father in "taking and making draughts of sea-fights", his part of the work being to reproduce in color the drawings of the elder Van de Velde. He was also patronized by the Duke of York and by various members of the nobility. More on Willem van de Velde the Younger

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01 Classic Works of Art, Marine Paintings - With Footnotes, #139

Émile Renouf, 1845 - 1894, FRENCH

UN COUP DE MAIN (THE HELPING HAND), c. 1881

Oil on canvas

61 3/4 by 88 1/2 in., 156.8 by 224.8 cm

Private collection

Émile Renouf (23 June 1845 – 1894) was a French painter and draughtsman of the realism-impressionism school.

He studied at the Académie Julian and was a pupil of Gustave Boulanger, Jules Lefebvre and Charles Duran, and first exhibited his works at the Salon de peinture et de sculpture in Paris between 1877 and 1881. He received a gold medal at the Exposition Universelle (1889) in Paris.

He painted marine and peasant themes especially after a trip to the Île de Sein. Because of the state of his Paris studio, he built a new atelier in Le Havre where he died. His works are in museums in France, Amiens, Le Havre, Rouen, Liège and the Metropolitan Museum of Art in New York City. More on Émile Renouf

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01 Classic Works of Art, Marine Paintings - With Footnotes, #138

Pasquale Avallone

Coastal view

Oil on cardboard laid down on canvas

59 x 42,5 cm
Private collection

Pasquale Avallone ( Salerno , 1884 - 1965 ) was an Italian painter and sculptor. Born in Salerno, he received his first art lessons from his father Giuseppe Avallone . In 1903 he enrolled at the Academy of Fine Arts in Naples. 

Returning to Salerno , he devoted himself to the study of painting and sculpture. In 1909, at the LXVIII exhibition of the Promoter Society of Fine Arts in Turin, he exhibited a self- portrait, and in the same year he was asked to sign up for L'Union Internationale des Beaux Arts et des Lettres in Paris: the executive committee asked him to join the organization by July 16, 1909.  

In 1910 Avallone was entrusted with the task of creating the cieling and the curtain of the Teatro Municipal Luciani ; two years later he decorated the restored church of Sant'Antonio Abate and shortly thereafter, the Ave Gratia Plena church. In 1917 he was awarded the "Salvator Rosa" in Naples for the "Le madr" triptych, purchased immediately by the Naples Chamber of Commerce.  

In 1924 he took part in the Annual Exhibition in Milan , organized by the Society for Fine Arts and Permanent Exhibition , where he exhibited the works "Giovinetta" and "Salerno - Vecchie Case".  In 1922 he was commissioned a bonnet in ebony and bronze for the Cruiser Campania , his first important bronze work, which thus proved to be a skilled sculptor: the masterpiece was worth the conferral of the title of "knight of Italy".

He established himself as a teacher and point of reference for the Salerno painters of the 1930s.

In 1948 some of his paintings were exhibited at the "Prima Annuale Nazionale d'Arte" , an opportunity for comparison between artists of different generations and different cultural and geographical backgrounds.

Many of his paintings are permanently displayed at the Provincial Art Gallery of Salerno  and in the museum of the historic building of the Chamber of Commerce. More on Pasquale Avallone

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01 Classic Works of Art, Marine Paintings - With Footnotes, #137

Jan Lucas van der Baan, (1912-1990)

Harbor of Zoutkamp

Gouache on paper

28x42 cm

Private collection

Zoutkamp is a village in the community in the Netherlands. Zoutkamp was primarily mentioned in documents in 1418 as Soltcampum. Its first inhabitants might have been soldiers. Its name refers to salt and field, which probably means that it was a place for salt production.


A village that was in the eighty-year war a defensive and then mainly a bustling fishing village, located on the Lauwerszee. Nowadays the sea does not reach Zoutkamp anymore. 

After the disappearance of fishing from the ports of Zoutkamp, ​​it has become a tourist attraction. Zoutkamp still exudes the atmosphere of then, with its monumental locks, and its many water, the many terraces overlooking the harbor, the beautiful Fishery Museum ... More on Zoutkamp

Jan Lucas van der Baan ( Groningen , February 3, 1912 - Groningen , July 15, 1990 ) was a visual artist and member of the Groninger Kunstkring De Ploeg. 

His father was a teacher. From 1924 to 1931 he followed the education at the Municipal HBS in Groningen. In September 1931 Van der Baan started his studies at the Academy Minerva. In 1933 he obtained a degree in Drawing and Applied Arts. After that he studied at the National Institute for Training of Teachers in Amsterdam .

With his somewhat academic-looking atmospheric painted works from the period 1935-1955 Van der Baan clearly deviated from the exuberant Expressionist style. Important subjects for his paintings and watercolors were landscapes, the city of Groningen and the water. Van der Baan and his wife Peta Edzes were avid water sports enthusiasts. Ships and port views were an important theme in his artistic production.

In the sixties, the use of color became more expressive. Van der Baan also experimented with a more abstract style). His trip to cubism and abstract expressionism remained almost limited to works in which urban themes are put down. 


At the end of the seventies Van der Baan returned to a more realistic representation of his subjects. More on Jan Lucas van der Baan

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01 Classic Works of Art, Marine Paintings - With Footnotes, #136

Rafael Maniago

Unknown

Oil on canvas

 24x28 

Private collection

Rafael Maniago : Renowned Painter and Poet Rafael was born in the Philippines and has been drawing since childhood. He attended the University of the East in Manila, where he studied Fine Arts and Commercial Advertisement. For 20 years he operated his own gallery in the Philippines and in 1989 he decided to come to the United States. His passion for learning continued as he studied at the Pasadena Art Center. He has painted over 1000 portraits, of which many were of the Philippine leaders of Commerce, Industry and Politics. For years he has been conducting workshops throughout Southern California. He is a patient man with a keen eye for perfection and color. His elegant style can be seen in his works of art and the way his students capture his directions. There is a feeling of passion, and intense dedication in the vivid colors of his paintings.True to his style, he captures the inner life and physical likeness of the characters he portraits. True to his love of paintings, he continues to teach and paint outdoors day after day. He is a member of: Portrait Society of America,American Society of Portrait Artists, California Art Club,Laguna Plain Air Painter Association. More on Rafael Maniago

Please visit my other blogs: Art Collector, Mythology, Marine Art, and The Canals of Venice

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01 Classic Works of Art, Marine Paintings - With Footnotes, #134

Pino Dangelico (1939 - 2010)

Afternoon Stroll

Hand Embellished Giclee on Canvas

12x12 

Private collection

Pino Daeni (November 8, 1939 – May 25, 2010) was an Italian-American book illustrator and artist. He is known for his style of feminine, romantic women and strong men painted with loose but accurate brushwork. Considered one of the highest paid book illustrators of his time, he created over 3,000 book covers, movie posters and magazine illustrations. From 1960 to 1979, his work garnered several prizes and awards. During this period, he was commissioned by two of Italy's largest publishers, Mandadori and Rizzoli, for numerous book illustrations. After a visit to Manhattan in 1971, Pino's experiences of the art scene at that period led him to feel restricted in Milan, and in 1978, he moved to New York, where he believed the artistic freedom would allow him greater opportunities. In 2001, Pino's son, Massimo, began representing his artist-father, despite Pino's initial reluctance. Massimo, more known as Max, successfully grew his efforts into a profitable marketing company, helping his father expand beyond his normal gallery representation to include magazines and books. His work continues to appear in art galleries all over the world, and his Giclee prints sell into the thousands of dollars. On May 25, 2010, Pino died at the age of 70. More on Pino Daeni

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01 Works of Art, Marine Paintings - With Footnotes, #133

Guillermo Gomez Mayorga,  (1887 - 1962) 

Untitled

Oil on canvas

100 x 150 cm / 39.3 x 59.9 

Private collection

Guillermo Gomez Mayorga,  (1887 - 1962), was a prominent landscape painter, especially the sea, which he executed with great majesty, marking the bravery of the sea and the areas of sparkling water that provoke a sense of classic beauty. His best marine paintings were painted only on the basis of two elements: water and sky; With these limitations he built challenging scenarios and through rhythms, densities, movements, monochromatic tones and luminous accents he created serene, traditional and fresh atmospheres of the Mexican beaches. "The sensations transmitted by the landscapes of Mayorga are due to his graphological knowledge, his love for nature and his learning at the top of the artistic avant-gardes of the time." Hugo Covantes. More on Guillermo Gómez Mayorga 

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