Marine art or nautical art are all forms of figurative art (ie painting, drawing, graphic arts and sculpture) that portray or draw its primary inspiration from the sea. Maritime painting is a genre that describes ships and the sea - a very powerful genre from the 17th to the 19th centuries. In practice this term often includes art that shows the voyages in rivers and estuaries, beach scenes and all the art that shows boats, - for practical reasons the subject that can be picked up or painted from dry land in fact has a characteristic in the genre. Actually "maritime art" should always include some elements of human voyage, while "marine art" will also include pure seas without human elements, although these differences may not be observed in practice.
Ships and boats have been incorporated in art from almost the earliest times, but the marine art only began to be a different genre, with special artists, towards the end of the Middle Ages, mostly in the form of "portraits of vessels" of a kind of work that was still popular and concentrating on portraying one ship. When landscape art emerged during the Renaissance, what might be called a marine landscape became a more important element in the work, but pure seascapes rarely occur until later. The sea painting is the main genre in the Dutch Golden Age painting, which reflects the importance of foreign trade and naval power to the Dutch Republic, and sees the first marine career artist, who paints little else. In this case, as in many other respects, specialist and traditional marine paintings have continued much of the Dutch convention to this day. With Romantic art, the sea and beaches are reclaimed from specialists by many landscape painters, and work including no ships becoming common for the first time.
Video Marine art
The earliest time up to 1400
Ships in the water have been featured in art from the earliest times. The earliest known works are petroglyphs of 12,000 BC showing reeds in the Petroglyph Gobustan Reserves in modern Azerbaijan, which were at the edge of the much larger Caspian Sea. Rock carvings and carved objects depicting ships have been found on several islands in the Aegean Sea (Andros, Naxos, Syros, Astypalaia, Santorini) as well as Greek lands (Avlis), dating from 4,000 BC and beyond.
Humans and gods are displayed on the river "barge" in the art of Ancient Egypt; These boats are made of reed papyrus for most uses, but the vessels used by pharaohs are imported expensive cedar, such as the wide vessel 43.6 m (143Ã,f) and 5.9 m (19.5 ft) of Khufu c. 2,500. The nilotic landscape in frescoes in Egyptian tombs often shows scenes of bird hunting from boats in the Nile delta, and grave items including their detailed ship models and crew for use in the afterlife. The image of a central cult in Egyptian temples is usually a small figure of a god, carried in a barge or "barque".
The ship occasionally appears in Ancient Greek vases, especially when relevant in narrative contexts, as well as on coins and other contexts, albeit with little effort on setting sea views. As in Egyptian paintings, the water level can be indicated by a series of parallel wavy lines. Ancient Roman paintings, which probably depict Greek traditions, often show landscapes of landscapes across the lake or bays with far lands on the horizon, as in the famous "Ulysses" paintings in the Vatican Museums. Water is usually quiet, and submerged objects, or partly, can be displayed through water. The great Palestinian Nile mosaic (1st century BC) is a version of such compositions, with a view intended to show all the directions of the river.
From Late Antiquity to the late Middle Ages the subject of the sea is indicated when necessary for narrative purposes, but does not form a genre in the West, or the tradition of Asian ink painting, where rivers with small boats or two are the standard component of the undergraduate landscape. Sea glints in Medieval art include the 11th-century Bayeux Machinery that shows the Norman Invasion of England. From the 12th century onwards, port seals often feature "ship portraits". The ship serves as a church image, as in the lost Giotto Navicella above the entrance to Old St. Peter in Rome, but such representation is relatively mildly interesting from the point of view of the pure sea.
Maps Marine art
15th century
A different tradition begins to reappear in the early Netherlandish painting, with two miniatures lost in the Turin-Milan Clock, possibly by Jan van Eyck in about 1420, showing a great leap in ocean depiction and the weather. From a beach scene called Prayer at Shore (or Duke of William from Bavaria in Seashore , Sovereign prayer etc.) Kenneth Clark says: "The numbers in the foreground is de knight-de-Limbourgs style, but their outer seaboard is really beyond the reach of the fifteenth-century response, and we see nothing like that again until the beach scene of Jacob van Ruisdael from the mid-17th century. There are also real ocean views, St. Julian & amp; St Martha , but the two pages were destroyed in a fire in 1904, and only survived in black and white photographs. For the rest of the 15th century illuminated manuscript paintings are the main medium of sea painting, and in France and Burgundy in particular many artists become skilled in the more realistic portrayal of both sea and ship, used in illustrations of war, romance and court life, religious scene. The small pleasure boat scene on the river sometimes features in miniature calendars of books for hours by artists like Simon Bening.
During the Gothic period, nef, a masterpiece of a goldsmith in the form of a ship, used to hold cutlery, salt or spices, became popular among the grand. Originally composed only of "keel", from the most complicated 15th century has a mast, screen and even a crew. When exotic nautilus shells began to reach Europe, many used this to pay off them, such as Burghley Nef around 1528. Down to the social scale, interest in the voyages was reflected in many earlier ship prints. The earliest was by Master W with the Key, which produced some ship carvings; for some time such "ship portraits" are limited to prints and drawings, and usually show unmanned vessels, even if sailing. They also usually anticipate the low horizons that would not be achieved by painting until the 17th century. The first print of a sea battle was a very large piece of wood (548 x 800 mm) from the Battle of Zonchio in 1499 between Venice and Turkey. The only surviving impression was stenciled; most probably taped to the wall. The earliest comparable paintings to survive date from decades later.
At the same time, artists are often involved in the expansion of Western cartography, and more conscious than may always be evident from the scientific and maritime advancements of this age. According to Margarita Russell, one of Erhard Reuwich's pieces of timber from the first printed book (1486) shows him trying to show his understanding of the curvature of the earth with a ship half-visible on the horizon. The large number of beach scenes in woodcut books is important in the development of such representations. The bird-eye plan of cities, often coastal, which we usually regard as cartography, is often performed by artists, and is considered a work of art as a map by contemporaries.
Italian Renaissance art shows the maritime landscape when needed, but apart from the Venetian artist Vittore Carpaccio there are some artists in this century or the next that often return to such scenes, or do so with special sensitivity. The Carpaccio scene shows canals or Venetian dunes; there are several arrivals and departures at Legend of Saint Ursula . On German-speaking land, Konrad Witz Fish Draft (1444) is the first landscape painting to show the recognizable rural location, and the view of the atmosphere on Lake Geneva.
16th century
The Netherlandish tradition of the "landscape of the world", a panoramic view from a very high point of view, was pioneered by Joachim Patinir in the 1520s, once again beginning to cover a vast expanse of water in a manner somewhat similar to the classical paintings, which these artists can realize. These paintings are basically landscapes in the guise of historical paintings, with small figures usually representing religious subjects. Therefore, a strong marine element present as landscape painting began to emerge as a different genre. The Protestant Reformation severely limits the use of religious art, accelerating the development of other secular art types in Protestant countries, including landscape art and secular forms of historical painting, both of which can be part of the art of the sea.
An important work by the Patenir's "Flemish" is the Portuguese Morning off the coast of Rocky around 1540 (787 x 1447 mm), at the National Maritime Museum, Greenwich, London, "which has been justly labeled marine paintings pure earliest known ". This may represent a meeting of two small fleets involved in escorting a Portuguese princess who is getting married; a type of ceremonial maritime subject that remained very common in court art until the late seventeenth century, although more often set at the point of embarkation or arrival. Another example is a painting in the Royal Collection that shows Henry VIII commencing to Field of the Cloth of Gold, which typically clearly shows the ships on the sides, without trying to adjust for a high point of view. A great color image by Hans Holbein Young ship crowded with drunken landscaping may be done in preparation for a mural in London. It adopts a low viewpoint typical of ship portraits.
Pieter Bruegel the Elder is famous for his development of the genre-painting scenes of peasant life, but also painted a number of marine subjects, including Landscape with the Fall of Icarus (c 1568); the original is now recognized as missing, and the painting at the Royal Museum of Fine Arts of Belgium in Brussels is now seen as a nice early copy of the original work of Bruegel. He also painted the Battle of the Sea in the Bay of Naples in 1560, Galleria Doria-Pamphilj, Rome, and a small but dramatic shipwreck scene. The greater storm sight in Vienna, once regarded as his own, is now attributed to Joos de Momper. Such subjects were taken by his successors, including his sons.
The most beautiful and historically useful Anthony Roll is the illuminated luxury manuscript inventory of Royal Navy ships prepared for Henry VIII in the 1540s. However it is not very accurate visually or artistically, it may have been illustrated by the concerned official. Like in France, 16th century English paintings of elaborate royal embarks and similar events are formulaic, if often memorable. Most of the Dutch artists used, as well as representations in the Spanish Armada defeat prints in 1588. The Virgin of the Navigators was a Spanish work of the 1530s with a group of ships in anchor, perhaps in the New World, protected by the Virgin.
Mannerism in Italy and the North began painting a fantastic tempest with giant waves and a sky filled with lightning, which had never been tried before but returned to fashion at intervals over the following centuries. As the sea war grew more prominent from the late sixteenth century, there was an increasing demand for works depicting it, which remained the subject of maritime painting until the twentieth century, drawing genres into historical paintings, with an emphasis on correct and detailed descriptions of the ships, just as other interesting trends toward the increasingly illusory and subtle effects of marine and weather treatment align the landscape paintings. Many artists can paint both types of subjects, but others specialize one or the other. But at present seascapes that show most of the ocean and without boats are at all very rare.
Maritime Paintings from the Dutch Golden Age
The Dutch Republic relies on fishing and trading by sea for extraordinary wealth, having a sea war with Britain and other countries during that period, and crossed by rivers and canals. In 1650 95% of ships passing from the North Sea to the Baltic were the Netherlands. The images of sea battles tell the stories of the Dutch navy at the height of its glory, though today it is usually the "quiet", or quieter, highly anticipated scene. It is therefore not surprising that the genre of maritime painting is very popular in Dutch Golden Age paintings, and brought to new heights in period by Dutch artists. As with the landscape, the displacement of the distinctive artificial look of the previous sea painting to the low point of view is an important step, made by the first Dutch marine specialist, Hendrick Cornelisz Vroom.
More often than not, even small ships fly the Dutch tricolor, and many ships can be identified as naval or one of many other government vessels. Many of the pictures include some lands, with views of the beach or harbor, or the scenery at an estuary. Other artists specialize in river scenes, from small photographs of Salomon van Ruysdael with small boats and reeds to the great Italian landscapes of Aelbert Cuyp, where the sun is usually set over a wide river. Genres naturally share a lot with landscape paintings, and in developing the depictions of the sky, both run together; many landscape artists also painted beach and river views. Artists may often have the right ship model to help them achieve accurate depiction. Artists include Jan Porcellis, Simon de Vlieger, Jan van de Cappelle, and Hendrick Dubbels.
The prolific workshop of Willem van de Velde, Elder and his son were leaders of the following decades, nursing, as in the beginning of this century, to make the ship as a subject, but incorporating the progress of tonal works several decades earlier where the emphasis was on the sea and the weather. The Younger van de Velde was strongly influenced by Simon de Vlieger, whose disciple. Elder van de Velde first visited England in the 1660s, but both father and son left Holland permanently for London in 1672, leaving behind a heavy sea ruler, Ludolf Bakhuizen who was born in Germany, as a leading artist in Amsterdam. Reinier Nooms, who has become a sailor and signed his works Zeeman ("sailors"), specializes in highly accurate combat scenes and portraits of ships, with some interest also in light and weather effects, and it is a style that many later artists will follow. Abraham Storck and Jan Abrahamsz Beerstraaten are other battle specialists. Nooms also painted several scenes of maintenance and repair operation of the shipyard, which is unusual and has historical interest.
The tradition of sea painting continues in the Flemish section of the Netherlands, but it is much less prominent, and it takes longer to get rid of the Manneris caramel style in the middle of the fantastic waves. Most of the paintings are small zeekens , while the Dutch paint works of large and small. The main artist is Bonaventure Peeters.
The Dutch style is exported to other countries by various emigrating artists, as well as mere emulation by foreign artists. The most important emigrants are the prominent Amsterdam marine artist, father and son of Willem van de Velde. After spending decades recording the Dutch naval victory over the English language, after the collapse of the art market in a catastrophic rampage in 1672, they received invitations from British courts to move to London, and spent the rest of their lives painting war from the other side. Artists who are loosely said to have "followed" their style include Isaac Sailmaker, though he was a much earlier Dutch emigre who had preceded their arrival in England for at least 20 years, and whose style was very different from them; and Peter Monamy, whose style comes from many marine painters other than van de Veldes, such as Nooms, Peeters and Bakhuizen; and several others, such as Thomas Baston and Vale brothers, who paint in the original British tradition.
Increasingly, marine art has largely been left to specialists, with rare exceptions such as the powerful Rembrandt
18th century
This century provided a great deal of military action to portray, and before Annus Mirabilis in 1759 the English and French had approximately the same number of wins to celebrate. There are a large number of highly successful specialist artists in some countries, who have continued to develop the Dutch style in the previous century, sometimes in a rather well-planned way, with accurate ship depictions. It is urgent for the many paintings commissioned by captains, boat owners and others with nautical knowledge, and many of the artists who have their own marine experience. For example, Nicholas Pocock has risen to become a master of a merchant, learning to draw while in the sea, and as an official marine painter for a king present in a great sea battle, Glorious First of June in 1794, on a fggg ship HMS Pegasus . Thomas Buttersworth served as a sailor in several actions until 1800. The French Ambroise Louis Garneray, especially active as a painter the following century, was an experienced seaman, and the precision of his painting of whaling was praised by the narrator in Herman Melville Moby Dick , who knew they were only from fingerprints. At the bottom end of the market, ports in many European countries now have "pierhead artists" on the dock, which will paint portraits of inexpensive vessels that are usually quite accurate for the features and rigging of ships, demanded by seafarers. customers, but very formulated in general artistic terms.
The Venetian artists Canaletto and Francesco Guardi paint a vedute where the canals, gondolas and other small crafts, and the Venetian lagoon are the most prominent features; much of Guardi's later work hardly shows land at all, and Canaletto's works from that time in England also mostly feature rivers and boats. Both produce great amounts of work, not all of the same quality, but their best painting deals with water and extraordinary light, albeit in a very different atmosphere, because the Canaletto world is always bright and sunny, where Guardi is often cloudy, if not foggy and bleak.
The naval cadets are now encouraged to learn to draw, as new coastal maps made at sea are expected to be accompanied by a "beach profile", or sketches of the land behind, and artists appointed to teach subjects in naval schools, including John Thomas Serres , which publishes Liber Nauticus, and Instructor in Art of Marine Drawings in 1805/06. Professional artists are now often sent on exploratory journeys, such as William Hodges (1744-1797) on James Cook's second voyage to the Pacific Ocean, and exotic beach scenery is very popular both as paintings and prints.
Prints have become as important as income sources as original paintings for some artists, such as the highly carved French painter Claude Joseph Vernet (1714-1789), who revived something from the Mannerist tempest spirit, and looks forward. for Romanticism, in scenes of massive and dramatic storms and wrecks. He was also commissioned by the French government to produce a series of French port landscapes, with the strange result that much of his work showed the merchant shipping was very cruel, and most of the naval ships showed very calm. He also developed a great view of the Claudeian harbor, at sunset and with a common Mediterranean setting, imitated by many artists. Another early French Romantic, or at least Alsatian-Swiss, artist was Philip James de Loutherbourg (1740-1812), who spent most of his career in England, where he was commissioned by the government to produce a number of works depicting a naval victory. Watson and the Shark was the famous marine history subject of 1778 by John Singleton Copley.
Romantic Age to present
The Romantic Period sees marine paintings rejoining the mainstream art, although many special painters continue to develop the genre of "portrait of ships". Antoine Roux and sons dominated the maritime art in Marseille throughout the 1800s with detailed ship portraits and maritime life. Arguably the greatest icon of Romanticism in art is ThÃÆ'Â © odore GÃÆ' Â © ricault's The Raft of the Medusa (1819), and for J.M.W. Turner painting the sea is a lifelong obsession. The Medusa is a radical type of historical painting, while Turner's work, even when the subject of history is given, is essentially approached as a landscape. The public commission The Battle of Trafalgar (1824) was criticized for its inaccuracies, and his most personal works did not attempt to accurate detail, often have long titles to explain what might seem to be unreadable "soaps and guises", as Athenaeum describes Turner Snow Storm - Steam-Boat from Mouth Harbor that makes the Signal in the Shallow Water, and go with Lead. The author was in the Storm on Ariel's Night leaving Harwich in 1842.
The new strength in painting, Danish art, features a very strong beach scene, with an emphasis on calm and calm water, golden light. This influenced Friedrich Caspar David of Germany, which added the element of Romantic mysticism, as in The Stages of Life (1835); The Ice Sea is less typical, showing shipwreck. Ivan Aivazovsky continues the old themes of battle, shipwrecks and storms with Russian totemism, as in The Ninth Wave (1850). Views of the river, harbor and beach, usually only by small boats, popular in Corot and Barbizon schools, especially Charles-FranÃÆ'§ois Daubigny; many of the most famous works of the most important Russian landscape, Isaac Levitan, showcase the tranquil lakes as well as the great rivers of Russia, which he and many artists perceive as a source of national pride. Gustave Courbet painted a number of beach scenery with cliffs and landscapes overlooking a sea of ​​waves breaking on the beach, usually without human figures or crafts. During the 1860s douard Manet painted a number of paintings depicting important and feasible news events including his "ocean" painting in 1864 from the Battle of the Kearsarge and Alabama, memorializing the sea battles that occurred in 1864. during the Civil War in the United States.
The portrait genre was brought to America by a number of emigrants, mostly Englishmen such as James E. Buttersworth (1817-1894) and Robert Salmon. Luminist Fitz Henry Lane (1804-1865) was the earliest of a number of artists who developed an American style based on landscape art; he painted a small boat at rest in a quiet little bay. Martin Johnson Heade was a member of the Hudson River School, and painted quiet scenes, but also threatened an alarming storm of darkness. Winslow Homer is increasingly specialized in ocean scenes with small boats towards the end of the century, often showing boats in big waves in the open sea, as in The Gulf Stream. Thomas Eakins often painted river views, including Max Schmitt in the Single Scull (1871).
Thomas Goldsworthy Dutton (1820-1891) has a reputation as one of the best lithographers of the nautical scene of the 19th century and portraits of ships.
Later in this century, as the beach became increasingly regarded as a place of pleasure rather than work, the beach scene and the unspoiled coastal scenery became prominent for the first time, often including cliffs and rock formations, previously found mostly in shipwreck scenes. Many beach scenes then become increasingly crowded, as tourists take over the European beaches. The view of Eugene nene Boudin on the coast of northern France provides a familiar record for modern performers, although heavy clothing is worn by the women sitting on chairs in the sand. The Impressionists paint much of the coastal scenery, cliffs and rivers, especially Claude Monet, who often returns to the Courbet theme, as in Stormy Sea in trà © tretat. It was Impression, Sunrise (1872), a view over the port waters in Le Havre, which has given its movement a name. The river view is very common among the Impressionists, especially by Monet and Alfred Sisley.
Spanish painter JoaquÃÆ'n Sorolla painted many beach scenes, usually concentrating on some closely-seen figures, in contrast to smaller figures of most beach paintings. American artists painting beaches and beaches, usually less populated, include John Frederick Kensett, William Merritt Chase, Jonas Lie, and James Abbott McNeill Whistler, who mainly painted the rivers and canals of Venice. Towards the end of the 19th century, the American painter Albert Pinkham Ryder created a gloomy, dark-faced modernist landscape. The Fauve and Pointilliste groups incorporate fairly calm waters in a large number of their work, as Edvard Munch did in his early paintings. In England, the Newlyn School and the naive fisherman Alfred Wallis are noteworthy.
The rather traditional British marine artist Sir Norman Wilkinson during World War I was a fascinating camouflage inventor, in which ships painted in thick patterns, achieved results no different from Vortism, inspired the naval song: "Captain Schmidt on the periscope/you need not fall or faint/For that is not a vision of drugs or drugs/But just a dazzling paint ". When the American navy adopted the idea in 1918, Frederick Judd Waugh was assigned to design.
Specialist marine painters who concentrate on ship portraits continue to this day, with artists such as Montague Dawson (1895-1973), whose work is very popular in reproduction; like many people, he found work that showed traditional sailboats more in demand than modern ships. Even in 1838 Turner The Fighting Temeraire caught his attention for his last solved Berth, perhaps still his most famous work, featuring nostalgia for the age of sailing. The subject of the ocean still attracts many mainstream artists, and the more popular forms of marine art remain highly popular, as the parodies painted by Vitaly Komar and Alexander Melamid are called Most Wanted Paintings in America , with variants for some countries, almost all feature lakefront views.
19th century gallery
20th century gallery
East Asian Traditions
As mentioned above, a river with a small boat or two is a standard component of Chinese ink paint and brush, and many lakes are displayed and, more rarely, the beach scene. But water is often left as a white space, with a strong emphasis on the soil element at the scene. China's more realistic school of painting drawings often include a careful portrayal of voyages in the great rivers of China in large horizontal rolls displaying a panoramic view of the city with the Emperors advancing across the Empire, or festivals as shown above.
The screening of long-distance maritime activities of both Chinese and Japanese governments during the Western Renaissance has undoubtedly helped inhibit the development of marine themes in the art of these countries, but the more popular Japanese ukiyo-e. Woodblock prints very often feature beach and river scenery with voyages, including the Great Wave of Kanagawa (1832) by Hokusai, the most famous of all ukiyo-e images.
See also
- English Sea Art (Romantic Era)
- Half Ship Model Hull
- Ocean View
- Category: Sea artists
- Category: Ocean painting
Note
References
- Andrews, Malcolm. Landscape and Western Art , Oxford Art History, Vol 10, Oxford University Press, 1999, ISBNÃ, 0-19-284233-1, ISBNÃ, 978-0-19-284233-6
- ChÃÆ' Â ¢ telet, Albert. Early Dutch Painting, Painting in North Holland in the 15th Century , 1980, Montreux, Lausanne, ISBNÃ, 2-88260-009-7
- "Grove": Cordingley, D. Ocean art at Grove Art Online, accessed April 2, 2010
- Clark, Mr. Kenneth. Landscape becomes Art , 1949
- Hall, James. History of Ideas and Images in Italian Art , 1983, John Murray, London. ISBNÃ, 0-7195-3971-4
- T Kren & amp; S McKendrick (eds). Illuminate the Renaissance: Victory of Flemish Painting in Europe , Getty Museum/Royal Academy of Arts, 2003, ISBN 1-903973-28-7
- McDonald's, Mark. Ferdinand Columbus, Renaissance Collector , 2005, British Museum Press, ISBN 978-0-7141-2644-9
- Royalton-Kisch, Martin. Natural Light, Landscape Images and Watercolors by Van Dyck and his colleagues , British Museum Press, 1999, ISBNÃ, 0-7141-2621-7
- Russell, Margarita. Visions of the Sea: Hendrick C. Vroom and Origins of the Dutch Marine Painting , Archive Brill, Leiden, 1983, ISBN: 90-04-06938-0, ISBN 978-90-04-06938-1
- Seymour Slive. Dutch Painting, 1600-1800 , Yale UP, 1995, ISBNÃ, 0-300-07451-4
- Taylor, James. The Voyage of the Beagle: Darwin's Extraordinary Adventure on Fitzroy's Famous Ship Survey , Anova Books, 2008, ISBNÃ, 1-84486-066-3, ISBN 978-1-84486-066-1
- Vlieghe, Hans (1998). Flemish Art and Architecture, 1585-1700 . Yale University Press Pelican art history. New Haven: Yale University Press. ISBNÃ, 0-300-07038-1
Further reading
- D. Cordingly: Marine Painting in the UK: 1700-1900 (London, 1974)
- W. Gaunt: Sea Painting: A History Survey (London, 1975)
- J. Taylor: Sea Painting: Pictures of Sail, Sea and Coast (London, 1995)
- E. H. H. Archibald: The Dictionary of Ocean Painters (Woodbridge, 1981)
- J. Wilmerding: The History of American Ocean Painting (Boston, MA, 1968)
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