Date: 1895
Technique: Oil on canvas, 100 x 80 cm
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Showing posts with label Storm. Show all posts
Showing posts with label Storm. Show all posts
Wednesday, January 11, 2017
Monday, January 9, 2017
Hans Gude, Port of Refuge on the Norwegian Coast or Norwegian Harbor of Refuge (Nødhavn Ved Norskekysten)
Date: 1873
Technique: Oil on canvas, 182 x 262 cm
The painting shows a realistic rendering of a storm hitting a Norwegian harbor, with a brig stranded in the distant breakers. The painting is divided into a foreground, where women and children watch the rescue effort; a middle ground, where various moored ships bob in the strong waves; and a background, where wavelike rocks enclose the refuge point and bring the eye down to the stranded brig.
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Joseph Mallord William Turner, The Slave Ship
Date: 1840
Technique: Oil on canvas, 90.8 x 122.6 cm
The Slave Ship, originally titled Slavers Throwing overboard the Dead and Dying—Typhon coming on, is classic example of a Romantic maritime painting. Turner depicts a ship, visible in the background, sailing through a tumultuous sea of churning water and leaving scattered human forms floating in its wake.
He was inspired to paint The Slave Ship in 1840 after reading The History and Abolition of the Slave Trade by Thomas Clarkson. In 1781, the captain of the slave ship Zong had ordered 133 slaves to be thrown overboard so that insurance payments could be collected. This event probably inspired Turner to create his landscape and to choose to coincide its exhibition with a meeting of the British Anti-Slavery Society. Although slavery had been outlawed in the British Empire since 1833, Turner and many other abolitionists believed that slavery should be outlawed around the world. Turner thus exhibited his painting during the anti-slavery conference, intending for Prince Albert, who was speaking at the event, to see it and be moved to increase British anti-slavery efforts.
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Sunday, January 8, 2017
Egide Linnig, The three-master 'Constant' off the coast of New Guinea
Technique: Oil on canvas, 55 x 88.5 cm
From the 1850s onwards Linnig produced many marines. These were either general genre scenes or scenes depicting a named ship playing a principal role in the action. The latter were a form of combination between a ship portrait and general marine painting and were usually made on the commission of shipping companies and ship captains. An example of the latter category is the The three-master 'Constant' off the coast of New Guinea. It depicts the trading vessel the 'Constant' after it ran on a coral reef off the coast of a small island near New Guinea on 15 June 1858. It also shows how, after abandoning ship, the crew tries to go on land after the lifeboats sprang a leak.
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Saturday, January 7, 2017
Egide Linnig, The 'Soho' enters the Scheldt estuary near Flushing
Date: 1843
Technique: Oil on panel, 56 x 72 cm
... A good example of Linnig's Romantic pursuit of effects can be seen in The 'Soho' enters the Scheldt estuary near Flushing, which is perhaps one of the most impressive paintings in his oeuvre. Linnig treats the subject in a particularly original manner by portraying the "Soho", a steamer of the London General Steam & Navigation Company, not as seen from its starboard or its port side as was customary, but rather in frontal view. As a result, the steamer is shown in extreme foreshortening and the bow of the ship gets the full attention. This special angle, combined with details such as the ship’s powerful radar unit, the rough sea, the stormy weather and the dilapidated guardhouse create an energetic and dynamic composition.
'Soho' (1823) was one of the oldest vessels in the fleet of the London General Steam & Navigation Company.
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Friday, January 6, 2017
Jean Antoine Théodore de Gudin, Storm in the Sea
Date: 1832
Technique: Oil on canvas, 32 x 47 cm
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Thursday, January 5, 2017
Claude Joseph Vernet, The Shipwreck (Le Naufrage)
Date: 1772
Technique: Oil on canvas, 113.5 × 162.9 cm
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Winslow Homer, The Herring Net
Date: 1885
Technique: Oil on canvas, 76.5 x 122.9 cm
In this painting Homer Winslow depicted the heroic efforts of fishermen at their daily work, hauling in an abundant catch of herring. In a small dory, two figures loom large against the mist on the horizon, through which the sails of the mother schooners are dimly visible. While one fisherman hauls in the netted and glistening herring, the other unloads the catch. Utilizing the teamwork so necessary for survival, both strive to steady the precarious boat as it rides the incoming swells. Homer’s isolation of these two figures underscores the monumentality of their task: the elemental struggle against a sea that both nurtures and deprives.
— Entry, Essential Guide, 2013, p. 41.
Source 1
Source 2
Joseph Mallord William Turner, Calais Pier
Rembrandt van Rijn, The Storm on the Sea of Galilee
Date: 1633
Technique: Oil on canvas, 160 cm × 128 cm
The Storm on the Sea of Galilee is a painting from 1633 by the Dutch Golden Age painter Rembrandt van Rijn that was in the Isabella Stewart Gardner Museum of Boston, Massachusetts, United States, prior to being stolen in 1990. The painting depicts the miracle of Jesus calming the storm on the Sea of Galilee, as depicted in the fourth chapter of the Gospel of Mark in the New Testament of the Christian Bible. It is Rembrandt's only seascape.
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