William Edward Webb, View of a Harbor 01 Classic Works of Art, Marine Paintings – With Footnotes, #109

William Edward Webb, English, 1862-1903 

View of a Harbor 

Oil on canvas 

22 x 38 inches (56 x 96.5 cm) 

Private collection

William Edward Webb (British, 1862-1903). A permanent resident of Manchester, he widely frequented the coasts and ports of Great Britain, producing an impressive output of active scenes celebrating the challenges faced by those who plied their trades on the open ocean.

Webb exhibited more than 60 paintings from 1890 to 1904, mostly in his hometown, but also with the Walker Art Gallery in Liverpool and three times with the Royal Academy in London. Greater commercial recognition came to Webb posthumously partially through the efforts of author Denys Brook-Hart, who saw what he identified as the extreme first-hand excellence of the artist.

Webb’s art is celebratory in spirit while it offers no false glamour of the hard lives faced by working sailors and fishermen in the 19th century. His seas are vibrant and active, his atmospheric light exceedingly realistic of the heavy skies of the British Isles, and his portrayals of the local people artistically insightful. More William Edward Webb

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Amos Sewell, Peg-legged Captain 01 Classic Works of Art, Marine Paintings – With Footnotes, #103

Amos Sewell (American, 1901-1983)

Peg-legged Captain

Oil on board

32 x 24 in. (sight)

Amos F. Sewell, (1901-1983), was born in Oakland, California. By 1921 he had a job as a bank clerk and he studied night classes at the California School of Fine Arts. In his spare time he drew unsolicited interior story illustrations and mailed them to pulp publishers. He sold his first drawings to Street & Smith.


After the financial crisis of 1929 Amos Sewell lost his job at the bank. In June of 1930 he shipped out of San Francisco on a lumber boat and traveled through the Panama Canal.


He arrived in New York City and visited Street & Smith in person in search of freelance illustration work. He drew dry brush interior story illustrations for many issues of Clues. He also found work drawing for Popular Publication’s Horror Stories, and Terror Tales.


He studied at The Grand Central School of Art with Harvey Dunn.


In 1936 he moved to Westport, Connecticut.


In 1937 he began to get assignments from slick magazines such as Country Gentleman, and later for The Saturday Evening Post, for which he illustrated an ongoing series of stories by R.R. Annett that ran for over twenty years.


In the 1950s Sewell was busy doing advertising work for major advertisers.

Amos Sewell died in Norwalk Hospital at the age of eighty-two on October 30, 1983. More on Amos Sewell 

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Claude Monet, The Museum at Le Havre, 1873 01 Classic Works of Art, Marine Paintings – With Footnotes, #108

Claude Monet 

The Museum at Le Havre, 1873

Oil on canvas

75 x 100 cm

The National Gallery, London, UK

This is an important work which dates from a key period in the artist’s career. In the early 1870s Monet lived mainly at Argenteuil but made frequent trips to his home town, Le Havre, on the Normandy coast.

In 1872 and 1873 he painted several views of the harbour at Le Havre including his famous ‘Impression: Sunrise’ (Paris, Musée Marmottan), the picture which provoked the term ‘Impressionism’. The view here is taken from one of the walls of the inner harbour looking across to the Musée des Beaux-Arts. The museum was destroyed during the Second World War and has since been replaced by a modern structure. More on The Museum at Le Havre

Oscar-Claude Monet (14 November 1840 – 5 December 1926) was a founder of French Impressionist painting, and the most consistent and prolific practitioner of the movement’s philosophy of expressing one’s perceptions before nature, especially as applied to plein-air landscape painting. The term “Impressionism” is derived from the title of his painting Impression, soleil levant (Impression, Sunrise), which was exhibited in 1874 in the first of the independent exhibitions mounted by Monet and his associates as an alternative to the Salon de Paris.

Monet’s ambition of documenting the French countryside led him to adopt a method of painting the same scene many times in order to capture the changing of light and the passing of the seasons. From 1883 Monet lived in Giverny, where he purchased a house and property and began a vast landscaping project which included lily ponds that would become the subjects of his best-known works. In 1899 he began painting the water lilies, first in vertical views with a Japanese bridge as a central feature, and later in the series of large-scale paintings that was to occupy him continuously for the next 20 years of his life. More Oscar-Claude Monet

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Kasia Derwinska, Distant lands 01 Classic Works of Art, Marine Paintings – With Footnotes, #106

Kasia Derwinska, Spain

Distant lands

Photography

15.7 H x 31.5 W x 0 in

Private collection

Kasia DerwinskaPhotography is my way of communicating with the world. In my work, I talk about own experiences, thoughts, doubts, fears and hopes trying to reflect my own life’s path. In addition to my experiences, my creations are inspired by night dreams as since childhood I remember most of them and I believe that dreams are the most simbolic language of our subconscious, a guide to navigate in the modern world. I am autodidactic and I don´t recognize myself as a photographer. I use photography as a tool, like a brush for painting or an instrument to play music. My work is an attempt to connect substantiality of the world that surrounds us with elusiveness of feelings and thoughts. For that reason I describe my creations as building a bridge between the visible and the invisible. My works are divided in four basic series: fairytales and fantasies, conceptual black and white, night dreams, and the color serie called “who sings, frightens away his fears”  More on Kasia Derwinska

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Margarita Kukhtina, Harbor Port Credit 01 Classic Works of Art, Marine Paintings – With Footnotes, #100

Margarita Kukhtina, Canada

Harbor Port Credit

Oil on Canvas

48 H x 32 W x 1 in

Port Credit was originally a settlement of the Mississauga Ojibwe First Nations band and a trading post established in 1720 for the exchange of goods from the Europeans for furs trapped by the Mississaugas. After the War of 1812, a harbour was established by the Mississaugas together with European settlers. In 1847, the Mississaugas left the village to relocate on the Six Nations Reserve to be with other band members and first nations. Industry was established on the village periphery including an oil refinery, but the village is no longer a substantial industrial district. The village survived into the 20th century, becoming an independent municipality in 1909, until it was merged with the City of Mississauga in 1974.


Today, the original core village is now a heritage conservation district. The harbour is mostly used for recreational boating. More on Port Credit

Margarita Kukhtina was born in Kursk, Russia. From an early age, she displayed her artistic talent by painting at her teacher’s studio who was a master of the Old Russian academic style in Beaux Arts. In 1984, she was accepted to the prestigious Kharkov Art Industrial Institute, and upon graduating was invited to join the staff of Orel College of Fine Arts. Since 1995 to 2002 she was the main creator of the great collection of pictures (over 120 enormous oil paintings) located at theme parks: “King’s City” and “The Bible Museum in Israel”. In 2002, she immigrated to Canada, where she resumed work in the Fine Arts department. Margarita’s work is held in private collections spanning over Israel, Germany, the US and Canada. More on Margarita Kukhtina

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On Deck, Treasure Island interior illustration 01 Classic Works of Art, Marine Paintings – With Footnotes, #101

Henry Cruse Murphy, (American, 1886-1931)

On Deck, Treasure Island interior illustration

Oil on canvas

26 x 20 in.

Private collector

Henry Cruse Murphy, Jr., (1886-1931), was born February 26, 1886 in Brooklyn, NY. He was a member of one of Brooklyn’s oldest families. In 1904 he graduated from a Brooklyn public high school, after which he attended Columbia University School of Applied Science for a degree in Electrical Engineering, Class of 1908.


Thanks to his natural drawing talent he became popular among classmates as a gifted cartoonist. He contributed illustrations to the student newspaper, of which he eventually became the art editor. Encouraged by these achievements he decided to pursue an artistic career. In September 1907 he transferred to the School of Fine Arts. 


In the summer of 1909 he moved to a working class tenement at 425 West 26th Street, and at the same time opened an art studio, where he struggled to find work as a newspaper cartoonist.


By 1910 he was living back at home with his parents in Brooklyn, while spending the warmer months working as a landscape artist with oil paints and watercolors at his family’s country home in Indian Chase Park near Greenwich, CT.


On February 10, 1918 he reported for draft registration in the Great War, he was not selected for military service.


Throughout the 1920s he painted many cover illustrations for pulp magazines. In 1924 he painted the historic World War battle scene of the U.S. Army 27th Division breaking through the Hindenburg Line. The painting is in the permanent collection of the National Museum in Washington, DC.

Henry C. Murphy, Jr. died of cancer in Greenwich, CT, at the age of forty-five on January 1, 1931. More on Henry Cruse Murphy

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NORMAN LINDSAY 1879-1969 – Boarded, c. 1954 01 CLASSIC WORKS OF ART, MARINE PAINTINGS – WITH FOOTNOTES, #126

NORMAN LINDSAY 1879-1969

Boarded, c. 1954

Watercolour on paper 

51.5 x 40 cm

Private collection

Naval boarding is to come up against, or alongside, an enemy ship to attack by placing combatants aboard the enemy ship. The goal of boarding is to capture, or destroy, the enemy vessel. Larger ships carried specially trained and equipped sailors, or marines, as boarders. More on Boarding

Norman Alfred William Lindsay (22 February 1879 – 21 November 1969) was an Australian artist, etcher, sculptor, writer, editorial cartoonist, scale modeller, and an accomplished amateur boxer.

In 1895, Lindsay moved to Melbourne to work on a local magazine with his older brother Lionel. In 1901, he and Lionel, his older brother, joined the staff of the Sydney Bulletin, a weekly newspaper, magazine and review. His association there would last fifty years.

Lindsay travelled to Europe in 1909. In Naples he began 100 pen-and-ink illustrations for Petronius’ Satyricon. Visits to the then South Kensington Museum where he made sketches of model ships in the Museum’s collection stimulated a lifelong interest in ship models. The Lindsays returned to Australia in 1911.

Lindsay wrote the children’s classic The Magic Pudding which was published in 1918. Many of his novels have a frankness and vitality that matches his art. In 1938, Lindsay published Age of Consent.

Cartoons, by Lindsay, were used both for recruitment and to promote conscription during World War I.

Lindsay also worked as an editorial cartoonist, notable for often illustrating the racist and right-wing political leanings that dominated The Bulletin at that time.

Lindsay influenced numerous artists, notably the illustrators Roy Krenkel and Frank Frazetta; he was also good friends with Ernest Moffitt. More on Norman Alfred William Lindsay

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