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If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: British Marine Painting - -Author: Charles Geoffre Holme - Alfred Lys Baldry - -Release Date: May 29, 2021 [eBook #65466] - -Language: English - -Character set encoding: UTF-8 - -Produced by: Chuck Greif and the Online Distributed Proofreading Team at - http://www.pgdp.net (This file was produced from images - available at The Internet Archive) - -*** START OF THE PROJECT GUTENBERG EBOOK BRITISH MARINE PAINTING *** - - - - - BRITISH MARINE PAINTING - WITH ARTICLES BY A. L. BALDRY - - 1919 - - EDITED BY GEOFFREY HOLME - “THE STUDIO” Lᵀᴰ· LONDON · PARIS · NEW YORK - - - - -CONTENTS - - -ARTICLES BY A. L. BALDRY - - PAGE - -British Marine Painting 9 -Notes on the Illustrations 24 - - -ILLUSTRATIONS IN COLOUR - -Bayes, Walter, A.R.W.S. - _The Timid Bather_ 113 - -Brangwyn, Frank, R.A. - _In Port_ 75 - -Brooks, I. W. - _In Cymyran Bay_ 129 - -Constable, John, R.A. - _Chesil Beach_ 39 - -Cox, David - _Calais Pier_ 49 - -Everett, John - _Breakers_ 119 - -Fielding, Copley - _Coast Scene_ 61 - -Flint, W. Russell, R.W.S. - _The Fane Islands_ 93 - -Lavery, Sir John, A.R.A., R.S.A. - _Evening--The Coast of Spain from Tangier_ 79 - -Moore, Henry, R.A. - _A Breezy Day_ 8 - -Nevinson, C. R. W. - _The Wave_ 123 - -Pears, Charles - _The Needles_ 107 - -Simpson, Charles W., R.I., R.B.A. - _Landing Fish_ 85 - -Stanfield, W. Clarkson, R.A. - _Coast Scene_ 55 - -Turner, J. M. W., R.A. - _Lowestoft_ 45 - -Whistler, J. McNeill - _Marine_ 69 - -Wilkinson, Norman, R.I. - _The Wave_ 101 - -ILLUSTRATIONS IN MONOTONE - -Allan, Robert W., R.W.S. - _Off to the Fishing Grounds_ 84 - -Allfree, G. S. - _Motor Launches_ 127 - -Bayes, Walter, A.R.W.S. - _The Red Beach_ 112 - -Brett, John, A.R.A. - _From the Dorsetshire Cliffs_ 67 - -Brooking, Charles - _The Calm_ 35 - -Brooks, I. W. - _Coast Scene_ 128 - _Coast Scene_ 131 - -Brown, W. Marshall, A.R.S.A. - _The Sea_ 109 - -Burgess, Arthur J. W., R.I. - _The Watch that never ends_ 116 - _The Scarborough Fleet_ 117 - -Chambers, George - _Off Portsmouth_ 52 - -Cooke, E. W., R.A. - _Dutch Boats in a Calm_ 58 - -Cotman, John Sell - _A Galiot in a Storm_ 48 - -Cox, E. A., R.B.A. - _Elizabeth Castle, Channel Islands_ 134 - _The Good Ship “Rose Elizabeth Novey”_ 135 - -Crawford, E. T., R.S.A. - _Closehauled, Crossing the Bar_ 59 - -Draper, Herbert - _Flying Fish_ 87 - -Dyce, William, R.A. - _Pegwell Bay, 1858_ 57 - -Emanuel, Frank L. - _The Ancient Port of Fêques_ 133 - -Everett, John - _The Deck of a Tea-Clipper in the Tropics_ 118 - -Flint, W. Russell, R.W.S. - _Passing Sails_ 95 - -Hardy, T. B. - _A Change of Wind: Boulogne Harbour_ 77 - -Hawksworth, W. T. M., R.B.A. - _Low Water, Penzance_ 125 - -Hayes, Edwin, R.H.A., R.I. - _Sunset at Sea: from Harlyn Bay, Cornwall_ 63 - -Hemy, C. Napier, R.A., R.W.S. - _A Boat Adrift_ 78 - -Holloway, C. E. - _The Wreck_ 68 - -Hook, J. C., R.A. - _The Seaweed Raker_ 71 - -Hunter, Colin, A.R.A. - _Farewell to Skye_ 73 - -King, Cecil - _H.M.S. “Wolsey” in the Ice at Libau_ 97 - _Regatta Day at Appledore_ 98 - -Knight, C. Parsons - _The Kyles of Bute_ 65 - -Lindner, Moffat, A.R.W.S. - _The Storm-Cloud, Christchurch Harbour_ 91 - -McBey, James - _Margate_ 121 - -McTaggart, William, R.S.A. - _The Sounding Sea_ 74 - -Moore, Henry, R.A. - _A Break in the Cloud_ 72 - -Morland, George - _Fishermen Hauling in a Boat_ 37 - -Müller, William J. - _Dredging on the Medway_ 60 - -Murray, Sir David, R.A., P.R.I., A.R.S.A. - _The Fiend’s Weather_ 89 - -Olsson, Julius, A.R.A. - _The Night Wrack_ 110 - _Heavy Weather in the Channel_ 111 - -Pears, Charles - _The Yacht Race_ 105 - _The Examination_ 106 - -Pyne, J. B. - _Totland Bay_ 51 - -Robertson, Tom - _Where the Somme meets the Sea_ 90 - -Smart, R. Borlase, R.B.A. - _Wet Rocks, St. Ives_ 126 - -Smith, Hely, R.B.A. - _Windbound_ 104 - -Somerscales, Thomas - _Off Valparaiso_ 82 - _Before the Gale_ 83 - -Stanfield, W. Clarkson, R.A. - _The Port of La Rochelle_ 53 - _Entrance to the Zuider Zee, Texel Island_ 54 - -Thomson of Duddingston, The Rev. John, R.S.A. - _Fast Castle_ 47 - -Tollemache, The Hon. Duff - _Storm on the Cornish Coast_ 115 - -Tuke, Henry S., R.A., R.W.S. - _August Blue_ 88 - -Turner, J. M. W., R.A. - _The Shipwreck_ 41 - _The Prince of Orange landing at Torbay, November 5, 1688_ 42 - _Yacht Racing in the Solent_ 43 - _Farne Island_ 44 - -Wilkinson, Norman, R.I. - _Etretat_ 99 - _Plymouth Harbour_ 100 - _Up Channel_ 103 - -Williams, Terrick, R.I. - _Clouds over the Sea, Holland_ 132 - -Wilson, John H., R.S.A. - _Seapiece_ 38 - -Wyllie, W. L., R.A. - _Blake’s Three Days Engagement with Van Tromp_ 81 - - - THE EDITOR DESIRES TO EXPRESS HIS THANKS TO THE ARTISTS, - COLLECTORS, AND THE AUTHORITIES OF PUBLIC GALLERIES WHO HAVE KINDLY - ASSISTED HIM IN THE PREPARATION OF THIS VOLUME BY PERMITTING THEIR - PICTURES TO BE REPRODUCED. THEIR NAMES APPEAR UNDER THE - ILLUSTRATIONS - -[Illustration: “A BREEZY DAY.” BY HENRY MOORE, R.A. - -(_In the possession of the Right Hon. Lord Leverhulme_)] - - - - -BRITISH MARINE PAINTING - - -To most people it will seem quite natural that British artists should -give much attention to marine painting. The sea plays a very important -part in our national affairs, influences the character of the people, -and affects the political policy of the country, so almost as a matter -of course it has its place among the sources of inspiration for our -native art. Sea painters of the higher rank have come with scarcely an -exception from countries which have an extended coast-line and in which -the seafaring habit has been developed by centuries of maritime -activity--countries in which the use of the sea for purposes of commerce -or communication has been a necessity. Dutch artists have painted the -sea and shipping and incidents in the life of the dwellers on the coast -with skill and distinction; there have been sea painters in Denmark, -Norway, and Sweden, some in France, a few in Italy and Spain; but it is -in the British Isles most of all that the possibilities of marine -painting have been recognized and the pictorial material that the sea -provides has been turned to full account. - -No doubt this is partly due to the fact that British art has concerned -itself very greatly with what may be called the physical characteristics -of the country. A considerable proportion of our painters have been -devoted students of nature, and have occupied themselves with records of -British scenery, and of those subtle effects of atmosphere and -illumination which are the product of the variable British climate. -Responsive themselves to the charm of their surroundings, they have -catered for a public which appreciates the beauties of nature and likes -to see them realized pictorially; lovers themselves of the land in which -they live, they have striven to please the many people who are possessed -by a similar sentiment and wish to have about them pictures in which -this sentiment is agreeably reflected. No record of British scenery -could be complete, and no appeal to British sentiment could be -effective, if our artists ignored the wide variety of subjects which the -sea offers them. - -For the sea is with us a tradition, and the love of the sea is one of -the strongest of our national instincts. Because we live on an island -the sea is at the same time our protection from those who might seek to -do us harm and our means of communication with the rest of the world; it -safeguards us against dangers to which other less fortunately situated -countries are constantly exposed, and yet it puts us directly in touch -with even the most remote and apparently inaccessible peoples. Therefore -we regard it naturally as a friendly influence in the lives of us all. -But we owe it a debt of gratitude also for the effect it has had upon -our British art. It is from our insular climate, from the mists and -moisture which the sea brings, that those atmospheric qualities come -which make the study of nature in the British Isles such a never-ending -delight. It is the surrounding sea that encourages the rich growth of -our vegetation, and that gives to our landscape its wealth of detail and -its ample variety of colour. As the sea influences the manner of our -national life, so it influences the quality, the sentiment, and the -method of our art, helping us to build up a school which is insular in -its merit and its expression, and national in its feeling and its -intention. - -Yet, curiously enough, in the earlier period of British art history the -names of few painters are recorded who perceived the pictorial interest -of the sea or tried to realize its beauties. Indeed, at the beginning no -attention was given to the study of open-air nature; landscape painting -was not attempted seriously, and the study of atmospheric effects was -generally disregarded. The artists of that time occupied themselves -mainly with portraits--digressing occasionally into figure -compositions--and took little account of anything but the purely human -interest in art. They worked for the glorification of their patrons, to -adorn the houses of the great, or to prove themselves good sons of the -Church, not to bring about the conversion of the people who were -insensible to nature’s charm. - -It would be scarcely fair, however, to accuse the earlier British -artists of insensibility because they worked in this manner within -circumscribed limits; they only followed, after all, what was the -fashion of the schools in other countries. In Italy, for instance, -during the splendours of the Renaissance, the study of landscape for its -own sake was as little thought of as it was in Great Britain at the time -of the Tudors. Many of the Italian masters introduced landscape -backgrounds in their figure compositions, but it was landscape of a -formal and conventionalized kind, a weaving together of details to form -a pattern which was used merely to fill space or to add something to the -point of the pictured story. It was never landscape seen and set down as -the motive of the painting; at best it was only a sort of still life. - -But in Italy at that period the mission of the artist was very exactly -defined, and even if he had been inclined to escape from the limitations -imposed upon his activities, the custom of the time would have been too -strong for him. He was the servant of the great noble and the obedient -assistant of the Church, he decorated palaces, and he painted -altar-pieces, he recorded scenes from ancient or contemporary history, -and incidents in the lives of the saints. Neither the noble nor the -churchman wanted from him studies of Italian scenery, or desired that he -should show how he was impressed by the brightness of sunlight or by the -glory of an evening sky. The severest discouragement would have awaited -him if he had attempted anything so unconventional; he might even have -incurred penalties as a man of unseemly and heterodox opinions. - -For a long while British artists worked under restrictions hardly less -rigid. What was demanded of them they supplied, but the demand that they -should show to the public what nature is like was slow in coming. Word -pictures of nature there were in plenty; a chorus of poets extolled her -charm, but no one seemed to perceive that what they found so inspiring -in their verse could be visualized and made apparent by the painters. -When Herrick wrote: - - “I sing of brooks, of blossoms, birds, and bowers, - Of April, May, of June, and July flowers” - -British artists were looking to Van Dyck as their leader, and were -striving, as he did, to immortalize their contemporaries or to tell in -paint purely human stories. The brooks and blossoms, birds and flowers -did not claim their consideration or provide them with material for -popular canvases, and it did not occur to them to paint the groves and -twilights, the damasked meadows and the pebbly streams, which Herrick -loved so well. - -In fact, it was not until the eighteenth century that the representation -of landscape subjects began to be recognized as a legitimate sphere of -artistic activity. Even then what was required was a very dry and -commonplace kind of topographical illustration--a certain number of -people had developed an interest in British scenery and in the -archæological relics which were to be found in different parts of the -country, and accordingly it became the fashion to collect pictures of -famous “views” and of ruined abbeys and other ancient buildings. But in -producing these pictures little scope was allowed to the artist for the -exercise of his imagination or for the expression of any æsthetic -sentiment. The more precise and careful he was in his statement of fact, -the more accurate his paintings were as portraits of the places or -objects chosen, the better were his clients satisfied. He had to do what -photography does now--he had to make a more or less literal diagram of -his subject with as much of the detail as he could contrive to set down -and with as little display as possible of his personal taste or fancy. - -However, out of this limited and mechanical beginning grew very quickly -a school of landscape practice which substituted the wider study of -nature for the record of topographical realities. A number of artists -broke away from restrictions by which they felt themselves to be -hampered, and they found a considerable section of the public prepared -to countenance them in their effort to attain freer and more significant -expression. They brought a new spirit into the art of the country, a -spirit of inquiry and investigation, and they taught people to look more -closely at nature’s manifestations and to interest themselves -intelligently in her elusive suggestions. In other words, they destroyed -a convention which had been generally accepted, and in securing freedom -for themselves to follow their personal inclinations towards a more -rational treatment of nature they gained the sympathetic support of the -many art lovers who had discovered how cramping the convention was, and -how seriously it stood in the way of the right kind of development and -progress. - -The new school of landscape was deficient neither in enthusiasm nor -energy. Men of marked originality and brilliant capacity rallied to it -in large numbers, and with the vigorous initiative of pioneers in a land -of promise set to work to make their discoveries effective. They wrested -nature’s secrets from her one by one, secrets of colour, secrets of -illumination and light and shade, secrets and mysteries of ever-changing -atmospheric effect. There were still “views” to paint, but instead of -being treated as matters of dry topography they were used as subjects -for pictures in which the painter’s temperamental response to the -inspiration he received was plainly manifested, and in which the -impression made upon him by the motive in its various aspects was -appropriately summed up. In a very short time the British landscape -school became under the stimulus of the new thought and the new methods -the most important in the world, and the most independent and -progressive in its practice. - -But, even then, few painters had realized the wonderful pictorial -possibilities of the sea. There were some who attempted marine subjects -and coast scenes but only as occasional diversions from their ordinary -course of study--as illustrations of their capacity to deal with nature -in any phase or mood, or it may be to gain experience in what was to -them a novel kind of material. Probably in the eighteenth century an -excursion to the coast was something of an adventure for men who lived -inland; facilities for travel were very limited, and it was easier for -an artist to record the subjects which were conveniently within his -reach than to struggle against difficulties to reach places remote from -his home. Moreover, his clients were mostly stay-at-home people, too, -who knew the sea only as a sort of vague abstraction, as something they -had heard about, but of which they had no personal knowledge, and -therefore their interest in it was too indefinite to be remunerative to -him. It was more to his advantage to paint the things they knew than to -make them realize what seemed to them strange and surprising. - -Anyhow, nearly all the earlier painters of marine subjects were men who -had some particular reason for taking to this line of practice. One of -the first--Charles Brooking, who was born in 1723--was brought up in -Deptford Dockyard, and as a not unnatural consequence acquired -considerable skill in the representation of shipping and naval -incidents. During the latter part of his short life--he died at the age -of thirty-six--he gave some instruction to Dominic Serres, a Frenchman -by birth, who was a foundation member of the Royal Academy and was -appointed to the post of Marine Painter to the King. Serres had been a -sailor, and was captured by an English frigate in the war of 1752 when -he was in command of a trading vessel; he settled in this country, and -with Brooking’s assistance and a good deal of hard work on his own part -became a painter of repute. In his choice of the direction he followed -in his art he was, like Brooking, influenced by his earlier associations -and by the desire to treat pictorially material with which he was -thoroughly conversant. - -Another artist of this period who was almost exclusively a marine -painter was Nicholas Pocock, born in 1741. He, too, had been at sea, and -had commanded a sailing vessel before he adopted the profession of -painting. Yet another was John Cleveley, born 1745, who is supposed to -have been the son of a draughtsman in Deptford Dockyard, and who in his -youth held some post there himself; and there was another Cleveley, -Robert by name, born about the same time, who gained distinction by his -pictures of naval engagements. He, again, had had previous experience at -sea. Then there was Clarkson Stanfield, born at Sunderland in 1793, who -went to sea in his boyhood, and was for a while in the Navy, until an -accident cut short his career; his particular place in art was -determined by the knowledge of his subject which he had gained before he -turned to the profession of sea painter. And to the list can be added -George Chambers, born at Whitby in 1803, the son of a seaman, and -himself a sailor when he was not more than ten years old. - -That men like these should have specialized in sea painting is not -surprising. It is evident, by their later success as artists, that they -had the faculty of observation and the capacity to visualize their -impressions, and almost as a matter of course they were inclined to put -into a pictorial form the matters with which they were so well -acquainted. The sea had become a part of their lives, and of shipping -they had an exact and technical knowledge; and they were in touch with -people who were no strangers to the sea, and who in consequence demanded -that it should be represented with fidelity and understanding. -Everything combined to make them the leaders in a branch of practice -which requires close and accurate insight, and their works in the early -days of the nature study development set a standard of accomplishment -which was helpful in the highest degree; a standard which might never -have been reached if sea painting had been nothing more than the -diversion of the landsman who now and again went for a sketching trip to -the coast. The marine painters of our modern days who work with -conscience and a love of completeness owe, perhaps, more than they -realize to these predecessors of theirs who established the tradition of -serious effort to get things right, and who built this tradition upon -first-hand knowledge. - -But to some extent it is to the example of these specialists that must -also be ascribed the skill in sea painting that, as time went on, was -attained by many of their contemporaries who did not deal -systematically with this class of subject. The habitual landscape -painter, accustomed to fixed forms and effects that followed more or -less regular rules, might easily have drifted into a conventional -representation of the sea if he had not been shown the way to look at it -by the men who knew it intimately, and if works by these men had not -existed to provide him with the means of testing his own achievement. -For his own credit, however, he had to strive to compete with them in -knowledge of the sea, and had to measure an understanding of it acquired -by deliberate and conscious effort against theirs which had been -obtained by prolonged and personal contact; and to uphold his reputation -as a painter of capacity he had to prove that he could grasp the -essentials of whatever type of material he might elect to handle. -Therefore, the adoption of a convention, the inadequacy of which could -have easily been demonstrated, would have been a confession either of -want of conscience or of deficient intelligence, and would have -reflected upon his claim to rank as an artist of distinction. - -That is why at the end of the eighteenth century and the beginning of -the nineteenth the number of men who, without specializing in the -subject, painted the sea with undeniable ability, had become -considerable. By that time artists were moving about much more freely in -search of motives, and many of them made frequent visits to the coast -with the particular intention of mastering the problems of sea painting, -and of studying at first hand phases of nature which were to them -comparatively new. Moreover, the interest taken by the public in sea -pictures had grown in a marked degree, and there was a demand which the -popular artist was called upon to satisfy. So most of the landscape men -alternated regularly between inland views and coast scenes, and painted -both with the same sincerity and the same strength of purpose. -Constable, David Cox, De Wint, Copley Fielding, Edward Duncan, J. S. -Cotman--to quote a few of the more notable names--added important -records of sea and coast subjects to the list of their more memorable -productions; and there was, of course, Turner, who might with justice be -claimed as the greatest of all marine painters despite the fact that his -sea pictures make up only a small proportion of his total achievement. - -Turner was supreme because he, and he only, estimated at its full value -the poetry and the majesty of the sea; because he alone could grasp its -immensity and its tragic strength and yet be exquisitely in sympathy -with its smiling serenity and placid calm. Turner saw and understood the -drama of the sea, and by the largeness of his vision and the depth of -his understanding he was enabled to present this drama in all its -varieties of action. But then, Turner had not only “the eye of an -eagle”--as Ruskin said of him--he had, too, the gift of imagination by -which realities are transmuted into poetic suggestion. Accuracy of -detail and plain statement of fact were the foundations on which his art -was built (and no one made more sure of his facts or looked more closely -into details), but the superstructure he erected was designed and -arranged to express his own large conception of his motive as a whole, -and to illustrate the workings of his own emotion. Therefore, when he -painted the sea it was the appeal that his subjects made to his -imagination that directed and established the final result; and how -strong this appeal was can be judged from the amazing beauty and power -of his accomplishment as a marine painter. Although it has been given to -no other artist to rival or approach Turner in mastery of -accomplishment, although it is difficult to believe that there can ever -be another painter who will be able to claim equality with him in the -same sphere of art, the stimulus of Turner’s example must always be -vividly felt by every true student of nature, and especially by every -one who aspires to paint marine subjects in the right manner. For, -certainly, the poetry of the sea and the drama of the sea are among the -most salient of its characteristics, and there is surrounding it an -atmosphere of sentiment that must be sympathetically perceived. A -commonplace and matter-of-fact statement of wave forms would be about as -worthless artistically as an architectural elevation of a mountain -range, and the more coldly and scientifically correct it was the less -would it convey of the spirit of the sea. The frame of mind in which the -painter must assume his task must be akin to that of Thomson when he -wrote: - - “Thou, majestic main - A secret world of wonders in thyself!” - -and in this world of wonders he must be prepared always to find some new -secret which will deepen his sense of the mystery of the sea and make -him feel that with all his striving he has touched only the fringe of -its romance. At no stage in his study will he be in a position to say -that he has learned enough and that his subject has no more to reveal; -every fresh discovery will open up to him new matters for investigation, -and suggest other lines of thought. - -Turner, at all events, never came to the conclusion that his knowledge -of the sea was complete, for to the end of his life he maintained the -freshness and variety of his interpretation. He gave to it, year by -year, a deeper note of sentiment, responding always more directly to the -impression he received, and eliminating everything that did not help in -the attainment of his pictorial purpose. Detail at the last he almost -entirely disregarded, concentrating the whole of his attention upon the -main effect by which temperamentally he was inspired; but the things -essential for the construction of his picture and for making clear the -meaning of his motive he observed with the most scrupulous care. Even in -his slightest and, seemingly, most casual notes of the sea there was the -subtlest accuracy of vision, and there was the truest summing up of the -story that was told by the particular phase of the subject he had chosen -for the exercise or his powers as an interpreter of nature’s message. -Never did he descend to a formula or use a set convention to gain his -dramatic result. It was partly for this reason that he stood so -sublimely apart from his contemporaries; he did not repeat himself, -while they were too often content to follow rules and to do over again -things that they had discovered to be attractive to the public. Yet many -of the artists of Turner’s period were men of distinction and their sea -paintings had satisfying merit and no small measure of inspiration. -Stanfield suggested well the movement and action of the sea and was -sensitive to its atmosphere; Copley Fielding saw and took the -opportunities that the sea offered him for arranging graceful -compositions and charming studies of light and shade, and he, too, had a -sound understanding of wave movement; De Wint and David Cox, both -masterly students of nature, painted the misty subtleties of the coast -with masculine power and with the knowledge that comes only from -prolonged and thoughtful observation; and others not less observant -showed that the pictorial possibilities of the sea had by no means -escaped them. But none of them arrived at Turner’s magnificent disregard -of limitations or approached him in dramatic strength, and certainly -none of them had the courage to abandon, as he did, detailed reality for -the sake of presenting a higher and more impressive truth. - -Indeed, that is one of the mysteries of Turner’s genius--that he could -distort facts and leave out apparently essential details and yet make -his realization of nature perfect in its truth--and what is still more -mysterious is that this system of distortion and elimination was not a -matter of convention but a universally applicable principle of practice -and one which in his hands was capable of infinite variation. By an -infallible instinct he grasped instantly the meaning of his subject as a -whole and decided what he should accentuate or omit to make that meaning -clear, and all his devices of technical treatment were as infallibly -directed by an exact understanding of the way in which they could best -be made to serve his end. Paradoxically, he left things out to gain a -greater completeness of result, and he departed from strict correctness -to secure more absolute reality. But all this he did by the aid of an -extraordinary insight into nature’s facts and under the guidance of a -judgment which was never at fault. - -That is why Turner’s manner of representing the sea cannot be applied by -lesser men. Without any disparagement of the many able marine painters -who have practised since his time it can safely be said that on none of -them his mantle has fallen. Certainly to none of them has been granted -his rare endowment of intimate vision and profound imagination; -certainly none has possessed that combination of exhaustive knowledge -and perfect confidence which made him so consummately a master of his -craft. There have been in the recent past, there are at work to-day, -artists who have studied the sea in the most sympathetic spirit and -whose seriousness of effort deserves the highest praise, artists whose -accomplishment would be wholly satisfying if Turner had not shown so -brilliantly the greater possibilities of sea painting; but theirs is a -limited and specialized view beside that of their great predecessor. It -is as well, however, that they do not try to do too much. To paint the -abstract drama of the sea in the only way that can be made convincing, -the possession of a temperament is absolutely essential, but this -temperament must be schooled and disciplined by lifelong study or the -drama will degenerate into incredible fantasy. Turner was -temperamentally fitted to attempt the highest flights, and with his -perfect technical equipment nothing was beyond his reach. Other artists -must be content to admire his poetic power without aspiring to rival it. -But, after all, honest, well-educated, serious prose is better than -incoherent poetry, no matter how well-intentioned that may be; and -certainly the prose of many of our modern sea painters is very good -indeed--clear, logical, and distinguished by a true sense of style--and -into much of it comes that touch of poetic feeling that gives charm and -picturesqueness to the descriptive statement. - -To illustrate the difference between these two types of sea painting the -work of Henry Moore can appropriately be instanced. He was, next to -Turner, the most learned and accomplished student of marine motives and -the finest exponent of the facts of the sea whom any school has -produced. But beside the dramatic poetry of Turner his art was prose, -fine prose, persuasive and dignified, but never rising into inspired -fancy. In other words, he saw nobly and beautifully, but Turner saw and -imagined as well, and the more he saw the more splendidly did he use his -imagination. - -Yet Henry Moore has indisputably his place among the masters because his -art, though not profoundly imaginative, was as able in achievement as it -was accurate in observation. Moreover, he was acutely responsive to the -sentiment of nature, and interpreted her in her many moods with -exquisite discretion. Frank and straightforward as his work always was, -it never lacked the direction of a sympathetic mind; its strength was -controlled by a singularly correct sense of artistic propriety and was -never allowed to degenerate into mere display of executive cleverness. -Certainly Henry Moore was a fine craftsman, and was not hampered by -technical difficulties in the practice of his art; indeed, one of the -most salient characteristics of his pictures, as we see them to-day, is -the confidence of the handling by which they are distinguished. - -This confidence, this directness of method, was the outcome of a not -less confident understanding of the material with which he was -accustomed to deal. The things he knew were to him matters of such -complete knowledge that he was able to concentrate himself entirely upon -the pictorial realization of them without having to make experiments or -calculations to prove whether or not his assumptions were correct. -Wisely, too (not having the Turner temperament), he did not aim at -possibilities which he honestly recognized as being beyond his reach. -Facts and realities he could grasp, subtle shades of fact and delicate -variations of reality he could express with discriminating subtlety and -sensitive delicacy, but to conceive a vision in which actual nature -would be turned into a gloriously fanciful abstraction was outside the -range of his personality. So he kept to the path which it was right that -he should tread, and made no excursions into strange places in the -domain of art, proving himself thereby a master of himself as well as of -his art. - -We have every reason to be grateful to him for his solid and -well-balanced common sense. Henry Moore as an imitator of Turner, -following in the wake of a leader whom he could never overtake, would -have been a wasted force in art. Henry Moore as a painter true to his -own convictions, striving earnestly to set before us his extraordinarily -intimate view of the sea, has established a standard against which the -achievements of our modern sea painters can be measured most -instructively, and has pointed out the principles on which these -painters must work if they are to justify their effort. Knowledge such -as Turner possessed is by its very vastness incomprehensible to the -ordinary man; but knowledge like that which Henry Moore gathered is -possible to other artists, though to few of them is given his capacity -to express it, and to fewer still his sureness of touch and his command -of executive method. - -What is particularly to be learned from Henry Moore’s pictures is the -wide variety of matters which have to be studied by the men who aspire -to paint the sea with a sufficient measure of artistic fitness. There -are, of course, many ways of representing the sea pictorially--as a -background or setting to some nautical incident; as an accessory in a -scene which has humanity for its main interest; as a generalized scheme -of colour or tone; as a decorative motive with conventionalized forms; -or as a poetically indefinite fantasy in which nearly everything is left -to the imagination of the beholder. But the most scholarly and serious -way--Henry Moore’s way--is to analyse and dissect; to account for every -variation in form and every changing gleam of colour; to find the -reasons for each of the many kinds of wave movement; to learn the -connexion between certain conditions of the weather and certain states -of the sea; to know how to produce a sea picture which will be logical -throughout and without contradictions of atmospheric effect which are -calculated to excite the protests of the marine expert who knows his -subject and is not inclined to take artistic licence into -consideration. Henry Moore spared himself none of these exhaustive -preparations and had the technical skill to make the outcome of them -wholly attractive in artistic quality; that is why he ranks as a master -at whose feet it is good for the would-be sea painter to sit in all -humility. - -If a series of his pictures is examined it will be seen at once that in -each one some special problem is dealt with and some definite phase of -the sea is taken as the motive. Unthinking people are apt to say that -sea paintings are monotonous because they lack incident and variety of -subject, because they are nothing but waves and sky, but this objection -implies an unobservant habit of mind. Henry Moore did not repeat -himself, and among the most personal characteristics of his work was its -breadth of outlook, a breadth of outlook which was developed by his -constant search for fresh impressions. Although he had not had, like -Stanfield or Chambers, a professional connexion with the sea, he was -frequently afloat and always trying to enlarge his experience of his -subject. He had, too, the gift of very rapid technical expression which -enabled him to set down what he saw while the impression was vividly in -his mind, so that his first clear conviction was not modified or -obscured by mechanical causes--by that prolongation of effort which -leads to an ill-assorted mixing of ideas and an indecisive manner of -statement. - -This combination of instantaneous apprehension and unhesitating -expression is, indeed, a necessity for the artist who wishes to avoid a -merely conventional rendering of the sea and who is anxious to suggest -properly its really infinite variety. There is so much that must be done -quickly, there are such incessant changes of effect and condition, that -the deliberate worker, thinking slowly and using his appliances -unreadily, is always in danger of being left with his intention -unrealized. He sees something that appeals to him as a good subject and -he begins to study it in all seriousness; but before he has grasped its -meaning, and before he has more than the first few careful touches on -his canvas, the effect that stirred him has gone, and in its place there -is something else that is surprisingly different. No wonder if unable to -keep pace with nature’s elusive tricks he becomes after a while -hopelessly bewildered and gives up the struggle in despair. Possibly, -being a conscientious person, he decides to paint one aspect only of the -sea and to specialize in one type of subject which he can master by long -and laborious practice; or, being less particular, he builds up a pretty -convention which will help him to turn out superficially attractive -things that will please a none too critical public. But in neither way -is the great sea painter made, the painter who can tell the story of the -sea and convey to us its sentiment and its character. - -What makes the problems of marine painting so complex is, first of all, -the fact that the sea is never in absolute repose, and therefore its -surface forms are constantly undergoing some degree of change. Another -difficulty is that the sea-water seems to vary in composition and -consistency according to the conditions under which it is viewed; at one -time it is solid, opaque, ponderous, and sombre in colour, and at -another it is light, transparent and full of delicate tints. As it is a -reflecting substance as well as one through which light can pass it -alters in appearance in the most surprising manner under the incidence -of sunlight or in response to the variations in atmospheric effect; and -as it is a moving body it appears to be subject to no laws of -construction and to have no sort of method in its restlessness. Most -people, indeed, would hold that the cynical comment on womankind, -“Toujours femme varie, souvent elle est folle,” could be applied with -particular appropriateness to the sea, so feminine is it in its charming -irresponsibility. - -Yet the student of the sea can, if he sets to work in the right way, -discover the sources of its irresponsibility and the reasons for its -lapses into insanity. He can dissect its forms and learn its anatomical -construction, and he can find out what regulates and determines its -movements. He can establish a direct agreement between the apparent -texture of the sea and the bottom over which it flows, as well as -between its surface character and the nature of the weather. And having -dissected and analysed, having investigated and arranged his discoveries -in the proper order, he can solve pictorial problems which ordinary men -would count as puzzles to which there was no key. With this knowledge at -his disposal he would be able, too, to paint pictures which would show -the sea as it is and as it can be, not as an erratic and unaccountable -phenomenon acting contrary to all natural laws, which is the view given -of it by the artists who are incautious enough to paint it without -having learned its ways. - -For instance, the painter properly equipped would make the right -distinction, both in colour and wave form, between the deep sea and that -in shallow places; between the transparency of waves breaking on a rocky -coast and those on a sandy beach; between the wave action in a tidal -current moving with or against the wind; or between the seas that are -penned in a narrow channel and those that are running free in wide -spaces. These are elementary matters, perhaps, in the study of marine -painting, but elementary or not they are only too often misapprehended -by the careless observer; and they are typical of a host of others which -are not less likely to become pitfalls for the unwary. Neglect of them -leads to slovenly and unsatisfactory production and to a kind of work -that may be cheaply effective but that has actually no justification for -existence. - -One mistake very often made by men who have not carried their studies -far enough is to miss the necessary connexion between the state of the -sea and the accompanying condition of the atmosphere; another is to -paint in a sea picture a sky that is in wrong relation to the wave -movement. Both these errors arise from the failure of the painter to -study his subject as a whole, from his inexperience of what may be -called the technical peculiarities of his material. He has by him a sea -note that seems worth treating on a more ambitious scale, and he finds -in his portfolio a sketch of a sky that composes nicely and is quite -attractive in its general character; so he mixes the two together and -calls the compilation a marine painting. But, really, unless by some -lucky chance the two sketches happened to have been done under similar -weather conditions the picture would be no more true to nature than the -laboured effort of the “art” photographer who prints his sky from one -negative and his landscape from another; or who grafts a studio-lighted -figure on to a background photographed out of doors. - -The sea painter must, for the credit of art, keep clear of such silly -tricks and mechanical devices. He must be logical both in his -observations and in the use he makes of them, and he must be consistent -in his statement of the facts before him. A picture in which the sea -suggests half a gale while the sky is one which would be seen only in a -dead calm is an obvious absurdity, and it would be not less ridiculous -to paint the full colours of sunlight in an atmosphere of mist and -driving rain; yet these things are done by artists from whom more regard -for truth is to be expected. Lapses of this sort cannot be forgiven; -they imply a shirking of responsibility that is beyond excuse, and a -failure to grasp the first principles of nature study. They would never -occur if the men who paint the sea would regard it as a living reality -which responds to the influence of its surroundings and varies its -appearance as circumstances dictate, and if they would recognize that it -has its own anatomical structure by which its movements are controlled. -There is a reason for everything it does and there is a way of -accounting for every aspect it assumes, but the reason has to be sought -for, and the way to necessary knowledge must be pursued with painstaking -effort. There is no place in marine painting for the man who wants to -take things easily. - -But any one who is interested in executive problems which demand -concentrated attention and sustained investigation will find plenty to -tax his fullest energies--problems of drawing, of colour and tone -management, of imitative suggestion, and of technical application. As an -example of a complex motive which would present a series of difficulties -a picture might be imagined of the sea washing in among rocks, some of -which are submerged while others stand up above the surface, the water -clear and transparent and neither smooth nor much agitated. Through the -water the objects beneath would be clearly seen and the surface would -reflect the rocks above and catch gleams of light from the sky, and the -movement of the small waves swinging towards the rocks and rebounding -from them, and eddying over the shallow places, would make a pattern of -lines and planes set at all sorts of angles. To realize such a subject -adequately an almost perfect balance of observation would be needed. Too -much attention given to the under-water details would destroy the -suggestion of the surface; too much concentration on the surface lights -and reflections would make the water seem opaque; exaggeration of the -lines and planes of the ripples would diminish the breadth of effect and -alter the character of the subject. The painter must perceive that this -problem has many sides, and that each one must receive exactly its right -amount of consideration if the pictorial solution is to be correct; if -he has to make a compromise with reality the most subtle judgment will -be required of him to create an illusion that will look like truth. - -To multiply such examples would be easy, for there is no phase of sea -painting in which difficulties do not abound. It is difficult to paint a -breaking wave, to preserve its architectural quality of design and its -appearance of massive strength, and yet to show that it is a moving and -momentary thing disappearing as quickly as it is formed. It is difficult -to represent the confusion of a stormy sea, churned into foam and -tossing in the wildest turmoil, and yet to make intelligible the order -and regularity of its movement and the right sequence of its changing -forms. It is as difficult to render the smoothness of calm, quiet water -without making it look solid and opaque, dull and lifeless, as it is to -suggest the liveliness of a breezy day without lapsing into meaningless -repetition and restless pattern-making. Every successful sea picture is -a difficulty overcome and a problem solved, and every successful sea -painter is a man who has struggled earnestly with intractable material -and has built his achievement on a foundation of laboriously acquired -knowledge. Probably that is why there have been comparatively few great -sea painters; it is certainly a reason why the few who can be accounted -great should be regarded as masters of the highest rank with places of -distinction in the history of art. - -Next in importance to the study of the sea itself comes the acquisition -of a capacity to paint shipping, the two do not necessarily go -together. There have been many capable painters of the sea who could not -draw a ship and did not know how to set it on the water; and there have -been many men with an accurate technical knowledge of shipping whose -treatment of the sea from the pictorial point of view left much to be -desired. As a matter of fact, a ship provides one of the severest tests -of draughtsmanship; it is such a complicated collection of lines and -curves and so hard to put in proper perspective that it makes -exceptional demands upon the artist’s powers. Moreover, every ship has -its own individuality, a character peculiar to itself, and to express -this individuality as much analytical effort is needed as to draw the -right distinction between the differing types of humanity. Details which -to the unprofessional eye seem of no significance must be carefully -attended to because each one of them contributes something to the sum -total of fact and helps to make the character intelligible, and to slur -over these details is a fatal mistake. A ship treated conventionally and -without personal insight is as uninspiring pictorially as a portrait -which has missed all the little human characteristics which made the -sitter interesting. - -The painter of shipping has, too, a very wide field to cover. He has to -range from the yacht to the warship, from the liner to the rusty, -weather-beaten tramp; he has to show how the lively movement of the -sailing ship differs from the steady, methodical progression of the -steamer; he has to understand the behaviour of all sorts of craft under -all sorts of weather conditions; and to make this varied assortment of -knowledge intelligible in his pictures he has to depend almost entirely -upon his powers of drawing. By bad drawing he will not only miss the -specific character of the ship, but he will also fail to explain the -part that this ship is intended to play in the story which his picture -seeks to tell. The introduction of shipping into a painting of the sea -is usually to increase the dramatic strength of the subject, but if -through technical inefficiency the added incident does not carry -conviction or explain itself properly the point of the drama is obscured -rather than accentuated. - -Unfortunately it is rather too easy to produce instances of the wrong -handling of ships in sea pictures, which otherwise are quite acceptable, -and of imperfect understanding of the action of vessels afloat. Some of -the earlier masters who had studied the sea and knew its ways well made -curious mistakes when they brought in a ship as a central feature in -their composition. They would fairly often poise a craft of much -solidity and considerable tonnage on the very crest of a wave where -there was certainly not a sufficient body of water to support it; or -they would put a ship so close to a gently shelving beach that there was -an obvious and immediate danger of its running aground, a position that -would alarm even the boldest of sailors. They were as a rule cheerfully -ignorant of the intricacies of rigging and of the set of sails, and -occasionally they seemed to credit a ship with an uncanny power of -progressing at full speed in the teeth of a stiff breeze. All this -resulted from inadequate study of technicalities that a seafaring man -would treat as a matter of course--from insufficient acquaintance with -things that, after all, scarcely came within the scope of a landsman’s -experience. - -But the present-day painter is expected to be more precise; and if he -does not fulfil this expectation he will find that there are plenty of -people who are ready and willing to call him to account. He has to face -a more critical generation than his predecessors knew, a generation -which travels more and has much wider opportunities of acquiring -knowledge of many subjects, and he has to reckon with a familiarity with -marine details that has become an eminently British characteristic. -Picturesque improbabilities would not be left unquestioned now; there -would be scathing comments by nautical experts, and even the ordinary -man would not hesitate to voice his doubts. Perhaps we have grown a -little pedantic in this demand for strict reality, but, all the same, it -is not unreasonable to require from the painter who puts a ship into his -picture evidence that he knows a fair amount about that ship’s -construction and how it should behave in the situation he assigns to it. -Even a piece of imaginative fantasy is none the worse for being based -judiciously on solid fact. - -Beside the purely marine painting, the picture that is concerned solely -with the sea and ships that sail on it, there is a place for the coast -subject. It is true that the coast scene is, more often than not, only a -landscape into which the sea is introduced as a subsidiary interest, but -under this heading can be included also those views of harbours, -estuaries, cliffs, and beaches, which many painters have treated with -distinction of style and charm of sentiment. Yet even the coast scene in -which the actual nearness of the sea is only suggested owes its -character to the sea. Only the sea could have carved those cliffs into -their impressive shapes, or could have piled up those masses of huge -rocks. Only the winds which blow in from the sea could have moulded that -range of sand dunes or could have twisted those stunted trees into their -curiously picturesque forms. Only as a protection against the savage -strength of the sea has that breakwater been built behind which the -fleet of fishing boats lies in shelter. And from the sea come those -driving mists and slow-moving banks of fog which throw a veil of mystery -over the landscape and give a new aspect to even the most familiar -objects. The scent of the sea is in the air, the sound of its waves is -unceasing, its influence is all about; the coast is, indeed, but the -subject of the sea and owes to it allegiance. - -It is in this spirit, unquestionably, that many artists have painted the -coast, with a sense of the dominating power of the sea and a conscious -acknowledgement of its influence. They have appreciated the dramatic -value of the persistent struggle between the sea and the land, a -struggle of which the evidences are not to be mistaken; and they have -felt the nature of the resistance which the land, an unwilling subject, -offers to the encroachments of its tyrant. Even in pictures which -represent the coast in its most peaceful moments, when the sea ripples -lazily round the rocks under the light of the summer sun, the scars left -by the assaults of waves driven by past storms cannot be concealed. -Fragments torn from the cliffs strew the shore, the wreckage of the land -is heaped up waiting for the inevitable moment when the sea, renewing -its attack, will swallow up what it has already half destroyed. The note -of tragedy is always present, there is always a suggestion that the sea -is merely waiting its opportunity and that when the time comes it will -rend and overwhelm and assert its ruthlessness without mercy or -restraint. - -The same kind of sentiment marks the picture of the harbour subject in -which man’s conflict with the sea is illustrated. Humanity is -perpetually at war with the forces of nature, and is always seeking to -keep them in check, with, at best, only partial success. Incessant -watchfulness is necessary, constant effort to repair what is as -constantly wrecked and overthrown, unwearying patience and unceasing -toil. Often man sees something he has done blotted out utterly by -nature’s act, and he has to start again and build up anew from the very -beginning, knowing as he builds that he is defying a power stronger -than himself, more patient than he is and more serenely confident of -ultimate success. Yet he goes on with his work, patching, renewing, -rebuilding, and fighting stubbornly every step forward or back. - -That is why there is an element of romance in the picture which has for -its motive something that men have constructed to protect themselves -against the inroads of the sea, some piece of work that suggests the -shifts and contrivances used to secure a measure of shelter from the -violence of the waves and the fury of the storm. The story which such a -picture has to tell is full of significance because the facts presented -by the artist sum up a series of human activities and throw light upon -the conditions under which these activities have been carried on. It is -a story, too, with an appeal because it shows a phase of human endurance -which deserves sympathy and respect, sympathy for the difficulties -encountered, and respect for the way in which they have been overcome; -and it has its full measure of picturesqueness and artistic fitness by -which its claim to serious treatment is amply justified. - -Indeed, the paintings of the fringe and surrounding of the sea which -have been produced by British artists uphold worthily the best -traditions of our school; they include much that proves indisputably the -powers of our greater masters, and certainly they are more numerous than -the pictures of the open sea. That this should be is scarcely surprising -for, after all, the painters who risk the perils of the deep even for -brief excursions are much fewer than those who wander along the coast in -search of material, and to most men the combination of land and sea -offers more attractive problems than the less-known waste of waters. -Moreover, there is a wider public for the coast scene (and few artists -can afford to disregard the popular demand), because the great majority -of people gain their impressions of the sea by looking at it from the -land and but rarely seek for experiences afloat. The purely marine -subject seen intimately and interpreted finely offers opportunities for -a higher type of achievement, and in some respects calls for more -concentrated study; but where the land and sea meet there is a more -obvious variety of pictorial suggestions and the touch of romantic -sentiment is more apparent. It is not given to many people, artists or -laymen, to feel the profound mystery and the dramatic grandeur of the -open sea; there are plenty, however, who can sense the appeal of the -broken and battered coast and find romance in the harbours and tidal -inlets. - -From a purely technical standpoint the coast picture is also more -convenient than the painting of the open sea; it is easier to compose -satisfactorily and to arrange in proper order. As a matter of -space-filling and pattern-making it is much less difficult to construct -a design with the vertical or sloping lines of cliffs or rocks -contrasting with the horizontals of the sea than it is when the picture -is divided into sea and sky with nothing to break the severe simplicity -of the composition. This technicality has evidently perplexed many sea -painters, and has not infrequently led them into rather strained devices -to obtain variety--into exaggeration of the tones of the sky and -over-accentuation of cloud forms, or into the introduction of shipping -where the subject was already too complicated to require an added -interest. Such evasions of a difficulty by artificial means are, -however, not to be defended, and the artist who feels that the purely -marine picture is too great a tax upon his powers had better not stray -from the coast where there is plenty of more amenable pictorial material -at his disposal. He is a wise man who recognizes his own limitations -and does not invite trouble by trying to conceal his deficiencies in a -branch of practice for which he is unsuited. - -There is another type of art which can be brought legitimately under the -heading of marine painting--the representation of the life of the people -who have dealings with the sea and obtain from it their means of -existence. The sailors, the fisher-folk, the many who work by and on the -sea have their part in its story and provide the artist with ample -matter by which this story can be appropriately illustrated. They live -picturesquely and they are admirably in harmony with their surroundings; -they work hard, but in the freedom of the open air, and they are not -cramped within the walls of the shop or factory. In their occupation -there is always the spice of adventure and there are many moments of -danger, many tragic happenings, and many incidents which test severely -both mind and body. But all this develops character and sets its stamp -upon the seaman’s personality, marking with signs that cannot be -mistaken his place in the community. - -Of the figure pictures by British artists which are popular to-day, and -for which continued appreciation can safely be prophesied, a large -number have for subject something that refers to the sea. _The -North-West Passage_, by Sir John Millais, is, for instance, an inspiring -reminder in its spirit and sentiment of a series of sea adventures which -must for ever stand to the credit of the British race; and Bramley’s -_Hopeless Dawn_ tells eloquently the story of a tragedy only too sadly -common where men seek a precarious livelihood on the treacherous sea. -Other pictures like the Hon. John Collier’s _Last Voyage of Henry -Hudson_, and H. S. Tuke’s _All Hands to the Pumps_, give us full -opportunity to judge the nature of the dangers to which seamen are -exposed; while others again, like Napier Hemy’s _Pilchards_, and Colin -Hunter’s _Their Only Harvest_, show us what kind of work occupies the -fisher-folk and the other coast dwellers whose necessities the sea -supplies. Another aspect of the subject is seen in Tuke’s _August Blue_, -and C. W. Wyllie’s _Digging for Bait_, which suggest those pleasanter -moments when life by the sea has its genial and enjoyable side and the -stress and turmoil of the winter storms are for a while forgotten. - -These particular pictures are quoted because, being all in a national -collection, they are accessible to every one and are permanently -available to illustrate the varying relation of humanity with the sea. -They represent a class of production within which is comprehended a wide -range of subjects and to which a host of distinguished artists have made -important contributions; they point the direction in which there is -still much to be found that is worthy of the most serious consideration -and the most carefully applied treatment; and they mark the lines along -which men who have the faculty of observation and a capacity for -personal interpretation can travel to great accomplishment. There is, -indeed, hardly any kind of sentiment that does not, in this connexion, -lend itself well to the artist’s purpose: tragedy, domestic drama, -romance, pure fantasy, comedy even, are all permissible, and often a -picture with the most attractive qualities can be made out of a plain -statement of everyday facts, so picturesque is the setting which the sea -life provides for the people who lead it. During recent years, indeed, -many painters have established themselves by the sea with the express -intention of seeking there material for important works, and many others -have paid long visits to our coasts for the sake of studying at close -quarters the subjects which are so plentifully available; and these men -have not found it necessary to depart from strict reality to give -interest and convincing strength to their pictures. By being true to -fact, by recording faithfully what they saw around them, they have added -to British art much that is well worth possessing, and they have proved -that realism under suitable conditions is a factor of infinite value in -pictorial production. They have had ample scope for the exercise of -their selective sense and for the use of their powers of observation, -and even though they have chosen to deal with a clearly defined class of -material they have not been hampered by limitations which checked the -free expression of their temperamental preferences. This is because the -sea life is so abounding in action, and because the people who lead it -are of so many types and so unstereotyped in their ways, that to the -painter who works by the sea a constant succession of new motives is -presented, and motives, too, which by their picturesqueness and human -interest satisfy completely the artistic demand. - -Clearly, in marine painting there is no lack of opportunities. In its -various branches it offers to the artist room for the most divergent -activities and it allows him a spacious field for the exercise of his -powers. If he aspires to conquer difficulties they are there in plenty, -difficulties which have to be met with courage and handled with -discretion. If he is content with simple tasks there are many which will -occupy him agreeably and be well worth working out. If he is a serious -student of nature’s manifestations they are set before him in profusion, -and the whole array of her mysteries is paraded for his instruction; and -if humanity is his subject, all the actors in the drama of sea life are -there to inspire him with their doings and to stir his imagination with -the record of their achievements. Always the contact with the sea brings -him something fresh that leads him into new trains of thought and -suggests to him new ways of applying his technical skill; but always the -demand is made upon him that he should put forth the whole of his effort -to reach and maintain the highest standard of artistic practice. There -is no place in marine painting for the man who, taking the line of least -resistance, seeks by compromise and convention to gloss over his want of -knowledge and tries by superficial cleverness of handling to divert -attention from the incompleteness of his analysis. An artist of this -sort had better let the sea alone and choose something simpler and less -abounding with pitfalls for his inexperience. - - - - -NOTES ON THE ILLUSTRATIONS - - -This series of reproductions of paintings by artists who have given -particular attention to marine painting in its various aspects has been -made as comprehensive as possible so that it may illustrate adequately a -subject capable of the widest application. Examples belonging to -different periods have been included to show what have been the changes -and developments during a term of nearly two hundred years, and what has -been the nature of the appeal of the sea to men of widely differing -temperaments. The conventional arrangement, the poetic transcription of -fact, the realistic study, the decorative interpretation, and the frank -expression of the modern idea are all presented and are available for -intelligent comparison. The capabilities, too, of marine painting are -made clear, and the extent of opportunity it affords to the serious -student of art. There are illustrations which have a specially -instructive significance because of the technical knowledge of the -subject displayed in them; there are others which are interesting on -account of their imaginative quality; and there are others again which -reveal the inspiration of the sea life and reflect the spirit by which -it is guided. All these have their part in the record of British marine -painting, and are both valuable historically and worthy of consideration -for artistic reasons. - -Rightly, an early place in this record must be assigned to Charles -Brooking, because in his works can be seen for the first time the clear -intention to study marine subjects with a perception of their inherent -characteristics. Brooking’s intimate knowledge of shipping, acquired -during his early days at Deptford Dockyard, is plainly shown in such a -picture as _The Calm_ (p. 35), which has an attractive truth and -precision of statement. It is a matter for much regret that his early -death should have cut short a career which was so full of promise, and -in which he accomplished so much that deserves to be remembered; but -honour is due to him as the painter who gave to our school of marine -painting its foundation of accurate observation and careful regard for -the actualities of the subject. - -Other men carried on ably the tradition he had established, and in a -comparatively short time there grew up a by no means inconsiderable -group of painters who took an effective interest in the pictorial -material with which the sea provided them. Within half a century of his -death he had many successors, some of whom were true sea painters, -though, perhaps, the majority were landscape men who included the sea in -their study of nature’s manifestations, and only turned to it, more or -less frequently, in the intervals of their more usual work. Yet in this -latter class were counted some of the greatest British masters whose -achievements rank among the best by which our school is distinguished. -To the company of these masters certainly belongs George Morland, the -erratic genius who, ranging over a wide field of subjects, found that -the sea was often one of the most helpful sources of his inspiration. -His coast scenes--of which the _Fishermen Hauling in a Boat_ (p. 37) is -a good example--have a characteristic measure of strenuous vitality and -are painted with all the sureness of touch that marked his handling of -the rustic motives which occupied so much of his attention. Morland, -however, did not paint marine pictures so frequently as his -contemporary, John Wilson, who was a consistent student of the sea and -lived for some years at Folkestone. His capacity can scarcely be -questioned. The picture reproduced (p. 38) has a very modern freshness -of manner and shows exceptional knowledge of wave movement and -atmospheric subtleties, and though there is in it something of the -convention of the period, it certainly conveys the sentiment of nature. - -Another master who made many digressions into sea painting was -Constable; a number of sea and coast pictures are included among his -more memorable performances. His _Chesil Beach_ (p. 39) has the better -qualities of his art, its strength and sincerity, its robust directness, -and its sense of rightly estimated reality. Without being in any way dry -or dull it is singularly faithful in its statement of the facts of the -subject and in its adherence to nature’s authority; and it bears -decisively the stamp of the artist’s personality. - -Even more personal both in point of view and in manner of interpretation -are the pictures by Turner, that greatest of all painters of the sea. No -one but Turner could have attained such a height of dramatic power as is -reached in _Lowestoft_ (p. 45), and _The Shipwreck_ (p. 41), in which -the majesty and the tragedy of the sea are expressed with overwhelming -strength. Only a supreme master could have kept conception and execution -in such perfect relation, or could be so vehement in conviction without -lapsing into bombast. But Turner was a master without a peer, and in -these two pictures--and the extraordinarily suggestive and mysterious -_Farne Island_ (p. 44)--he is seen to rare advantage. Yet he was not -less evidently a master when he chose to deal with less ambitious -material, when he painted subjects like the _Yacht Racing in the Solent_ -(p. 43), and _The Prince of Orange Landing at Torbay_ (p. 42), in which -no tragic note was needed, and no greater problem was presented than the -expression of the breezy freshness of a restless sea. Always, the -acuteness of his vision, the depth of his understanding, and the -consummate certainty of his method can be realized, whatever may have -been his mood or his intention. - -Beside Turner, John Thomson of Duddingston can be assigned but a minor -place; yet, amateur though he was, he cannot be passed over as unworthy -to be reckoned among the more accomplished of the earlier sea painters. -Minister of a church in Scotland, he was able to practise his art only -in the intervals of his clerical duties, but as can be judged from his -_Fast Castle_ (p. 47) he had real ability and much command of technical -processes. He belongs to a period of great importance in British art, a -period which produced not only Turner and Constable, but other masters -of high rank, two of whom, Cotman and David Cox, painted marine pictures -frequently and treated them with delightful sympathy. Cotman’s broad, -dignified method is well seen in _A Galiot in a Storm_ (p. 48), a -composition finely designed and convincing in its large simplicity; and -David Cox’s exquisite perception of beauties of atmospheric effect is -rarely better evidenced than in his delicate and luminous _Calais Pier_ -(p. 49), a study of sea and sky which can be unreservedly praised for -its sensitiveness and truth. It is as rightly seen as it is attractively -painted. There is much less freedom and spontaneity in Pyne’s _Totland -Bay_ (p. 51), and yet this picture has a scholarly quality that entitles -it to respect, though it is a little too formal and conscious. But at -the beginning of the nineteenth century there was a fashion for elegant -formality, and Pyne was, perhaps, induced to follow this fashion by his -study of Italian scenery. As a sea painter he can scarcely be compared -with George Chambers and Clarkson Stanfield, who were of the same date, -and both of whom had much professional experience of the sea before they -became artists. Chambers drew shipping with admirable accuracy--there is -ample proof of this in his picture, _Off Portsmouth_ (p. 52)--and knew -the ways of the sea intimately; Stanfield was also an excellent -draughtsman, but on the whole was more artificial than Chambers. Both -men were for some while successful scene painters, and in Stanfield’s -work particularly the influence of the theatre is apparent; there is an -obvious scenic quality in such pictures as the _Entrance to the Zuyder -Zee_ (p. 54) and _The Port of La Rochelle_ (p. 53); and his _Coast -Scene_ (p. 55) is planned and composed with the scene-painter’s feeling -for construction and distribution of detail. But, despite the theatrical -atmosphere of his art, Stanfield’s achievements are not to be despised, -because the foundation of them was sound and the knowledge he displayed -in them was acquired at first hand. - -Dyce’s _Pegwell Bay_ (p. 57) is interesting for two reasons, as a -digression by a successful figure painter into open-air work, and as an -illustration of the influence exercised by the Pre-Raphaelite movement -upon the painters of the time. It is an extraordinary piece of precise -statement, photographic in its accuracy, and is painted with a careful -regard for reality that deserves recognition. Indeed, its simple honesty -makes it of more account than such a picture as Cooke’s _Dutch Boats in -a Calm_ (p. 58), which, capable though it is, has more than a suspicion -of artificiality; or than E. T. Crawford’s _Closehauled, Crossing the -Bar_ (p. 59), in which the spirited treatment of the sea is to some -extent discounted by a certain clumsiness in the drawing of the -sailing-boats and by the somewhat mechanical manner in which they are -used to help out the composition. There is artificiality, too, in the -design of Müller’s _Dredging on the Medway_ (p. 60), but it is more -cleverly disguised, and the handling is more accomplished. All three of -these men, however, contributed something to the sequence of paintings -which stands to the credit of the British school, and all were serious -observers of the sea. - -So, too, was Copley Fielding, though other subject-matter than the sea -engaged much of his attention. But he spent a good deal of his time on -the coast and used his opportunities there with considerable discretion. -As a result his sea paintings have a sympathetic quality that is -undeniably persuasive, and they derive an additional charm from their -dexterity of brushwork and from their pleasant management of colour and -tone. The _Coast Scene_ (p. 61) represents him well; it is an eminently -skilful technical exercise, and it conveys correctly an impression of -gathering storm and of the force of a rising wind. The suggestion, also, -of cold, gleaming light when the sky is partly veiled by dark clouds is -sufficiently true and is made with due restraint--without that -over-accentuation of tone contrasts which is so apt to destroy breadth -and unity of effect. - -From Copley Fielding to Edwin Hayes is a wide step--a jump from the -methods of the past to those of the present day. Yet in actual time the -two men were not so widely separated, for Hayes was born some while -before Fielding died, and counted several of the earlier British masters -among his older contemporaries. Fielding, however, was brought up in a -tradition which had a strong hold upon the painters who were working at -the beginning of the nineteenth century, and he made no real effort to -break away from it, though in his interpretation of it he was, in some -respects, less narrow than his fellows. But the formula influenced him -as it did nearly all the other men of that date, and it gave a sort of -set pattern to the paintings even of those artists who had the sincerest -possible desire to be faithful to nature and to study her seriously and -persistently. - -The effect of this formula was to regulate the composition and to -prescribe the introduction of shipping in certain specified positions so -as to conform to an accepted pictorial convention. To its dominance is -due the general similarity which can be perceived between the works of -John Wilson, Chambers, Crawford, and Müller, here illustrated, and which -could be followed out in many other pictures by the lesser painters of -the time--a similarity which was neither accidental nor unconscious, but -directly induced by adherence to what were held to be the correct -principles of picture designing. Moreover, there seems to have been a -belief then that a painting of the sea must have some added interest to -assure it of popularity, for a sea without shipping prominently placed -upon it was hardly ever attempted; an incident was almost always -introduced or a story suggested. - -When Edwin Hayes began his career the earlier tradition was losing its -authority and was being replaced by a less limited conception of the -sea-painter’s mission. To some extent he came under it in his youth, but -he was naturally responsive to new ideas and kept pace with the more -modern developments. Anyhow, in his _Sunset at Sea_ (p. 63) there is no -hint of the old convention, and there is no trace of the belief that an -added interest was required to make a sea picture attractive. He was -content to give faithfully his impression of the sea as it appeared -before him, to tell no story save nature’s own, and to take for his -incident the gleam of sunlight upon tossing waves stirred into movement -by the wind--a poor subject, perhaps, according to the old standards, -but one which to-day appeals to us as admirably satisfying and -essentially complete. - -From the middle of the nineteenth century onwards there has been a -steadily growing tendency to enlarge the scope of marine painting and to -allow to the men who practise it more and more freedom in the assertion -of their personal feeling in art matters. That is why so much material -of the most varied character is available now for the illustration of -this branch of pictorial production, and why so many artists seek in it -opportunities for the display of their capacities. They can approach it -from the point of view that suits them best, they can interpret what -they find there in the way that seems to them most appropriate, and they -can, if their study is sincere, get most closely into touch with -nature’s secrets. - -One entirely legitimate point of view is given adequate demonstration in -the two pictures, _The Kyles of Bute_ by C. Parsons Knight (p. 65), and -_From the Dorsetshire Cliffs_ by John Brett (p. 67). Both pictures are -records, plain and uncompromising statements of fact, and in neither of -them is anything unaccounted for or any detail left for the imagination -of the spectator to supply. Frankly, the intention of both painters was -to put in everything that the most acute vision could detect in the -scene represented and to attain completeness by painstaking effort; and -undeniably both painters have justified themselves by the thoroughness -with which they have carried out this intention. Yet to many people so -much labour to prove the sincerity of the artist would seem to be -unnecessary and to savour somewhat of pedantry; knowledge so lavishly -displayed--and with such scrupulous regard for accuracy--is not always -persuasive. But such pictures have every right to exist, and there is a -place for them in art. - -So there is, too, for conceptions of such a totally different type as -_The Wreck_ by C. E. Holloway (p. 68), and the _Marine_ by Whistler (p. -69). These go to the opposite extreme, eliminating detail, avoiding -precise and careful explanations, conceding nothing to the unimaginative -man who can only believe what is made perfectly clear to his limited -vision. They demand from every one who sees them a full measure of -thought and intelligent analysis so that the shrewd understanding which -controls their apparent carelessness of method can be estimated at its -proper worth. Holloway’s painting is, in fact, only a rapid note in -which he has visualized a momentary impression, but visualized it so -surely that he has been able to make other people see just what he -himself saw in the subject. Whistler’s _Marine_ is an impression, too, a -summary of movement and wave action; but it is something more than a -simple realization of the fundamental things in nature because into the -treatment of it a decorative intention has been definitely admitted. By -the painter’s skill the formality of the design has been cleverly -concealed, and by the spontaneity of his method the deliberate processes -of his art are kept from being too apparent; but formality and -deliberation have both contributed to the successful evolution of a very -significant picture. - -Quite a different kind of sentiment pervades Hook’s vigorous canvas, -_The Seaweed Raker_ (p. 71). He was not concerned with subtleties of -suggestion or with problems of decorative adjustment, but with the -robust representation of nature’s ruggedness, and there was a simple -honesty in his virile, forcible work. He understood the sea, and though -he looked at it in rather a literal way he never made his paintings of -it commonplace. Partly this was due, no doubt, to the unaffected -directness of his executive devices and to the frankness of his -craftsmanship--he never resorted to any graceful artifices to soften off -the bare facts of his subjects--but there came in also the influence of -a temperament which was by no means insensible to the romance of the sea -and to the sombre poetry of the seaman’s life. That Hook was one of the -greatest of British marine painters can fairly be claimed. - -But greater still was Henry Moore, greater because his insight was even -more acute and because, while he equalled Hook in robustness, he used -his powers with more reserve. He was a finer colourist, a truer judge of -tone relations, and more sensitive to refinements of atmospheric effect; -and as an executant he had a lighter and more flexible touch. A lifelong -painter of the open air, he began to study the sea almost at the outset -of his career, and for some years alternated between landscapes and -marine pictures, but eventually devoted himself almost exclusively to -the branch of practice in which, as he plainly proved, he was without a -serious rival. The particular charm of his work--a charm that is very -apparent in the two examples reproduced--is in its suggestion of space -and wide expansiveness, and of the recession of the surface of the sea -to the far horizon. From such a picture as _A Breezy Day_--which forms a -frontispiece to this article--many lessons are to be learned in the -management of tone values to express distance, and in the treatment of -clouds not as a background but as an overhanging canopy in true -perspective; and both this and the _Break in the Cloud_ (p. 72) show -most clearly the certainty with which he could draw the form of -different kinds of waves and give to them their proper movement. And all -this he did without appearance of labour and without exaggerated display -of technical facility, but invariably with the quiet confidence that -comes from exact and well-tried knowledge. - -Colin Hunter’s _Farewell to Skye_ (p. 73) seems, somehow, to have about -it a touch of sentimentality and to be lacking in force. Perhaps this -impression comes partly from the title, but it is encouraged also by the -sweetness of the composition with its flow of curving lines and its -carefully balanced distribution of lights and darks. But as a study of a -picturesque coast scene the picture is pleasing, and as a note of an -effect of evening illumination it has much merit. It represents well an -artist who possessed his full share of the Scottish feeling for romance -and whose methods were sound, and it can justly claim a place among the -more popular of modern marine paintings. There is a place, too, for W. -McTaggart’s _Sounding Sea_ (p. 74), a picture very different in -inspiration and technical manner and yet as definitely expressive of the -Scottish temperament. Like all McTaggart’s works, it arrests attention -by the strength of its personal conviction and by the characteristic -method of handling that he has employed, and to this attention it is -fully entitled. - -Frank Brangwyn’s _In Port_ (p. 75) has a story to tell, the story of a -voyage ended and of the safe arrival of a homeward-bound ship. The -artist has not embroidered his subject with any touches of fancy; he -has dealt with it as a simple matter of fact and as an everyday incident -in the concerns of a seaport town--an incident which excites hardly more -than momentary interest among the idlers on the quay. Yet by this very -reticence he seems to give point to his story and to emphasize the -British attitude towards sea life as something to which the people are -accustomed and which they treat as an obvious part of the national -heritage. It is, perhaps, because he has been at sea himself that he has -no inclination to be either sensational or sentimental in painting what -a sailor would regard as a very ordinary occurrence; it is undoubtedly -to his experience afloat that can be ascribed the air of intimacy which -pervades the picture and the sterling accuracy with which every detail -of it is rendered. Of course, as a painter he is exceptionally -distinguished, but even the painter of distinction is none the worse for -possessing an expert technical understanding of the material which he -proposes to depict upon his canvas. In this instance the combination of -nautical experience and high artistic ability has been productive of -unusually satisfying results. - -It is questionable whether to T. B. Hardy has as yet been assigned the -position among British artists which is due to him on account of the -merit of his work. A prolific and popular painter he possibly spread his -energies over too wide a field and fell into the habit of -over-production. But in his best pictures he reached a very high level -of accomplishment, and as a sea painter he was especially successful. _A -Change of Wind, Boulogne Harbour_ (p. 77), which has been chosen to -represent him, ranks among the best things of its class, on account of -its accuracy of observation and its powerful realization, not only of -the action of the sea, but of the weather conditions, too, by which this -action was induced. In design the picture is to some degree a reversion -to an earlier type, but in spirit and manner of execution it is -essentially a modern effort, and brings a past tradition logically up to -date. - -Napier Hemy’s _Boat Adrift_ (p. 78) owes none of its inspiration to the -older sea painters, or at all events to none earlier than Hook. There is -a hint of Hook’s robustness and solid realism, but the character and -quality of the handling, the constructive sense, and the observation of -the lift and sweep of the waves are all Hemy’s own. He took his subject -far too seriously to depend upon any one else for his inspiration, and -he studied it afloat under all aspects and in all sorts of weather, not -as a landsman who limited himself to what he could see from the shore. -His thoroughness had its full reward, for it is by his marine paintings -that his reputation as one of our leading artists has been established, -though in his early days he was a figure painter and made some success -with landscape as well. - -Another instance of a figure-painter’s judicious dealing with the -subtleties of the sea is to be seen in Sir John Lavery’s _Evening--the -Coast of Spain from Tangier_ (p. 79). He has found something here well -worth recording, an effect of warm evening light over still waters which -ripple gently on a flat beach, a subject full of colour and delicate -aerial suggestion. He has interpreted it with tenderness and sympathy, -but without descending into mere prettiness, and without losing the -strength of the subject. A picture so happily conceived deserves the -sincerest welcome. - -An entirely different class of work is exemplified in W. L. Wyllie’s -ambitious composition, _Blake’s Three Days Engagement with Van Tromp_ -(p. 81). This is neither a simple piece of nature nor a representation -of a normal incident in our modern life, but an imaginative -reconstruction of an historical scene. To build it up a vast amount of -research and consultation of authorities were needed, to carry it out -convincingly a very thorough acquaintance with the sea was -indispensable--both conditions have been excellently satisfied by the -artist. His picture is entirely credible: he makes us believe that he -has put before us what actually happened, and he treats the whole motive -with a seamanlike understanding that clears it of all suspicion of -artificiality. Compositions of this type were popular a century ago, -when the sea painters had opportunities to witness such picturesque, -yard-arm to yard-arm naval actions; the sea-fights of to-day do not lend -themselves so well to the artist’s purposes. A good deal of the drama -must inevitably be lost when miles of water intervene between the -opposing fleets. - -A sailor’s acquaintance with the sea gives a particular point to the -work of Thomas Somerscales. His pictures, _Off Valparaiso_ (p. 82) and -_Before the Gale_ (p. 83), have an unpretentious reality that can be -accepted in perfect good faith. They are distinguished by an unusual -straightforwardness, and by a simplicity of manner and method that is -curiously effective; and they tell us, because they are so simple and -straightforward, more about the sea than we can learn from paintings -which are much fuller of detail and accessory incident. - -R. W. Allan’s _Off to the Fishing Grounds_ (p. 84), and C. W. Simpson’s -_Landing Fish_ (p. 85), have to do with life in home waters instead of -the adventuring of ocean-going ships, but they are none the less -interesting on that account. In the first picture, indeed, the chance of -working out a very agreeable line composition has been used by the -artist with the best of judgment, and he has entered thoroughly into the -spirit of his subject. In the _Landing Fish_, a good illustration is -given of the way in which a perfectly literal statement of a scene, for -which almost any fishing-port would provide a setting, can be made -artistically important by a painter who looks at it sympathetically and -who can induce other people to look at it through his eyes. There are -few occupations carried on so picturesquely as that of the fisherman or -among surroundings so full of varied pictorial possibilities; and there -are fewer still which offer so many picture subjects ready-made. - -To turn from works such as these to Herbert Draper’s _Flying Fish_ (p. -87), is to change abruptly from fact to fancy, from a frank rendering of -things as they are to a fantastic suggestion of something that never -existed save in the artist’s imagination. But the realities of the deep -often seem so fantastic, even to the people who have had long experience -of them, that the artist may surely be forgiven for building upon them -fancies of his own. Indeed, this water nymph at play in the element to -which she belongs appears much more credible than many of the sea -monsters which have been proved to be actually in existence; and by the -artist’s skill she is presented as a very pleasing embodiment of the -spirit of the sea--sportive, irresponsible, and ruthless too, but -beautiful and intensely alive. It is not good for us to be always -material-minded and matter-of-fact, so we can allow to the mermaid a -place in art even though we know that she has been classified by science -as merely a species of sea-cow--a most unpoetic translation of an -ancient myth. - -There is nothing either mythical or fantastic about H. S. Tuke’s _August -Blue_ (p. 88); on the contrary it is a purely realistic painting of a -most ordinary subject--some boys bathing from a boat on a calm sunlit -sea. But out of this quite ordinary material he has built up a picture -with an exceptional degree of dignity, largely felt, and with a kind of -classic distinction of manner. But there is in it no coldness or want of -human interest; it is living, animated, and essentially of to-day, and -wholly right in its fresh, unforced naturalism. Easy, fluent -draughtsmanship and strength of design help to make it a memorable -exercise in descriptive painting. - -The next three pictures, Sir David Murray’s _The Fiend’s Weather_ (p. -89), _Where the Somme meets the Sea_, by Tom Robertson (p. 90), and -Moffat Lindner’s _The Storm-Cloud, Christchurch Harbour_ (p. 91), -provide a sufficiently striking contrast in effects of atmosphere. The -first suggests the turmoil of a gathering storm, threatening ruin and -destruction to everything in its path and sweeping irresistibly over -land and sea. In his treatment of it the artist has made the most of a -dramatic opportunity to show how thorough has been his study of nature -and how well he understands her ways, even when she is in one of her -most perverse moods. The second picture finds her at her gentlest -moment, exquisitely calm and peaceful and perfectly in repose; the third -at a time when beneath her smile lies a threat, and when almost without -warning a sudden outburst may break the quiet of a summer evening. All -three paintings deserve attention, for they represent artists who are -prominent amongst us to-day and whose work is with justice widely -appreciated. - -Another painter who handles coast subjects with notable ability is W. -Russell Flint. His two water-colours, _The Fane Islands_ (p. 93) and -_Passing Sails_ (p. 95), have a breadth and distinction of manner and a -brilliant directness of brushwork that can be unreservedly admired. His -simplified method of dealing with nature’s facts is very effective, as -it gives plainly the real essentials without any labouring of detail and -without diverting attention from the things that he wishes to emphasize. -It has a decorative value, too, and adds a quality of style to his work. -During the last few years he has produced many paintings of this -type--coast scenes with figures--and he has kept them consistently at a -high level of accomplishment. - -Cecil King’s delightful _Regatta Day at Appledore_ (p. 98) has to do -with the lighter side of sea life, and his _H.M.S. “Wolsey”_ (p. 97) -with matters much more serious. The _Regatta Day_, as its subject -befits, is a lively and brightly treated study, full of incident, and -attractively irresponsible in composition. It has both power and -originality, and it puts beyond question his capabilities as a -draughtsman because it presents a difficult problem in perspective which -he has solved most happily. But much of its charm comes from the holiday -spirit in which it is conceived and carried out. The _H.M.S. “Wolsey”_ -is more sober, and conveys well the idea of the grim simplicity of the -practical fighting machine built for use, not ornament. - -Norman Wilkinson is a versatile artist who does many things well, and -who yields to no one at the present time in knowledge of the pictorial -chances which the sea provides. He is shown here under more than one -aspect--as a painter of interesting realities in his panoramic _Plymouth -Harbour_ (p. 100), as a very acute student of wave movement in _Up -Channel_ (p. 103) and _The Wave_ (p. 101), and as a maker of rapid and -suggestive notes in his sketch _Etretat_ (p. 99). Of these examples the -most arresting in many ways is _The Wave_; it has such an unusual amount -of vitality, it is so seriously observed and yet so free and unlaboured, -and it is so correct not only in action but also in matters of lighting -and reflection and of colour variation as well. This is an instance of -the happy alliance of the science and the art of marine painting to -bring about a perfectly balanced result. - -_Windbound_ (p. 104), by Hely Smith, and _The Needles_ (p. 107), by -Charles Pears, are inshore studies, notes of incidents which, though -they are undramatic, lend themselves well to the painters’ purposes. -_The Needles_, with its sense of breeziness and of the rough-and-tumble -of a tide-race, is a picture that excites a distinctly pleasurable -emotion, so much is there in it of the joy of living when the sun shines -brightly and the wind blows briskly and the sea is sparkling and full of -colour. The other two pictures by Charles Pears, _The Examination_ (p. -106) and _The Yacht Race_ (p. 105), make a contrast of grave and gay--a -contrast between the dark moments of war and the happy times of peace. - -Neither W. Marshall Brown in _The Sea_ (p. 109), nor Julius Olsson in -_The Night Wrack_ (p. 110) and _Heavy Weather in the Channel_ (p. 111), -seek to make their pictures more attractive by adding to them any -subsidiary incident. They are content to depend for success upon the -plain statement of things they have seen in the sea itself and to be -painters of the sea, and the sea alone. But both of them have found -stirring subjects, impressively strong and calling for a particular -decisiveness of method, and both have proved fully equal to the -occasion. Of these three canvases perhaps the most largely seen and the -finest in its grasp of the motive as a whole is the _Heavy Weather in -the Channel_, which has really monumental breadth and dignity. - -Between these powerful paintings and those of the Hon. Duff Tollemache -and A. J. W. Burgess, which have a similar æsthetic intention, come in -the sequence of the illustrations two very interesting works of Walter -Bayes, _The Timid Bather_ (p. 113) and _The Red Beach_ (p. 112). These -make an intelligent compromise between realism and abstract decoration; -they are designs worked out with a sound idea of pattern-making and in -accordance with a pre-conceived scheme of arrangement, but the details -of which they are composed have been studied from nature with serious -and observant vision. They are fancies with a solid foundation of fact, -while _The Watch that Never Ends_ (p. 116) and _The Scarborough Fleet_ -(p. 117), by Burgess, and the _Storm on the Cornish Coast_ (p. 115), by -Tollemache, are pure fact all through, and fact stated with -well-justified confidence. - -A decorative purpose is very definitely apparent in John Everett’s _Deck -of a Tea-Clipper in the Tropics_ (p. 118) and _Breakers_ (p. 119), but -this purpose has been fulfilled with excellent judgment and eminently -good taste. There is an obvious formality in both pictures, and yet this -formality does not detract from their charm--indeed, in the _Breakers_ -it adds strength to a sensitive note of an afterglow effect in which -there is a delightful perception of tone subtleties and of varieties of -curiously related colour. - -Two absolutely opposed points of view are illustrated in _The Wave_ (p. -123), by Nevinson, and _Margate_ (p. 121), by James McBey. _The Wave_ is -an exposition of a modern theory of pictorial expression; it is set -forth with unhesitating clearness of manner and method, and allows the -artist’s attitude to be estimated at its full value. In such a series as -this it fittingly has its place because it presents an aspect of marine -painting that has to be considered. The _Margate_ sketch, like W. T. M. -Hawksworth’s clever _Low Water, Penzance_ (p. 125), and the _Wet Rocks, -St. Ives_, by R. Borlase Smart (p. 126), is frankly naturalistic, -professing to be nothing more than a plain record of things as they -are, and propounding no new theories about the development and -evolution of art. Its spontaneous delicacy of handling is one of its -most evident merits. - -_Motor Launches_, by G. S. Allfree (p. 127), is an example of a type of -work which seeks to combine actuality and fantasy in carefully studied -proportion, and to produce by this combination something that will be -more significant than an absolutely imitative transcription of nature. -Certain features of the picture are exaggerated and given marked -emphasis so that they may point more definitely the meaning of the -subject and increase the strength of its dramatic suggestion. When this -method is employed with sane understanding--and with the necessary touch -of imagination--it has excellent results. In this case the artist has -seen correctly how far it would be expedient for him to go and has not -spoiled his picture by making it too audacious. - -Yet another phase of modern thought in art influences the work of I. W. -Brooks, whose desire is not so much to tell a story or to hold the -mirror up to nature as to produce an ornamental abstraction. When the -methods he employs to attain this end are not too much defined the -outcome of them is a picture like _In Cymyran Bay_ (p. 129), which has a -most agreeable restfulness and decorative balance and is inspired by a -feeling of serious reality. When he is more explicit in his processes he -arrives at results like the two coast scenes (pp. 128 and 131), which -have the arbitrary expression of a Japanese print and go as far in their -elimination of everything save the fundamentals of the design. But such -methods are undeniably legitimate because where they are used with due -discretion they make possible the working out of decorative schemes -which have both distinction and beauty. - -A number of notable paintings of marine subjects stand to the credit of -Terrick Williams, who has for some years past devoted himself to this -branch of art with conspicuous success. Some idea of the grace and -delicacy of his work can be obtained from the example shown, _Clouds -over the Sea, Holland_ (p. 132); but naturally it does not reveal the -character of his colour. As a colourist he is more than ordinarily -endowed, he has the real colour emotion, and it is always delightfully -in evidence in everything he does, and always it is controlled by an -unerring taste. He has, too, an acute perception of refinements of tone -by which he is guided surely in his treatment of the luminous -atmospheric effects to which he especially inclines. His right to a -place among the chief of the British marine painters of the present day -is indisputable. - -The last two artists on the list are very unlike one another, so this -series of illustrations ends with an effective contrast of styles. The -picture by Frank Emanuel differs widely in intention and manner from -those by E. A. Cox. _The Ancient Port of Fêques_ (p. 133) shows -affinities both in style and manner with the early nineteenth-century -sea painters and follows their tradition in composition and -light-and-shade arrangement. Still, the artist has chosen good material -and has made skilful use of it. The other painter, E. A. Cox (pp. 134 -and 135), is a decorator with a faculty for seeing things largely, and -for setting them down confidently. His use of broad, flat tones is most -effective, and the vigorous precision of his drawing gives a convincing -quality to his performances. He seems always to know just what he wants -to do and to be able to do it without a moment’s hesitation--and that -implies very assured knowledge acquired by the most thorough training. - - A. L. BALDRY - -[Illustration: “THE CALM.” BY CHARLES BROOKING - -_Photo, Mansell_ - -(_In the National Gallery, London_)] - -[Illustration: “FISHERMEN HAULING IN A BOAT.” BY GEORGE MORLAND - -_Photo, Mansell_ - -(_In the Victoria and Albert Museum, London_)] - -[Illustration: “SEAPIECE.” BY JOHN H. WILSON, R.S.A. - -(_In the possession of Messrs. Arthur Tooth & Sons_)] - -[Illustration: “CHESIL BEACH.” BY JOHN CONSTABLE, R.A. - -(_In the possession of John Levy, Esq., New York_)] - -[Illustration: “THE SHIPWRECK.” BY J. M. W. TURNER, R.A. - -_Photo, Mansell_ - -(_In the National Gallery of British Art, London_)] - -[Illustration: “THE PRINCE OF ORANGE LANDING AT TORBAY NOVEMBER 5, -1688.” BY J. M. W. TURNER, R.A. - -_Photo, Mansell_ - -(_In the National Gallery of British Art, London_)] - -[Illustration: “YACHT RACING IN THE SOLENT.” BY J. M. W. TURNER, R.A. - -_Photo, Mansell_ - -(_In the National Gallery of British Art, London_)] - -[Illustration: “FARNE ISLAND.” BY J. M. W. TURNER, R.A. - -(_In the Collection at Barbizon House_)] - -[Illustration: “LOWESTOFT.” BY J. M. W. TURNER, R.A. - -(_In the possession of R. W. Lloyd, Esq._)] - -[Illustration: “FAST CASTLE.” BY THE REV. JOHN THOMSON OF DUDDINGSTON, -R.S.A. - -(_In the Collection at Barbizon House_)] - -[Illustration: “A GALIOT IN A STORM” BY JOHN SELL COTMAN - -_Photo Woodbury Co._ - -(_In the National Gallery, London_)] - -[Illustration: “CALAIS PIER.” BY DAVID COX - -(_In the possession of Messrs. Thos. Agnew & Sons_)] - -[Illustration: _Photo, Mansell_ - -(_In the National Gallery of British Art, London_) - -“TOTLAND BAY.” BY J. B. PYNE] - -[Illustration: (_In the possession of A. T. Hollingsworth, Esq._) - -“OFF PORTSMOUTH.” BY GEORGE CHAMBERS] - -[Illustration: (_In the possession of Messrs. Arthur Tooth & Sons_) - -“THE PORT OF LA ROCHELLE.” BY W. CLARKSON STANFIELD, R.A.] - -[Illustration: _Photo, Mansell_ - -“ENTRANCE TO THE ZUYDER ZEE, TEXEL ISLAND” BY W. CLARKSON STANFIELD, -R.A. - -(_In the National Gallery of British Art, London_)] - -[Illustration: (_In the possession of Messrs. Thos. Agnew & Sons_) - -“COAST SCENE.” BY W. CLARKSON STANFIELD, R.A.] - -[Illustration: _Photo, Mansell_ - -(_In the National Gallery of British Art, London_) - -“PEGWELL BAY, 1858.” BY WILLIAM DYCE, R.A.] - -[Illustration: _Photo, Mansell_ - -(_In the National Gallery of British Art, London_) - -“DUTCH BOATS IN A CALM.” BY E. W. COOKE, R.A.] - -[Illustration: _Photo, Annan_ - -(_In the National Gallery of Scotland, Edinburgh_) - -“CLOSEHAULED, CROSSING THE BAR.” BY E. T. CRAWFORD, R.S.A.] - -[Illustration: _Photo, Mansell_ - -(_In the National Gallery of British Art, London_) - -“DREDGING ON THE MEDWAY.” BY WILLIAM J. MÜLLER] - -[Illustration: (_In the possession of Messrs_. _Arthur Tooth & Sons_) - -“COAST SCENE.” BY COPLEY FIELDING] - -[Illustration: _Photo, Mansell_ - -(_In the National Gallery of British Art, London_) - -“SUNSET AT SEA: FROM HARLYN BAY, CORNWALL.” BY EDWIN HAYES, R.H.A., -R.I.] - -[Illustration: _Photo, Mansell_ - -(_In the National Gallery of British Art, London_) - -“THE KYLES OF BUTE.” BY C. PARSONS KNIGHT] - -[Illustration: _Photo, Mansell_ - -(_In the National Gallery of British Art, London_) - -“FROM THE DORSETSHIRE CLIFFS.” BY JOHN BRETT, A.R.A.] - -[Illustration: (_In the possession of Messrs. William Marchant & Co._) - -“THE WRECK.” BY C. E. HOLLOWAY] - -[Illustration: (_In the possession of Mrs. Lewis Hind_) - -“MARINE.” BY J. McNEILL WHISTLER] - -[Illustration: _Photo, Mansell_ - -(_In the National Gallery of British Art, London_) - -“THE SEAWEED RAKER.” BY J. C. HOOK, R.A.] - -[Illustration: (_In the possession of Messrs. Arthur Tooth & Sons_) - -“A BREAK IN THE CLOUD.” BY HENRY MOORE, R.A.] - -[Illustration: _Photo, Annan_ - -(_In the Corporation Art Gallery, Glasgow_) - -“FAREWELL TO SKYE.” BY COLIN HUNTER, A.R.A] - -[Illustration: (_By permission of Messrs. J. Maclehose & Sons, -Publishers of Mr. James L. Caw’s “William McTaggart, R.S.A._”) - -“THE SOUNDING SEA.” BY WILLIAM McTAGGART, R.S.A.] - -[Illustration: (_In the possession of Mr. John A. Cooling_) - -“IN PORT.” BY FRANK BRANGWYN, R.A.] - -[Illustration: _Photo, Mansell_ - -(_By permission of the Leeds Art Gallery Committee_) - -“A CHANGE OF WIND: BOULOGNE HARBOUR.” BY T. B. HARDY] - -[Illustration: _Photo, Mansell_ - -(_By permission of the Oldham Art Gallery Committee_) - -“A BOAT ADRIFT.” BY C. NAPIER HEMY, R.A., R.W.S.] - -[Illustration: “EVENING.” THE COAST OF SPAIN FROM TANGIER. BY SIR JOHN -LAVERY, A.R.A., R.S.A.] - -[Illustration: “BLAKE’S THREE DAYS ENGAGEMENT WITH VAN TROMP.” BY W. L. -WYLLIE, R.A.] - -[Illustration: _Photo, Mansell_ - -(_In the National Gallery of British Art, London_) - -“OFF VALPARAISO.” BY THOMAS SOMERSCALES] - -[Illustration: “BEFORE THE GALE.” BY THOMAS SOMERSCALES] - -[Illustration: “OFF TO THE FISHING GROUNDS.” BY ROBERT W. ALLAN, -R.W.S.] - -[Illustration: “LANDING FISH.” BY CHARLES W. SIMPSON, R.I., R.B.A.] - -[Illustration: “FLYING FISH.” BY HERBERT DRAPER] - -[Illustration: _Photo, Mansell_ - -(_In the National Gallery of British Art, London_) - -“AUGUST BLUE.” BY HENRY S. TUKE, R.A., R.W.S.] - -[Illustration: “THE FIEND’S WEATHER.” BY SIR DAVID MURRAY, R.A., P.R.I., -A.R.S.A.] - -[Illustration: “WHERE THE SOMME MEETS THE SEA” BY TOM ROBERTSON] - -[Illustration: (_In the possession of the Barcelona Corporation_) - -“THE STORM-CLOUD, CHRISTCHURCH HARBOUR” BY MOFFAT LINDNER, A.R.W.S.] - -[Illustration: (_In the possession of The Fine Art Society_) - -“THE FANE ISLANDS.” BY W. RUSSELL FLINT, R.W.S.] - -[Illustration: (_In the possession of The Fine Art Society_) - -“PASSING SAILS.” BY W. RUSSELL FLINT, R.W.S.] - -[Illustration: (_By permission of the Imperial War Museum_) - -“H.M.S. ‘WOLSEY’ IN THE ICE AT LIBAU.” BY CECIL KING] - -[Illustration: “REGATTA DAY AT APPLEDORE.” BY CECIL KING] - -[Illustration: “ETRETAT.” BY NORMAN WILKINSON, R.I.] - -[Illustration: “PLYMOUTH HARBOUR.” BY NORMAN WILKINSON, R.I.] - -[Illustration: “THE WAVE.” BY NORMAN WILKINSON, R.I.] - -[Illustration: “UP CHANNEL.” BY NORMAN WILKINSON, R.I.] - -[Illustration: “WINDBOUND.” BY HELY SMITH, R.B.A] - -[Illustration: “THE YACHT RACE.” BY CHARLES PEARS] - -[Illustration: “THE EXAMINATION.” BY CHARLES PEARS] - -[Illustration: “THE NEEDLES.” BY CHARLES PEARS] - -[Illustration: “THE SEA.” BY W. MARSHALL BROWN, A.R.S.A.] - -[Illustration: “THE NIGHT WRACK.” BY JULIUS OLSSON, A.R.A.] - -[Illustration: “HEAVY WEATHER IN THE CHANNEL.” BY JULIUS OLSSON, -A.R.A.] - -[Illustration: “THE RED BEACH.” BY WALTER BAYES, A.R.W.S.] - -[Illustration: “THE TIMID BATHER.” BY WALTER BAYES, A.R.W.S.] - -[Illustration: “STORM ON THE CORNISH COAST.” BY THE HON. DUFF -TOLLEMACHE] - -[Illustration: (_In the possession of Capt. W. N. McClean_) - -“THE WATCH THAT NEVER ENDS.” BY ARTHUR J. W. BURGESS, R.I.] - -[Illustration: “THE SCARBOROUGH FLEET.” BY ARTHUR J. W. BURGESS, R.I.] - -[Illustration: “THE DECK OF A TEA-CLIPPER IN THE TROPICS.” BY JOHN -EVERETT] - -[Illustration: “BREAKERS.” BY JOHN EVERETT] - -[Illustration: “MARGATE.” BY JAMES McBEY] - -[Illustration: (_In the possession of Messrs Ernest Brown & Phillips, -The Leicester Galleries_) - -“THE WAVE.” BY C. R. W. NEVINSON] - -[Illustration: “LOW WATER, PENZANCE.” BY W. T. M. HAWKSWORTH, R.B.A.] - -[Illustration: “WET ROCKS, ST. IVES.” BY R. BORLASE SMART, R.B.A.] - -[Illustration: (_By permission of the Imperial War Museum_) - -“MOTOR LAUNCHES” BY G. S. ALLFREE] - -[Illustration: “COAST SCENE.” BY I. W. BROOKS] - -[Illustration: “IN CYMYRAN BAY.” BY I. W. BROOKS] - -[Illustration: “COAST SCENE.” BY I. W. BROOKS] - -[Illustration: “CLOUDS OVER THE SEA, HOLLAND” BY TERRICK WILLIAMS, -R.I.] - -[Illustration: “THE ANCIENT PORT OF FÊQUES” BY FRANK L. EMANUEL] - -[Illustration: “ELIZABETH CASTLE, CHANNEL ISLANDS” BY E. A. COX, -R.B.A.] - -[Illustration: (_In the possession of H. A. Lay, Esq._) - -“THE GOOD SHIP ‘ROSE ELIZABETH NOVEY.’” BY E. A. COX, R.B.A.] - -*** END OF THE PROJECT GUTENBERG EBOOK BRITISH MARINE PAINTING *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. 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You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: British Marine Painting</div> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Charles Geoffre Holme and Alfred Lys Baldry</div> - -<div style='display:block; margin:1em 0'>Release Date: May 29, 2021 [eBook #65466]</div> - -<div style='display:block; margin:1em 0'>Language: English</div> - -<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div> - -<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Chuck Greif and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images available at The Internet Archive)</div> - -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK BRITISH MARINE PAINTING ***</div> -<hr class="full" /> - -<p class="figcenter"> -<a href="images/cover.jpg"> -<img src="images/cover.jpg" -height="550" alt="[Image of -the book's cover unavailable.]" /></a> -</p> - -<table border="0" cellpadding="0" cellspacing="0" summary="" -style="border: 2px black solid;margin:auto auto;max-width:50%; -padding:1%;"> -<tr><td> - -<p class="c"><a href="#CONTENTS">Contents.</a><br /> -<span class="nonvis">(In certain versions of this etext [in certain browsers] -clicking on the image will bring up a larger version.)</span></p> - -<p class="c">(etext transcriber's note)</p></td></tr> -</table> - -<p><span class="pagenum"><a name="page_i" id="page_i">{i}</a></span> </p> - -<h1>BRITISH MARINE PAINTING<br /><small> -WITH ARTICLES BY A. L. BALDRY</small></h1> - -<div class="bbox"><p class="c">1919</p></div> - -<p class="c">EDITED BY GEOFFREY HOLME<br /> -“THE STUDIO” Lᵀᴰ· LONDON · PARIS · NEW YORK</p> - -<p><span class="pagenum"><a name="page_ii" id="page_ii">{ii}</a></span> </p> -<p><span class="pagenum"><a name="page_iii" id="page_iii">{iii}</a></span> </p> - -<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2> - -<table border="0" cellpadding="2" cellspacing="0" summary=""> - -<tr><th colspan="2">ARTICLES BY A. L. BALDRY</th></tr> - -<tr><td> </td><td class="rt"><small>PAGE</small></td></tr> -<tr><td class="pdd">British Marine Painting</td><td class="rt" valign="bottom"><a href="#page_9">9</a></td></tr> -<tr><td class="pdd">Notes on the Illustrations</td><td class="rt" valign="bottom"><a href="#page_24">24</a></td></tr> - -<tr><th colspan="2">ILLUSTRATIONS IN COLOUR</th></tr> - -<tr><td class="pdd">Bayes, Walter, A.R.W.S.</td></tr> -<tr><td class="pddspc"><i>The Timid Bather</i></td><td class="rt" valign="bottom"><a href="#page_113">113</a></td></tr> - -<tr><td class="pdd">Brangwyn, Frank, R.A.</td></tr> -<tr><td class="pddspc"><i>In Port</i></td><td class="rt" valign="bottom"><a href="#page_75">75</a></td></tr> - -<tr><td class="pdd">Brooks, I. W.</td></tr> -<tr><td class="pddspc"><i>In Cymyran Bay</i></td><td class="rt" valign="bottom"><a href="#page_129">129</a></td></tr> - -<tr><td class="pdd">Constable, John, R.A.</td></tr> -<tr><td class="pddspc"><i>Chesil Beach</i></td><td class="rt" valign="bottom"><a href="#page_39">39</a></td></tr> - -<tr><td class="pdd">Cox, David</td></tr> -<tr><td class="pddspc"><i>Calais Pier</i></td><td class="rt" valign="bottom"><a href="#page_49">49</a></td></tr> - -<tr><td class="pdd">Everett, John</td></tr> -<tr><td class="pddspc"><i>Breakers</i></td><td class="rt" valign="bottom"><a href="#page_119">119</a></td></tr> - -<tr><td class="pdd">Fielding, Copley</td></tr> -<tr><td class="pddspc"><i>Coast Scene</i></td><td class="rt" valign="bottom"><a href="#page_61">61</a></td></tr> - -<tr><td class="pdd">Flint, W. Russell, R.W.S.</td></tr> -<tr><td class="pddspc"><i>The Fane Islands</i></td><td class="rt" valign="bottom"><a href="#page_93">93</a></td></tr> - -<tr><td class="pdd">Lavery, Sir John, A.R.A., R.S.A.</td></tr> -<tr><td class="pddspc"><i>Evening—The Coast of Spain from Tangier</i></td><td class="rt" valign="bottom"><a href="#page_79">79</a></td></tr> - -<tr><td class="pdd">Moore, Henry, R.A.</td></tr> -<tr><td class="pddspc"><i>A Breezy Day</i></td><td class="rt" valign="bottom"><a href="#page_8">8</a></td></tr> - -<tr><td class="pdd">Nevinson, C. R. W.</td></tr> -<tr><td class="pddspc"><i>The Wave</i></td><td class="rt" valign="bottom"><a href="#page_123">123</a></td></tr> - -<tr><td class="pdd">Pears, Charles</td></tr> -<tr><td class="pddspc"><i>The Needles</i></td><td class="rt" valign="bottom"><a href="#page_107">107</a></td></tr> - -<tr><td class="pdd">Simpson, Charles W., R.I., R.B.A.</td></tr> -<tr><td class="pddspc"><i>Landing Fish</i></td><td class="rt" valign="bottom"><a href="#page_85">85</a></td></tr> - -<tr><td class="pdd">Stanfield, W. Clarkson, R.A.</td></tr> -<tr><td class="pddspc"><i>Coast Scene</i></td><td class="rt" valign="bottom"><a href="#page_55">55</a></td></tr> - -<tr><td class="pdd">Turner, J. M. W., R.A.</td></tr> -<tr><td class="pddspc"><i>Lowestoft</i></td><td class="rt" valign="bottom"><a href="#page_45">45</a></td></tr> - -<tr><td class="pdd">Whistler, J. McNeill</td></tr> -<tr><td class="pddspc"><i>Marine</i></td><td class="rt" valign="bottom"><a href="#page_69">69</a></td></tr> - -<tr><td class="pdd">Wilkinson, Norman, R.I.</td></tr> -<tr><td class="pddspc"><i>The Wave</i></td><td class="rt" valign="bottom"><a href="#page_101">101</a></td></tr> - -<tr><th colspan="2">ILLUSTRATIONS IN MONOTONE</th></tr> - -<tr><td class="pdd">Allan, Robert W., R.W.S.</td></tr> -<tr><td class="pddspc"><i>Off to the Fishing Grounds</i></td><td class="rt" valign="bottom"><a href="#page_84">84</a></td></tr> - -<tr><td class="pdd">Allfree, G. S.</td></tr> -<tr><td class="pddspc"><i>Motor Launches</i></td><td class="rt" valign="bottom"><a href="#page_127">127</a></td></tr> - -<tr><td class="pdd">Bayes, Walter, A.R.W.S.</td></tr> -<tr><td class="pddspc"><i>The Red Beach</i></td><td class="rt" valign="bottom"><a href="#page_112">112</a></td></tr> - -<tr><td class="pdd">Brett, John, A.R.A.</td></tr> -<tr><td class="pddspc"><i>From the Dorsetshire Cliffs</i></td><td class="rt" valign="bottom"><a href="#page_67">67</a></td></tr> - -<tr><td class="pdd">Brooking, Charles</td></tr> -<tr><td class="pddspc"><i>The Calm</i></td><td class="rt" valign="bottom"><a href="#page_35">35</a></td></tr> - -<tr><td class="pdd">Brooks, I. W.</td></tr> -<tr><td class="pddspc"><i>Coast Scene</i></td><td class="rt" valign="bottom"><a href="#page_128">128</a></td></tr> -<tr><td class="pddspc"><i>Coast Scene</i></td><td class="rt" valign="bottom"><a href="#page_131">131</a></td></tr> - -<tr><td class="pdd">Brown, W. Marshall, A.R.S.A.</td></tr> -<tr><td class="pddspc"><i>The Sea</i></td><td class="rt" valign="bottom"><a href="#page_109">109</a></td></tr> - -<tr><td class="pdd">Burgess, Arthur J. W., R.I.</td></tr> -<tr><td class="pddspc"><i>The Watch that never ends</i></td><td class="rt" valign="bottom"><a href="#page_116">116</a></td></tr> -<tr><td class="pddspc"><i>The Scarborough Fleet</i></td><td class="rt" valign="bottom"><a href="#page_117">117</a></td></tr> - -<tr><td class="pdd">Chambers, George</td></tr> -<tr><td class="pddspc"><i>Off Portsmouth</i></td><td class="rt" valign="bottom"><a href="#page_52">52</a></td></tr> - -<tr><td class="pdd">Cooke, E. W., R.A.</td></tr> -<tr><td class="pddspc"><i>Dutch Boats in a Calm</i></td><td class="rt" valign="bottom"><a href="#page_58">58</a></td></tr> - -<tr><td class="pdd">Cotman, John Sell</td></tr> -<tr><td class="pddspc"><i>A Galiot in a Storm</i></td><td class="rt" valign="bottom"><a href="#page_48">48</a></td></tr> - -<tr><td class="pdd">Cox, E. A., R.B.A.</td></tr> -<tr><td class="pddspc"><i>Elizabeth Castle, Channel Islands</i></td><td class="rt" valign="bottom"><a href="#page_134">134</a></td></tr> -<tr><td class="pddspc"><i>The Good Ship “Rose Elizabeth Novey”</i></td><td class="rt" valign="bottom"><a href="#page_135">135</a></td></tr> - -<tr><td class="pdd">Crawford, E. T., R.S.A.</td></tr> -<tr><td class="pddspc"><i>Closehauled, Crossing the Bar</i></td><td class="rt" valign="bottom"><a href="#page_59">59</a></td></tr> - -<tr><td class="pdd">Draper, Herbert</td></tr> -<tr><td class="pddspc"><i>Flying Fish</i></td><td class="rt" valign="bottom"><a href="#page_87">87</a></td></tr> - -<tr><td class="pdd">Dyce, William, R.A.</td></tr> -<tr><td class="pddspc"><i>Pegwell Bay, 1858</i></td><td class="rt" valign="bottom"><a href="#page_57">57</a></td></tr> - -<tr><td class="pdd">Emanuel, Frank L.</td></tr> -<tr><td class="pddspc"><i>The Ancient Port of Fêques</i></td><td class="rt" valign="bottom"><a href="#page_133">133</a></td></tr> - -<tr><td class="pdd">Everett, John</td></tr> -<tr><td class="pddspc"><i>The Deck of a Tea-Clipper in the Tropics</i></td><td class="rt" valign="bottom"><a href="#page_118">118</a></td></tr> - -<tr><td class="pdd">Flint, W. Russell, R.W.S.</td></tr> -<tr><td class="pddspc"><i>Passing Sails</i></td><td class="rt" valign="bottom"><a href="#page_95">95</a></td></tr> - -<tr><td class="pdd">Hardy, T. B.</td></tr> -<tr><td class="pddspc"><i>A Change of Wind: Boulogne Harbour</i></td><td class="rt" valign="bottom"><a href="#page_77">77</a></td></tr> - -<tr><td class="pdd">Hawksworth, W. T. M., R.B.A.</td></tr> -<tr><td class="pddspc"><i>Low Water, Penzance</i></td><td class="rt" valign="bottom"><a href="#page_125">125</a></td></tr> - -<tr><td class="pdd">Hayes, Edwin, R.H.A., R.I.</td></tr> -<tr><td class="pddspc"><i>Sunset at Sea: from Harlyn Bay, Cornwall</i></td><td class="rt" valign="bottom"><a href="#page_63">63</a></td></tr> - -<tr><td class="pdd">Hemy, C. Napier, R.A., R.W.S.</td></tr> -<tr><td class="pddspc"><i>A Boat Adrift</i></td><td class="rt" valign="bottom"><a href="#page_78">78</a></td></tr> - -<tr><td class="pdd">Holloway, C. E.</td></tr> -<tr><td class="pddspc"><i>The Wreck</i></td><td class="rt" valign="bottom"><a href="#page_68">68</a></td></tr> - -<tr><td class="pdd">Hook, J. C., R.A.</td></tr> -<tr><td class="pddspc"><i>The Seaweed Raker</i></td><td class="rt" valign="bottom"><a href="#page_71">71</a></td></tr> - -<tr><td class="pdd">Hunter, Colin, A.R.A.</td></tr> -<tr><td class="pddspc"><i>Farewell to Skye</i></td><td class="rt" valign="bottom"><a href="#page_73">73</a></td></tr> - -<tr><td class="pdd">King, Cecil</td></tr> -<tr><td class="pddspc"><i>H.M.S. “Wolsey” in the Ice at Libau</i></td><td class="rt" valign="bottom"><a href="#page_97">97</a></td></tr> -<tr><td class="pddspc"><i>Regatta Day at Appledore</i></td><td class="rt" valign="bottom"><a href="#page_98">98</a></td></tr> - -<tr><td class="pdd">Knight, C. Parsons</td></tr> -<tr><td class="pddspc"><i>The Kyles of Bute</i></td><td class="rt" valign="bottom"><a href="#page_65">65</a></td></tr> - -<tr><td class="pdd">Lindner, Moffat, A.R.W.S.</td></tr> -<tr><td class="pddspc"><i>The Storm-Cloud, Christchurch Harbour</i></td><td class="rt" valign="bottom"><a href="#page_91">91</a></td></tr> - -<tr><td class="pdd">McBey, James</td></tr> -<tr><td class="pddspc"><i>Margate</i></td><td class="rt" valign="bottom"><a href="#page_121">121</a></td></tr> - -<tr><td class="pdd">McTaggart, William, R.S.A.</td></tr> -<tr><td class="pddspc"><i>The Sounding Sea</i></td><td class="rt" valign="bottom"><a href="#page_74">74</a></td></tr> - -<tr><td class="pdd">Moore, Henry, R.A.</td></tr> -<tr><td class="pddspc"><i>A Break in the Cloud</i></td><td class="rt" valign="bottom"><a href="#page_72">72</a></td></tr> - -<tr><td class="pdd">Morland, George</td></tr> -<tr><td class="pddspc"><i>Fishermen Hauling in a Boat</i></td><td class="rt" valign="bottom"><a href="#page_37">37</a></td></tr> - -<tr><td class="pdd">Müller, William J.</td></tr> -<tr><td class="pddspc"><i>Dredging on the Medway</i></td><td class="rt" valign="bottom"><a href="#page_60">60</a></td></tr> - -<tr><td class="pdd">Murray, Sir David, R.A., P.R.I., A.R.S.A.</td></tr> -<tr><td class="pddspc"><i>The Fiend’s Weather</i></td><td class="rt" valign="bottom"><a href="#page_89">89</a></td></tr> - -<tr><td class="pdd">Olsson, Julius, A.R.A.</td></tr> -<tr><td class="pddspc"><i>The Night Wrack</i></td><td class="rt" valign="bottom"><a href="#page_110">110</a></td></tr> -<tr><td class="pddspc"><i>Heavy Weather in the Channel</i></td><td class="rt" valign="bottom"><a href="#page_111">111</a></td></tr> - -<tr><td class="pdd">Pears, Charles</td></tr> -<tr><td class="pddspc"><i>The Yacht Race</i></td><td class="rt" valign="bottom"><a href="#page_105">105</a></td></tr> -<tr><td class="pddspc"><i>The Examination</i></td><td class="rt" valign="bottom"><a href="#page_106">106</a></td></tr> - -<tr><td class="pdd">Pyne, J. B.</td></tr> -<tr><td class="pddspc"><i>Totland Bay</i></td><td class="rt" valign="bottom"><a href="#page_51">51</a></td></tr> - -<tr><td class="pdd">Robertson, Tom</td></tr> -<tr><td class="pddspc"><i>Where the Somme meets the Sea</i></td><td class="rt" valign="bottom"><a href="#page_90">90</a></td></tr> - -<tr><td class="pdd">Smart, R. Borlase, R.B.A.</td></tr> -<tr><td class="pddspc"><i>Wet Rocks, St. Ives</i></td><td class="rt" valign="bottom"><a href="#page_126">126</a></td></tr> - -<tr><td class="pdd">Smith, Hely, R.B.A.</td></tr> -<tr><td class="pddspc"><i>Windbound</i></td><td class="rt" valign="bottom"><a href="#page_104">104</a></td></tr> - -<tr><td class="pdd">Somerscales, Thomas</td></tr> -<tr><td class="pddspc"><i>Off Valparaiso</i></td><td class="rt" valign="bottom"><a href="#page_82">82</a></td></tr> -<tr><td class="pddspc"><i>Before the Gale</i></td><td class="rt" valign="bottom"><a href="#page_83">83</a></td></tr> - -<tr><td class="pdd">Stanfield, W. Clarkson, R.A.</td></tr> -<tr><td class="pddspc"><i>The Port of La Rochelle</i></td><td class="rt" valign="bottom"><a href="#page_53">53</a></td></tr> -<tr><td class="pddspc"><i>Entrance to the Zuider Zee, Texel Island</i></td><td class="rt" valign="bottom"><a href="#page_54">54</a></td></tr> - -<tr><td class="pdd">Thomson of Duddingston, The Rev. John, R.S.A.</td></tr> -<tr><td class="pddspc"><i>Fast Castle</i></td><td class="rt" valign="bottom"><a href="#page_47">47</a></td></tr> - -<tr><td class="pdd">Tollemache, The Hon. Duff</td></tr> -<tr><td class="pddspc"><i>Storm on the Cornish Coast</i></td><td class="rt" valign="bottom"><a href="#page_115">115</a></td></tr> - -<tr><td class="pdd">Tuke, Henry S., R.A., R.W.S.</td></tr> -<tr><td class="pddspc"><i>August Blue</i></td><td class="rt" valign="bottom"><a href="#page_88">88</a></td></tr> - -<tr><td class="pdd">Turner, J. M. W., R.A.</td></tr> -<tr><td class="pddspc"><i>The Shipwreck</i></td><td class="rt" valign="bottom"><a href="#page_41">41</a></td></tr> -<tr><td class="pddspc"><i>The Prince of Orange landing at Torbay, November 5, 1688</i></td><td class="rt" valign="bottom"><a href="#page_42">42</a></td></tr> -<tr><td class="pddspc"><i>Yacht Racing in the Solent</i></td><td class="rt" valign="bottom"><a href="#page_43">43</a></td></tr> -<tr><td class="pddspc"><i>Farne Island</i></td><td class="rt" valign="bottom"><a href="#page_44">44</a></td></tr> - -<tr><td class="pdd">Wilkinson, Norman, R.I.</td></tr> -<tr><td class="pddspc"><i>Etretat</i></td><td class="rt" valign="bottom"><a href="#page_99">99</a></td></tr> -<tr><td class="pddspc"><i>Plymouth Harbour</i></td><td class="rt" valign="bottom"><a href="#page_100">100</a></td></tr> -<tr><td class="pddspc"><i>Up Channel</i></td><td class="rt" valign="bottom"><a href="#page_103">103</a></td></tr> - -<tr><td class="pdd">Williams, Terrick, R.I.</td></tr> -<tr><td class="pddspc"><i>Clouds over the Sea, Holland</i></td><td class="rt" valign="bottom"><a href="#page_132">132</a></td></tr> - -<tr><td class="pdd">Wilson, John H., R.S.A.</td></tr> -<tr><td class="pddspc"><i>Seapiece</i></td><td class="rt" valign="bottom"><a href="#page_38">38</a></td></tr> - -<tr><td class="pdd">Wyllie, W. L., R.A.</td></tr> -<tr><td class="pddspc"><i>Blake’s Three Days Engagement with Van Tromp</i></td><td class="rt" valign="bottom"><a href="#page_81">81</a></td></tr> -</table> - -<div class="pt"><div class="pp">THE EDITOR DESIRES TO EXPRESS -<br />HIS THANKS TO THE ARTISTS, -COL-<br />LECTORS, AND THE AUTHORITIES<br />OF PUBLIC GALLERIES WHO<br />HAVE KINDLY -ASSISTED HIM IN THE<br />PREPARATION OF THIS VOLUME BY<br />PERMITTING THEIR -PICTURES TO BE<br />REPRODUCED. THEIR NAMES AP-<br />PEAR UNDER THE -ILLUSTRATIONS</div></div> - -<p><span class="pagenum"><a name="page_vii" id="page_vii">{vii}</a></span> </p> - -<p><span class="pagenum"><a name="page_8" id="page_8">{8}</a></span> </p> - -<div class="figcenter"><a href="images/ill_pg_008.jpg"> -<img src="images/ill_pg_008.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“A BREEZY DAY.” BY HENRY MOORE, R.A.</p> - -<p class="csml">(<i>In the possession of the Right Hon. Lord Leverhulme</i>)</p></div> - -<p><span class="pagenum"><a name="page_9" id="page_9">{9}</a></span></p> - -<h2><a name="BRITISH_MARINE_PAINTING" id="BRITISH_MARINE_PAINTING"></a>BRITISH MARINE PAINTING</h2> - -<p class="nind"><span class="letra">T</span>O most people it will seem quite natural that British artists should -give much attention to marine painting. The sea plays a very important -part in our national affairs, influences the character of the people, -and affects the political policy of the country, so almost as a matter -of course it has its place among the sources of inspiration for our -native art. Sea painters of the higher rank have come with scarcely an -exception from countries which have an extended coast-line and in which -the seafaring habit has been developed by centuries of maritime -activity—countries in which the use of the sea for purposes of commerce -or communication has been a necessity. Dutch artists have painted the -sea and shipping and incidents in the life of the dwellers on the coast -with skill and distinction; there have been sea painters in Denmark, -Norway, and Sweden, some in France, a few in Italy and Spain; but it is -in the British Isles most of all that the possibilities of marine -painting have been recognized and the pictorial material that the sea -provides has been turned to full account.</p> - -<p>No doubt this is partly due to the fact that British art has concerned -itself very greatly with what may be called the physical characteristics -of the country. A considerable proportion of our painters have been -devoted students of nature, and have occupied themselves with records of -British scenery, and of those subtle effects of atmosphere and -illumination which are the product of the variable British climate. -Responsive themselves to the charm of their surroundings, they have -catered for a public which appreciates the beauties of nature and likes -to see them realized pictorially; lovers themselves of the land in which -they live, they have striven to please the many people who are possessed -by a similar sentiment and wish to have about them pictures in which -this sentiment is agreeably reflected. No record of British scenery -could be complete, and no appeal to British sentiment could be -effective, if our artists ignored the wide variety of subjects which the -sea offers them.</p> - -<p>For the sea is with us a tradition, and the love of the sea is one of -the strongest of our national instincts. Because we live on an island -the sea is at the same time our protection from those who might seek to -do us harm and our means of communication with the rest of the world; it -safeguards us against dangers to which other less fortunately situated -countries are constantly exposed, and yet it puts us directly in touch -with even the most remote and apparently inaccessible peoples. Therefore -we regard it naturally as a friendly influence in the lives of us all. -But we owe it a debt of gratitude also for the effect it has had upon -our British art. It is from our insular climate, from the mists and -moisture which the sea brings, that those atmospheric qualities come -which make the study of nature in the British Isles such a never-ending -delight. It is the surrounding sea that encourages the rich growth of -our vegetation, and that gives to our landscape its wealth of detail and -its ample variety of colour. As the sea influences the manner of our -national life, so it influences the quality, the sentiment, and the -method of our art, helping us to build up a school which is insular in -its merit and its expression, and national in its feeling and its -intention.</p> - -<p>Yet, curiously enough, in the earlier period of British art history the -names of few painters are recorded who perceived the pictorial interest -of the sea or tried to realize its beauties. Indeed, at the beginning no -attention was given<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span> to the study of open-air nature; landscape painting -was not attempted seriously, and the study of atmospheric effects was -generally disregarded. The artists of that time occupied themselves -mainly with portraits—digressing occasionally into figure -compositions—and took little account of anything but the purely human -interest in art. They worked for the glorification of their patrons, to -adorn the houses of the great, or to prove themselves good sons of the -Church, not to bring about the conversion of the people who were -insensible to nature’s charm.</p> - -<p>It would be scarcely fair, however, to accuse the earlier British -artists of insensibility because they worked in this manner within -circumscribed limits; they only followed, after all, what was the -fashion of the schools in other countries. In Italy, for instance, -during the splendours of the Renaissance, the study of landscape for its -own sake was as little thought of as it was in Great Britain at the time -of the Tudors. Many of the Italian masters introduced landscape -backgrounds in their figure compositions, but it was landscape of a -formal and conventionalized kind, a weaving together of details to form -a pattern which was used merely to fill space or to add something to the -point of the pictured story. It was never landscape seen and set down as -the motive of the painting; at best it was only a sort of still life.</p> - -<p>But in Italy at that period the mission of the artist was very exactly -defined, and even if he had been inclined to escape from the limitations -imposed upon his activities, the custom of the time would have been too -strong for him. He was the servant of the great noble and the obedient -assistant of the Church, he decorated palaces, and he painted -altar-pieces, he recorded scenes from ancient or contemporary history, -and incidents in the lives of the saints. Neither the noble nor the -churchman wanted from him studies of Italian scenery, or desired that he -should show how he was impressed by the brightness of sunlight or by the -glory of an evening sky. The severest discouragement would have awaited -him if he had attempted anything so unconventional; he might even have -incurred penalties as a man of unseemly and heterodox opinions.</p> - -<p>For a long while British artists worked under restrictions hardly less -rigid. What was demanded of them they supplied, but the demand that they -should show to the public what nature is like was slow in coming. Word -pictures of nature there were in plenty; a chorus of poets extolled her -charm, but no one seemed to perceive that what they found so inspiring -in their verse could be visualized and made apparent by the painters. -When Herrick wrote:</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">“I sing of brooks, of blossoms, birds, and bowers,<br /></span> -<span class="i1">Of April, May, of June, and July flowers”<br /></span> -</div></div> -</div> - -<p>British artists were looking to Van Dyck as their leader, and were -striving, as he did, to immortalize their contemporaries or to tell in -paint purely human stories. The brooks and blossoms, birds and flowers -did not claim their consideration or provide them with material for -popular canvases, and it did not occur to them to paint the groves and -twilights, the damasked meadows and the pebbly streams, which Herrick -loved so well.</p> - -<p>In fact, it was not until the eighteenth century that the representation -of landscape subjects began to be recognized as a legitimate sphere of -artistic activity. Even then what was required was a very dry and -commonplace kind of topographical illustration—a certain number of -people had developed an interest in British scenery and in the -archæological relics which were to be found in<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span> different parts of the -country, and accordingly it became the fashion to collect pictures of -famous “views” and of ruined abbeys and other ancient buildings. But in -producing these pictures little scope was allowed to the artist for the -exercise of his imagination or for the expression of any æsthetic -sentiment. The more precise and careful he was in his statement of fact, -the more accurate his paintings were as portraits of the places or -objects chosen, the better were his clients satisfied. He had to do what -photography does now—he had to make a more or less literal diagram of -his subject with as much of the detail as he could contrive to set down -and with as little display as possible of his personal taste or fancy.</p> - -<p>However, out of this limited and mechanical beginning grew very quickly -a school of landscape practice which substituted the wider study of -nature for the record of topographical realities. A number of artists -broke away from restrictions by which they felt themselves to be -hampered, and they found a considerable section of the public prepared -to countenance them in their effort to attain freer and more significant -expression. They brought a new spirit into the art of the country, a -spirit of inquiry and investigation, and they taught people to look more -closely at nature’s manifestations and to interest themselves -intelligently in her elusive suggestions. In other words, they destroyed -a convention which had been generally accepted, and in securing freedom -for themselves to follow their personal inclinations towards a more -rational treatment of nature they gained the sympathetic support of the -many art lovers who had discovered how cramping the convention was, and -how seriously it stood in the way of the right kind of development and -progress.</p> - -<p>The new school of landscape was deficient neither in enthusiasm nor -energy. Men of marked originality and brilliant capacity rallied to it -in large numbers, and with the vigorous initiative of pioneers in a land -of promise set to work to make their discoveries effective. They wrested -nature’s secrets from her one by one, secrets of colour, secrets of -illumination and light and shade, secrets and mysteries of ever-changing -atmospheric effect. There were still “views” to paint, but instead of -being treated as matters of dry topography they were used as subjects -for pictures in which the painter’s temperamental response to the -inspiration he received was plainly manifested, and in which the -impression made upon him by the motive in its various aspects was -appropriately summed up. In a very short time the British landscape -school became under the stimulus of the new thought and the new methods -the most important in the world, and the most independent and -progressive in its practice.</p> - -<p>But, even then, few painters had realized the wonderful pictorial -possibilities of the sea. There were some who attempted marine subjects -and coast scenes but only as occasional diversions from their ordinary -course of study—as illustrations of their capacity to deal with nature -in any phase or mood, or it may be to gain experience in what was to -them a novel kind of material. Probably in the eighteenth century an -excursion to the coast was something of an adventure for men who lived -inland; facilities for travel were very limited, and it was easier for -an artist to record the subjects which were conveniently within his -reach than to struggle against difficulties to reach places remote from -his home. Moreover, his clients were mostly stay-at-home people, too, -who knew the sea only as a sort of vague abstraction, as something they -had heard about, but of which they had no personal knowledge, and -therefore their interest in it was too indefinite to be remunerative to -him. It was more to his<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span> advantage to paint the things they knew than to -make them realize what seemed to them strange and surprising.</p> - -<p>Anyhow, nearly all the earlier painters of marine subjects were men who -had some particular reason for taking to this line of practice. One of -the first—Charles Brooking, who was born in 1723—was brought up in -Deptford Dockyard, and as a not unnatural consequence acquired -considerable skill in the representation of shipping and naval -incidents. During the latter part of his short life—he died at the age -of thirty-six—he gave some instruction to Dominic Serres, a Frenchman -by birth, who was a foundation member of the Royal Academy and was -appointed to the post of Marine Painter to the King. Serres had been a -sailor, and was captured by an English frigate in the war of 1752 when -he was in command of a trading vessel; he settled in this country, and -with Brooking’s assistance and a good deal of hard work on his own part -became a painter of repute. In his choice of the direction he followed -in his art he was, like Brooking, influenced by his earlier associations -and by the desire to treat pictorially material with which he was -thoroughly conversant.</p> - -<p>Another artist of this period who was almost exclusively a marine -painter was Nicholas Pocock, born in 1741. He, too, had been at sea, and -had commanded a sailing vessel before he adopted the profession of -painting. Yet another was John Cleveley, born 1745, who is supposed to -have been the son of a draughtsman in Deptford Dockyard, and who in his -youth held some post there himself; and there was another Cleveley, -Robert by name, born about the same time, who gained distinction by his -pictures of naval engagements. He, again, had had previous experience at -sea. Then there was Clarkson Stanfield, born at Sunderland in 1793, who -went to sea in his boyhood, and was for a while in the Navy, until an -accident cut short his career; his particular place in art was -determined by the knowledge of his subject which he had gained before he -turned to the profession of sea painter. And to the list can be added -George Chambers, born at Whitby in 1803, the son of a seaman, and -himself a sailor when he was not more than ten years old.</p> - -<p>That men like these should have specialized in sea painting is not -surprising. It is evident, by their later success as artists, that they -had the faculty of observation and the capacity to visualize their -impressions, and almost as a matter of course they were inclined to put -into a pictorial form the matters with which they were so well -acquainted. The sea had become a part of their lives, and of shipping -they had an exact and technical knowledge; and they were in touch with -people who were no strangers to the sea, and who in consequence demanded -that it should be represented with fidelity and understanding. -Everything combined to make them the leaders in a branch of practice -which requires close and accurate insight, and their works in the early -days of the nature study development set a standard of accomplishment -which was helpful in the highest degree; a standard which might never -have been reached if sea painting had been nothing more than the -diversion of the landsman who now and again went for a sketching trip to -the coast. The marine painters of our modern days who work with -conscience and a love of completeness owe, perhaps, more than they -realize to these predecessors of theirs who established the tradition of -serious effort to get things right, and who built this tradition upon -first-hand knowledge.</p> - -<p>But to some extent it is to the example of these specialists that must -also be ascribed the skill in sea painting that, as time went on, was -attained by many<span class="pagenum"><a name="page_13" id="page_13">{13}</a></span> of their contemporaries who did not deal -systematically with this class of subject. The habitual landscape -painter, accustomed to fixed forms and effects that followed more or -less regular rules, might easily have drifted into a conventional -representation of the sea if he had not been shown the way to look at it -by the men who knew it intimately, and if works by these men had not -existed to provide him with the means of testing his own achievement. -For his own credit, however, he had to strive to compete with them in -knowledge of the sea, and had to measure an understanding of it acquired -by deliberate and conscious effort against theirs which had been -obtained by prolonged and personal contact; and to uphold his reputation -as a painter of capacity he had to prove that he could grasp the -essentials of whatever type of material he might elect to handle. -Therefore, the adoption of a convention, the inadequacy of which could -have easily been demonstrated, would have been a confession either of -want of conscience or of deficient intelligence, and would have -reflected upon his claim to rank as an artist of distinction.</p> - -<p>That is why at the end of the eighteenth century and the beginning of -the nineteenth the number of men who, without specializing in the -subject, painted the sea with undeniable ability, had become -considerable. By that time artists were moving about much more freely in -search of motives, and many of them made frequent visits to the coast -with the particular intention of mastering the problems of sea painting, -and of studying at first hand phases of nature which were to them -comparatively new. Moreover, the interest taken by the public in sea -pictures had grown in a marked degree, and there was a demand which the -popular artist was called upon to satisfy. So most of the landscape men -alternated regularly between inland views and coast scenes, and painted -both with the same sincerity and the same strength of purpose. -Constable, David Cox, De Wint, Copley Fielding, Edward Duncan, J. S. -Cotman—to quote a few of the more notable names—added important -records of sea and coast subjects to the list of their more memorable -productions; and there was, of course, Turner, who might with justice be -claimed as the greatest of all marine painters despite the fact that his -sea pictures make up only a small proportion of his total achievement.</p> - -<p>Turner was supreme because he, and he only, estimated at its full value -the poetry and the majesty of the sea; because he alone could grasp its -immensity and its tragic strength and yet be exquisitely in sympathy -with its smiling serenity and placid calm. Turner saw and understood the -drama of the sea, and by the largeness of his vision and the depth of -his understanding he was enabled to present this drama in all its -varieties of action. But then, Turner had not only “the eye of an -eagle”—as Ruskin said of him—he had, too, the gift of imagination by -which realities are transmuted into poetic suggestion. Accuracy of -detail and plain statement of fact were the foundations on which his art -was built (and no one made more sure of his facts or looked more closely -into details), but the superstructure he erected was designed and -arranged to express his own large conception of his motive as a whole, -and to illustrate the workings of his own emotion. Therefore, when he -painted the sea it was the appeal that his subjects made to his -imagination that directed and established the final result; and how -strong this appeal was can be judged from the amazing beauty and power -of his accomplishment as a marine painter. Although it has been given to -no other artist to rival or approach Turner in mastery of -accomplishment, although it is difficult to believe that there can<span class="pagenum"><a name="page_14" id="page_14">{14}</a></span> ever -be another painter who will be able to claim equality with him in the -same sphere of art, the stimulus of Turner’s example must always be -vividly felt by every true student of nature, and especially by every -one who aspires to paint marine subjects in the right manner. For, -certainly, the poetry of the sea and the drama of the sea are among the -most salient of its characteristics, and there is surrounding it an -atmosphere of sentiment that must be sympathetically perceived. A -commonplace and matter-of-fact statement of wave forms would be about as -worthless artistically as an architectural elevation of a mountain -range, and the more coldly and scientifically correct it was the less -would it convey of the spirit of the sea. The frame of mind in which the -painter must assume his task must be akin to that of Thomson when he -wrote:</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i8">“Thou, majestic main<br /></span> -<span class="i0">A secret world of wonders in thyself!”<br /></span> -</div></div> -</div> - -<p class="nind">and in this world of wonders he must be prepared always to find some new -secret which will deepen his sense of the mystery of the sea and make -him feel that with all his striving he has touched only the fringe of -its romance. At no stage in his study will he be in a position to say -that he has learned enough and that his subject has no more to reveal; -every fresh discovery will open up to him new matters for investigation, -and suggest other lines of thought.</p> - -<p>Turner, at all events, never came to the conclusion that his knowledge -of the sea was complete, for to the end of his life he maintained the -freshness and variety of his interpretation. He gave to it, year by -year, a deeper note of sentiment, responding always more directly to the -impression he received, and eliminating everything that did not help in -the attainment of his pictorial purpose. Detail at the last he almost -entirely disregarded, concentrating the whole of his attention upon the -main effect by which temperamentally he was inspired; but the things -essential for the construction of his picture and for making clear the -meaning of his motive he observed with the most scrupulous care. Even in -his slightest and, seemingly, most casual notes of the sea there was the -subtlest accuracy of vision, and there was the truest summing up of the -story that was told by the particular phase of the subject he had chosen -for the exercise or his powers as an interpreter of nature’s message. -Never did he descend to a formula or use a set convention to gain his -dramatic result. It was partly for this reason that he stood so -sublimely apart from his contemporaries; he did not repeat himself, -while they were too often content to follow rules and to do over again -things that they had discovered to be attractive to the public. Yet many -of the artists of Turner’s period were men of distinction and their sea -paintings had satisfying merit and no small measure of inspiration. -Stanfield suggested well the movement and action of the sea and was -sensitive to its atmosphere; Copley Fielding saw and took the -opportunities that the sea offered him for arranging graceful -compositions and charming studies of light and shade, and he, too, had a -sound understanding of wave movement; De Wint and David Cox, both -masterly students of nature, painted the misty subtleties of the coast -with masculine power and with the knowledge that comes only from -prolonged and thoughtful observation; and others not less observant -showed that the pictorial possibilities of the sea had by no means -escaped them. But none of them arrived at Turner’s magnificent disregard -of limitations or approached him in dramatic strength, and certainly -none of them had the courage to abandon, as he did, detailed reality for -the sake of presenting a higher and more impressive truth.<span class="pagenum"><a name="page_15" id="page_15">{15}</a></span></p> - -<p>Indeed, that is one of the mysteries of Turner’s genius—that he could -distort facts and leave out apparently essential details and yet make -his realization of nature perfect in its truth—and what is still more -mysterious is that this system of distortion and elimination was not a -matter of convention but a universally applicable principle of practice -and one which in his hands was capable of infinite variation. By an -infallible instinct he grasped instantly the meaning of his subject as a -whole and decided what he should accentuate or omit to make that meaning -clear, and all his devices of technical treatment were as infallibly -directed by an exact understanding of the way in which they could best -be made to serve his end. Paradoxically, he left things out to gain a -greater completeness of result, and he departed from strict correctness -to secure more absolute reality. But all this he did by the aid of an -extraordinary insight into nature’s facts and under the guidance of a -judgment which was never at fault.</p> - -<p>That is why Turner’s manner of representing the sea cannot be applied by -lesser men. Without any disparagement of the many able marine painters -who have practised since his time it can safely be said that on none of -them his mantle has fallen. Certainly to none of them has been granted -his rare endowment of intimate vision and profound imagination; -certainly none has possessed that combination of exhaustive knowledge -and perfect confidence which made him so consummately a master of his -craft. There have been in the recent past, there are at work to-day, -artists who have studied the sea in the most sympathetic spirit and -whose seriousness of effort deserves the highest praise, artists whose -accomplishment would be wholly satisfying if Turner had not shown so -brilliantly the greater possibilities of sea painting; but theirs is a -limited and specialized view beside that of their great predecessor. It -is as well, however, that they do not try to do too much. To paint the -abstract drama of the sea in the only way that can be made convincing, -the possession of a temperament is absolutely essential, but this -temperament must be schooled and disciplined by lifelong study or the -drama will degenerate into incredible fantasy. Turner was -temperamentally fitted to attempt the highest flights, and with his -perfect technical equipment nothing was beyond his reach. Other artists -must be content to admire his poetic power without aspiring to rival it. -But, after all, honest, well-educated, serious prose is better than -incoherent poetry, no matter how well-intentioned that may be; and -certainly the prose of many of our modern sea painters is very good -indeed—clear, logical, and distinguished by a true sense of style—and -into much of it comes that touch of poetic feeling that gives charm and -picturesqueness to the descriptive statement.</p> - -<p>To illustrate the difference between these two types of sea painting the -work of Henry Moore can appropriately be instanced. He was, next to -Turner, the most learned and accomplished student of marine motives and -the finest exponent of the facts of the sea whom any school has -produced. But beside the dramatic poetry of Turner his art was prose, -fine prose, persuasive and dignified, but never rising into inspired -fancy. In other words, he saw nobly and beautifully, but Turner saw and -imagined as well, and the more he saw the more splendidly did he use his -imagination.</p> - -<p>Yet Henry Moore has indisputably his place among the masters because his -art, though not profoundly imaginative, was as able in achievement as it -was accurate in observation. Moreover, he was acutely responsive to the -senti<span class="pagenum"><a name="page_16" id="page_16">{16}</a></span>ment of nature, and interpreted her in her many moods with -exquisite discretion. Frank and straightforward as his work always was, -it never lacked the direction of a sympathetic mind; its strength was -controlled by a singularly correct sense of artistic propriety and was -never allowed to degenerate into mere display of executive cleverness. -Certainly Henry Moore was a fine craftsman, and was not hampered by -technical difficulties in the practice of his art; indeed, one of the -most salient characteristics of his pictures, as we see them to-day, is -the confidence of the handling by which they are distinguished.</p> - -<p>This confidence, this directness of method, was the outcome of a not -less confident understanding of the material with which he was -accustomed to deal. The things he knew were to him matters of such -complete knowledge that he was able to concentrate himself entirely upon -the pictorial realization of them without having to make experiments or -calculations to prove whether or not his assumptions were correct. -Wisely, too (not having the Turner temperament), he did not aim at -possibilities which he honestly recognized as being beyond his reach. -Facts and realities he could grasp, subtle shades of fact and delicate -variations of reality he could express with discriminating subtlety and -sensitive delicacy, but to conceive a vision in which actual nature -would be turned into a gloriously fanciful abstraction was outside the -range of his personality. So he kept to the path which it was right that -he should tread, and made no excursions into strange places in the -domain of art, proving himself thereby a master of himself as well as of -his art.</p> - -<p>We have every reason to be grateful to him for his solid and -well-balanced common sense. Henry Moore as an imitator of Turner, -following in the wake of a leader whom he could never overtake, would -have been a wasted force in art. Henry Moore as a painter true to his -own convictions, striving earnestly to set before us his extraordinarily -intimate view of the sea, has established a standard against which the -achievements of our modern sea painters can be measured most -instructively, and has pointed out the principles on which these -painters must work if they are to justify their effort. Knowledge such -as Turner possessed is by its very vastness incomprehensible to the -ordinary man; but knowledge like that which Henry Moore gathered is -possible to other artists, though to few of them is given his capacity -to express it, and to fewer still his sureness of touch and his command -of executive method.</p> - -<p>What is particularly to be learned from Henry Moore’s pictures is the -wide variety of matters which have to be studied by the men who aspire -to paint the sea with a sufficient measure of artistic fitness. There -are, of course, many ways of representing the sea pictorially—as a -background or setting to some nautical incident; as an accessory in a -scene which has humanity for its main interest; as a generalized scheme -of colour or tone; as a decorative motive with conventionalized forms; -or as a poetically indefinite fantasy in which nearly everything is left -to the imagination of the beholder. But the most scholarly and serious -way—Henry Moore’s way—is to analyse and dissect; to account for every -variation in form and every changing gleam of colour; to find the -reasons for each of the many kinds of wave movement; to learn the -connexion between certain conditions of the weather and certain states -of the sea; to know how to produce a sea picture which will be logical -throughout and without contradictions of atmospheric effect which are -calculated to excite the protests of the marine expert who knows his -subject and is not inclined to<span class="pagenum"><a name="page_17" id="page_17">{17}</a></span> take artistic licence into -consideration. Henry Moore spared himself none of these exhaustive -preparations and had the technical skill to make the outcome of them -wholly attractive in artistic quality; that is why he ranks as a master -at whose feet it is good for the would-be sea painter to sit in all -humility.</p> - -<p>If a series of his pictures is examined it will be seen at once that in -each one some special problem is dealt with and some definite phase of -the sea is taken as the motive. Unthinking people are apt to say that -sea paintings are monotonous because they lack incident and variety of -subject, because they are nothing but waves and sky, but this objection -implies an unobservant habit of mind. Henry Moore did not repeat -himself, and among the most personal characteristics of his work was its -breadth of outlook, a breadth of outlook which was developed by his -constant search for fresh impressions. Although he had not had, like -Stanfield or Chambers, a professional connexion with the sea, he was -frequently afloat and always trying to enlarge his experience of his -subject. He had, too, the gift of very rapid technical expression which -enabled him to set down what he saw while the impression was vividly in -his mind, so that his first clear conviction was not modified or -obscured by mechanical causes—by that prolongation of effort which -leads to an ill-assorted mixing of ideas and an indecisive manner of -statement.</p> - -<p>This combination of instantaneous apprehension and unhesitating -expression is, indeed, a necessity for the artist who wishes to avoid a -merely conventional rendering of the sea and who is anxious to suggest -properly its really infinite variety. There is so much that must be done -quickly, there are such incessant changes of effect and condition, that -the deliberate worker, thinking slowly and using his appliances -unreadily, is always in danger of being left with his intention -unrealized. He sees something that appeals to him as a good subject and -he begins to study it in all seriousness; but before he has grasped its -meaning, and before he has more than the first few careful touches on -his canvas, the effect that stirred him has gone, and in its place there -is something else that is surprisingly different. No wonder if unable to -keep pace with nature’s elusive tricks he becomes after a while -hopelessly bewildered and gives up the struggle in despair. Possibly, -being a conscientious person, he decides to paint one aspect only of the -sea and to specialize in one type of subject which he can master by long -and laborious practice; or, being less particular, he builds up a pretty -convention which will help him to turn out superficially attractive -things that will please a none too critical public. But in neither way -is the great sea painter made, the painter who can tell the story of the -sea and convey to us its sentiment and its character.</p> - -<p>What makes the problems of marine painting so complex is, first of all, -the fact that the sea is never in absolute repose, and therefore its -surface forms are constantly undergoing some degree of change. Another -difficulty is that the sea-water seems to vary in composition and -consistency according to the conditions under which it is viewed; at one -time it is solid, opaque, ponderous, and sombre in colour, and at -another it is light, transparent and full of delicate tints. As it is a -reflecting substance as well as one through which light can pass it -alters in appearance in the most surprising manner under the incidence -of sunlight or in response to the variations in atmospheric effect; and -as it is a moving body it appears to be subject to no laws of -construction and to have no sort of method in its restlessness. Most -people, indeed, would hold that the cynical comment on womankind, -“Toujours femme varie, souvent elle est<span class="pagenum"><a name="page_18" id="page_18">{18}</a></span> folle,” could be applied with -particular appropriateness to the sea, so feminine is it in its charming -irresponsibility.</p> - -<p>Yet the student of the sea can, if he sets to work in the right way, -discover the sources of its irresponsibility and the reasons for its -lapses into insanity. He can dissect its forms and learn its anatomical -construction, and he can find out what regulates and determines its -movements. He can establish a direct agreement between the apparent -texture of the sea and the bottom over which it flows, as well as -between its surface character and the nature of the weather. And having -dissected and analysed, having investigated and arranged his discoveries -in the proper order, he can solve pictorial problems which ordinary men -would count as puzzles to which there was no key. With this knowledge at -his disposal he would be able, too, to paint pictures which would show -the sea as it is and as it can be, not as an erratic and unaccountable -phenomenon acting contrary to all natural laws, which is the view given -of it by the artists who are incautious enough to paint it without -having learned its ways.</p> - -<p>For instance, the painter properly equipped would make the right -distinction, both in colour and wave form, between the deep sea and that -in shallow places; between the transparency of waves breaking on a rocky -coast and those on a sandy beach; between the wave action in a tidal -current moving with or against the wind; or between the seas that are -penned in a narrow channel and those that are running free in wide -spaces. These are elementary matters, perhaps, in the study of marine -painting, but elementary or not they are only too often misapprehended -by the careless observer; and they are typical of a host of others which -are not less likely to become pitfalls for the unwary. Neglect of them -leads to slovenly and unsatisfactory production and to a kind of work -that may be cheaply effective but that has actually no justification for -existence.</p> - -<p>One mistake very often made by men who have not carried their studies -far enough is to miss the necessary connexion between the state of the -sea and the accompanying condition of the atmosphere; another is to -paint in a sea picture a sky that is in wrong relation to the wave -movement. Both these errors arise from the failure of the painter to -study his subject as a whole, from his inexperience of what may be -called the technical peculiarities of his material. He has by him a sea -note that seems worth treating on a more ambitious scale, and he finds -in his portfolio a sketch of a sky that composes nicely and is quite -attractive in its general character; so he mixes the two together and -calls the compilation a marine painting. But, really, unless by some -lucky chance the two sketches happened to have been done under similar -weather conditions the picture would be no more true to nature than the -laboured effort of the “art” photographer who prints his sky from one -negative and his landscape from another; or who grafts a studio-lighted -figure on to a background photographed out of doors.</p> - -<p>The sea painter must, for the credit of art, keep clear of such silly -tricks and mechanical devices. He must be logical both in his -observations and in the use he makes of them, and he must be consistent -in his statement of the facts before him. A picture in which the sea -suggests half a gale while the sky is one which would be seen only in a -dead calm is an obvious absurdity, and it would be not less ridiculous -to paint the full colours of sunlight in an atmosphere of mist and -driving rain; yet these things are done by artists from whom more regard -for truth is to be expected. Lapses of this sort cannot be<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span> forgiven; -they imply a shirking of responsibility that is beyond excuse, and a -failure to grasp the first principles of nature study. They would never -occur if the men who paint the sea would regard it as a living reality -which responds to the influence of its surroundings and varies its -appearance as circumstances dictate, and if they would recognize that it -has its own anatomical structure by which its movements are controlled. -There is a reason for everything it does and there is a way of -accounting for every aspect it assumes, but the reason has to be sought -for, and the way to necessary knowledge must be pursued with painstaking -effort. There is no place in marine painting for the man who wants to -take things easily.</p> - -<p>But any one who is interested in executive problems which demand -concentrated attention and sustained investigation will find plenty to -tax his fullest energies—problems of drawing, of colour and tone -management, of imitative suggestion, and of technical application. As an -example of a complex motive which would present a series of difficulties -a picture might be imagined of the sea washing in among rocks, some of -which are submerged while others stand up above the surface, the water -clear and transparent and neither smooth nor much agitated. Through the -water the objects beneath would be clearly seen and the surface would -reflect the rocks above and catch gleams of light from the sky, and the -movement of the small waves swinging towards the rocks and rebounding -from them, and eddying over the shallow places, would make a pattern of -lines and planes set at all sorts of angles. To realize such a subject -adequately an almost perfect balance of observation would be needed. Too -much attention given to the under-water details would destroy the -suggestion of the surface; too much concentration on the surface lights -and reflections would make the water seem opaque; exaggeration of the -lines and planes of the ripples would diminish the breadth of effect and -alter the character of the subject. The painter must perceive that this -problem has many sides, and that each one must receive exactly its right -amount of consideration if the pictorial solution is to be correct; if -he has to make a compromise with reality the most subtle judgment will -be required of him to create an illusion that will look like truth.</p> - -<p>To multiply such examples would be easy, for there is no phase of sea -painting in which difficulties do not abound. It is difficult to paint a -breaking wave, to preserve its architectural quality of design and its -appearance of massive strength, and yet to show that it is a moving and -momentary thing disappearing as quickly as it is formed. It is difficult -to represent the confusion of a stormy sea, churned into foam and -tossing in the wildest turmoil, and yet to make intelligible the order -and regularity of its movement and the right sequence of its changing -forms. It is as difficult to render the smoothness of calm, quiet water -without making it look solid and opaque, dull and lifeless, as it is to -suggest the liveliness of a breezy day without lapsing into meaningless -repetition and restless pattern-making. Every successful sea picture is -a difficulty overcome and a problem solved, and every successful sea -painter is a man who has struggled earnestly with intractable material -and has built his achievement on a foundation of laboriously acquired -knowledge. Probably that is why there have been comparatively few great -sea painters; it is certainly a reason why the few who can be accounted -great should be regarded as masters of the highest rank with places of -distinction in the history of art.</p> - -<p>Next in importance to the study of the sea itself comes the acquisition -of a<span class="pagenum"><a name="page_20" id="page_20">{20}</a></span> capacity to paint shipping, the two do not necessarily go -together. There have been many capable painters of the sea who could not -draw a ship and did not know how to set it on the water; and there have -been many men with an accurate technical knowledge of shipping whose -treatment of the sea from the pictorial point of view left much to be -desired. As a matter of fact, a ship provides one of the severest tests -of draughtsmanship; it is such a complicated collection of lines and -curves and so hard to put in proper perspective that it makes -exceptional demands upon the artist’s powers. Moreover, every ship has -its own individuality, a character peculiar to itself, and to express -this individuality as much analytical effort is needed as to draw the -right distinction between the differing types of humanity. Details which -to the unprofessional eye seem of no significance must be carefully -attended to because each one of them contributes something to the sum -total of fact and helps to make the character intelligible, and to slur -over these details is a fatal mistake. A ship treated conventionally and -without personal insight is as uninspiring pictorially as a portrait -which has missed all the little human characteristics which made the -sitter interesting.</p> - -<p>The painter of shipping has, too, a very wide field to cover. He has to -range from the yacht to the warship, from the liner to the rusty, -weather-beaten tramp; he has to show how the lively movement of the -sailing ship differs from the steady, methodical progression of the -steamer; he has to understand the behaviour of all sorts of craft under -all sorts of weather conditions; and to make this varied assortment of -knowledge intelligible in his pictures he has to depend almost entirely -upon his powers of drawing. By bad drawing he will not only miss the -specific character of the ship, but he will also fail to explain the -part that this ship is intended to play in the story which his picture -seeks to tell. The introduction of shipping into a painting of the sea -is usually to increase the dramatic strength of the subject, but if -through technical inefficiency the added incident does not carry -conviction or explain itself properly the point of the drama is obscured -rather than accentuated.</p> - -<p>Unfortunately it is rather too easy to produce instances of the wrong -handling of ships in sea pictures, which otherwise are quite acceptable, -and of imperfect understanding of the action of vessels afloat. Some of -the earlier masters who had studied the sea and knew its ways well made -curious mistakes when they brought in a ship as a central feature in -their composition. They would fairly often poise a craft of much -solidity and considerable tonnage on the very crest of a wave where -there was certainly not a sufficient body of water to support it; or -they would put a ship so close to a gently shelving beach that there was -an obvious and immediate danger of its running aground, a position that -would alarm even the boldest of sailors. They were as a rule cheerfully -ignorant of the intricacies of rigging and of the set of sails, and -occasionally they seemed to credit a ship with an uncanny power of -progressing at full speed in the teeth of a stiff breeze. All this -resulted from inadequate study of technicalities that a seafaring man -would treat as a matter of course—from insufficient acquaintance with -things that, after all, scarcely came within the scope of a landsman’s -experience.</p> - -<p>But the present-day painter is expected to be more precise; and if he -does not fulfil this expectation he will find that there are plenty of -people who are ready and willing to call him to account. He has to face -a more critical generation than his predecessors knew, a generation -which travels more and has much<span class="pagenum"><a name="page_21" id="page_21">{21}</a></span> wider opportunities of acquiring -knowledge of many subjects, and he has to reckon with a familiarity with -marine details that has become an eminently British characteristic. -Picturesque improbabilities would not be left unquestioned now; there -would be scathing comments by nautical experts, and even the ordinary -man would not hesitate to voice his doubts. Perhaps we have grown a -little pedantic in this demand for strict reality, but, all the same, it -is not unreasonable to require from the painter who puts a ship into his -picture evidence that he knows a fair amount about that ship’s -construction and how it should behave in the situation he assigns to it. -Even a piece of imaginative fantasy is none the worse for being based -judiciously on solid fact.</p> - -<p>Beside the purely marine painting, the picture that is concerned solely -with the sea and ships that sail on it, there is a place for the coast -subject. It is true that the coast scene is, more often than not, only a -landscape into which the sea is introduced as a subsidiary interest, but -under this heading can be included also those views of harbours, -estuaries, cliffs, and beaches, which many painters have treated with -distinction of style and charm of sentiment. Yet even the coast scene in -which the actual nearness of the sea is only suggested owes its -character to the sea. Only the sea could have carved those cliffs into -their impressive shapes, or could have piled up those masses of huge -rocks. Only the winds which blow in from the sea could have moulded that -range of sand dunes or could have twisted those stunted trees into their -curiously picturesque forms. Only as a protection against the savage -strength of the sea has that breakwater been built behind which the -fleet of fishing boats lies in shelter. And from the sea come those -driving mists and slow-moving banks of fog which throw a veil of mystery -over the landscape and give a new aspect to even the most familiar -objects. The scent of the sea is in the air, the sound of its waves is -unceasing, its influence is all about; the coast is, indeed, but the -subject of the sea and owes to it allegiance.</p> - -<p>It is in this spirit, unquestionably, that many artists have painted the -coast, with a sense of the dominating power of the sea and a conscious -acknowledgement of its influence. They have appreciated the dramatic -value of the persistent struggle between the sea and the land, a -struggle of which the evidences are not to be mistaken; and they have -felt the nature of the resistance which the land, an unwilling subject, -offers to the encroachments of its tyrant. Even in pictures which -represent the coast in its most peaceful moments, when the sea ripples -lazily round the rocks under the light of the summer sun, the scars left -by the assaults of waves driven by past storms cannot be concealed. -Fragments torn from the cliffs strew the shore, the wreckage of the land -is heaped up waiting for the inevitable moment when the sea, renewing -its attack, will swallow up what it has already half destroyed. The note -of tragedy is always present, there is always a suggestion that the sea -is merely waiting its opportunity and that when the time comes it will -rend and overwhelm and assert its ruthlessness without mercy or -restraint.</p> - -<p>The same kind of sentiment marks the picture of the harbour subject in -which man’s conflict with the sea is illustrated. Humanity is -perpetually at war with the forces of nature, and is always seeking to -keep them in check, with, at best, only partial success. Incessant -watchfulness is necessary, constant effort to repair what is as -constantly wrecked and overthrown, unwearying patience and unceasing -toil. Often man sees something he has done blotted out utterly by -nature’s act, and he has to start again and build up anew from the very -begin<span class="pagenum"><a name="page_22" id="page_22">{22}</a></span>ning, knowing as he builds that he is defying a power stronger -than himself, more patient than he is and more serenely confident of -ultimate success. Yet he goes on with his work, patching, renewing, -rebuilding, and fighting stubbornly every step forward or back.</p> - -<p>That is why there is an element of romance in the picture which has for -its motive something that men have constructed to protect themselves -against the inroads of the sea, some piece of work that suggests the -shifts and contrivances used to secure a measure of shelter from the -violence of the waves and the fury of the storm. The story which such a -picture has to tell is full of significance because the facts presented -by the artist sum up a series of human activities and throw light upon -the conditions under which these activities have been carried on. It is -a story, too, with an appeal because it shows a phase of human endurance -which deserves sympathy and respect, sympathy for the difficulties -encountered, and respect for the way in which they have been overcome; -and it has its full measure of picturesqueness and artistic fitness by -which its claim to serious treatment is amply justified.</p> - -<p>Indeed, the paintings of the fringe and surrounding of the sea which -have been produced by British artists uphold worthily the best -traditions of our school; they include much that proves indisputably the -powers of our greater masters, and certainly they are more numerous than -the pictures of the open sea. That this should be is scarcely surprising -for, after all, the painters who risk the perils of the deep even for -brief excursions are much fewer than those who wander along the coast in -search of material, and to most men the combination of land and sea -offers more attractive problems than the less-known waste of waters. -Moreover, there is a wider public for the coast scene (and few artists -can afford to disregard the popular demand), because the great majority -of people gain their impressions of the sea by looking at it from the -land and but rarely seek for experiences afloat. The purely marine -subject seen intimately and interpreted finely offers opportunities for -a higher type of achievement, and in some respects calls for more -concentrated study; but where the land and sea meet there is a more -obvious variety of pictorial suggestions and the touch of romantic -sentiment is more apparent. It is not given to many people, artists or -laymen, to feel the profound mystery and the dramatic grandeur of the -open sea; there are plenty, however, who can sense the appeal of the -broken and battered coast and find romance in the harbours and tidal -inlets.</p> - -<p>From a purely technical standpoint the coast picture is also more -convenient than the painting of the open sea; it is easier to compose -satisfactorily and to arrange in proper order. As a matter of -space-filling and pattern-making it is much less difficult to construct -a design with the vertical or sloping lines of cliffs or rocks -contrasting with the horizontals of the sea than it is when the picture -is divided into sea and sky with nothing to break the severe simplicity -of the composition. This technicality has evidently perplexed many sea -painters, and has not infrequently led them into rather strained devices -to obtain variety—into exaggeration of the tones of the sky and -over-accentuation of cloud forms, or into the introduction of shipping -where the subject was already too complicated to require an added -interest. Such evasions of a difficulty by artificial means are, -however, not to be defended, and the artist who feels that the purely -marine picture is too great a tax upon his powers had better not stray -from the coast where there is plenty of more amenable pictorial material -at his disposal. He is a wise man who recognizes his own limi<span class="pagenum"><a name="page_23" id="page_23">{23}</a></span>tations -and does not invite trouble by trying to conceal his deficiencies in a -branch of practice for which he is unsuited.</p> - -<p>There is another type of art which can be brought legitimately under the -heading of marine painting—the representation of the life of the people -who have dealings with the sea and obtain from it their means of -existence. The sailors, the fisher-folk, the many who work by and on the -sea have their part in its story and provide the artist with ample -matter by which this story can be appropriately illustrated. They live -picturesquely and they are admirably in harmony with their surroundings; -they work hard, but in the freedom of the open air, and they are not -cramped within the walls of the shop or factory. In their occupation -there is always the spice of adventure and there are many moments of -danger, many tragic happenings, and many incidents which test severely -both mind and body. But all this develops character and sets its stamp -upon the seaman’s personality, marking with signs that cannot be -mistaken his place in the community.</p> - -<p>Of the figure pictures by British artists which are popular to-day, and -for which continued appreciation can safely be prophesied, a large -number have for subject something that refers to the sea. <i>The -North-West Passage</i>, by Sir John Millais, is, for instance, an inspiring -reminder in its spirit and sentiment of a series of sea adventures which -must for ever stand to the credit of the British race; and Bramley’s -<i>Hopeless Dawn</i> tells eloquently the story of a tragedy only too sadly -common where men seek a precarious livelihood on the treacherous sea. -Other pictures like the Hon. John Collier’s <i>Last Voyage of Henry -Hudson</i>, and H. S. Tuke’s <i>All Hands to the Pumps</i>, give us full -opportunity to judge the nature of the dangers to which seamen are -exposed; while others again, like Napier Hemy’s <i>Pilchards</i>, and Colin -Hunter’s <i>Their Only Harvest</i>, show us what kind of work occupies the -fisher-folk and the other coast dwellers whose necessities the sea -supplies. Another aspect of the subject is seen in Tuke’s <i>August Blue</i>, -and C. W. Wyllie’s <i>Digging for Bait</i>, which suggest those pleasanter -moments when life by the sea has its genial and enjoyable side and the -stress and turmoil of the winter storms are for a while forgotten.</p> - -<p>These particular pictures are quoted because, being all in a national -collection, they are accessible to every one and are permanently -available to illustrate the varying relation of humanity with the sea. -They represent a class of production within which is comprehended a wide -range of subjects and to which a host of distinguished artists have made -important contributions; they point the direction in which there is -still much to be found that is worthy of the most serious consideration -and the most carefully applied treatment; and they mark the lines along -which men who have the faculty of observation and a capacity for -personal interpretation can travel to great accomplishment. There is, -indeed, hardly any kind of sentiment that does not, in this connexion, -lend itself well to the artist’s purpose: tragedy, domestic drama, -romance, pure fantasy, comedy even, are all permissible, and often a -picture with the most attractive qualities can be made out of a plain -statement of everyday facts, so picturesque is the setting which the sea -life provides for the people who lead it. During recent years, indeed, -many painters have established themselves by the sea with the express -intention of seeking there material for important works, and many others -have paid long visits to our coasts for the sake of studying at close -quarters the subjects which are so plentifully available; and these<span class="pagenum"><a name="page_24" id="page_24">{24}</a></span> men -have not found it necessary to depart from strict reality to give -interest and convincing strength to their pictures. By being true to -fact, by recording faithfully what they saw around them, they have added -to British art much that is well worth possessing, and they have proved -that realism under suitable conditions is a factor of infinite value in -pictorial production. They have had ample scope for the exercise of -their selective sense and for the use of their powers of observation, -and even though they have chosen to deal with a clearly defined class of -material they have not been hampered by limitations which checked the -free expression of their temperamental preferences. This is because the -sea life is so abounding in action, and because the people who lead it -are of so many types and so unstereotyped in their ways, that to the -painter who works by the sea a constant succession of new motives is -presented, and motives, too, which by their picturesqueness and human -interest satisfy completely the artistic demand.</p> - -<p>Clearly, in marine painting there is no lack of opportunities. In its -various branches it offers to the artist room for the most divergent -activities and it allows him a spacious field for the exercise of his -powers. If he aspires to conquer difficulties they are there in plenty, -difficulties which have to be met with courage and handled with -discretion. If he is content with simple tasks there are many which will -occupy him agreeably and be well worth working out. If he is a serious -student of nature’s manifestations they are set before him in profusion, -and the whole array of her mysteries is paraded for his instruction; and -if humanity is his subject, all the actors in the drama of sea life are -there to inspire him with their doings and to stir his imagination with -the record of their achievements. Always the contact with the sea brings -him something fresh that leads him into new trains of thought and -suggests to him new ways of applying his technical skill; but always the -demand is made upon him that he should put forth the whole of his effort -to reach and maintain the highest standard of artistic practice. There -is no place in marine painting for the man who, taking the line of least -resistance, seeks by compromise and convention to gloss over his want of -knowledge and tries by superficial cleverness of handling to divert -attention from the incompleteness of his analysis. An artist of this -sort had better let the sea alone and choose something simpler and less -abounding with pitfalls for his inexperience.</p> - -<h2><a name="NOTES_ON_THE_ILLUSTRATIONS" id="NOTES_ON_THE_ILLUSTRATIONS"></a>NOTES ON THE ILLUSTRATIONS</h2> - -<p><span class="letra">T</span>HIS series of reproductions of paintings by artists who have given -particular attention to marine painting in its various aspects has been -made as comprehensive as possible so that it may illustrate adequately a -subject capable of the widest application. Examples belonging to -different periods have been included to show what have been the changes -and developments during a term of nearly two hundred years, and what has -been the nature of the appeal of the sea to men of widely differing -temperaments. The conventional arrangement, the poetic transcription of -fact, the realistic study, the decorative interpretation, and the frank -expression of the modern idea are all presented and are available for -intelligent comparison. The capabilities, too, of marine painting are -made clear, and the extent of opportunity it affords to the serious -student of art. There<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span> are illustrations which have a specially -instructive significance because of the technical knowledge of the -subject displayed in them; there are others which are interesting on -account of their imaginative quality; and there are others again which -reveal the inspiration of the sea life and reflect the spirit by which -it is guided. All these have their part in the record of British marine -painting, and are both valuable historically and worthy of consideration -for artistic reasons.</p> - -<p>Rightly, an early place in this record must be assigned to Charles -Brooking, because in his works can be seen for the first time the clear -intention to study marine subjects with a perception of their inherent -characteristics. Brooking’s intimate knowledge of shipping, acquired -during his early days at Deptford Dockyard, is plainly shown in such a -picture as <i>The Calm</i> (p. 35), which has an attractive truth and -precision of statement. It is a matter for much regret that his early -death should have cut short a career which was so full of promise, and -in which he accomplished so much that deserves to be remembered; but -honour is due to him as the painter who gave to our school of marine -painting its foundation of accurate observation and careful regard for -the actualities of the subject.</p> - -<p>Other men carried on ably the tradition he had established, and in a -comparatively short time there grew up a by no means inconsiderable -group of painters who took an effective interest in the pictorial -material with which the sea provided them. Within half a century of his -death he had many successors, some of whom were true sea painters, -though, perhaps, the majority were landscape men who included the sea in -their study of nature’s manifestations, and only turned to it, more or -less frequently, in the intervals of their more usual work. Yet in this -latter class were counted some of the greatest British masters whose -achievements rank among the best by which our school is distinguished. -To the company of these masters certainly belongs George Morland, the -erratic genius who, ranging over a wide field of subjects, found that -the sea was often one of the most helpful sources of his inspiration. -His coast scenes—of which the <i>Fishermen Hauling in a Boat</i> (p. 37) is -a good example—have a characteristic measure of strenuous vitality and -are painted with all the sureness of touch that marked his handling of -the rustic motives which occupied so much of his attention. Morland, -however, did not paint marine pictures so frequently as his -contemporary, John Wilson, who was a consistent student of the sea and -lived for some years at Folkestone. His capacity can scarcely be -questioned. The picture reproduced (p. 38) has a very modern freshness -of manner and shows exceptional knowledge of wave movement and -atmospheric subtleties, and though there is in it something of the -convention of the period, it certainly conveys the sentiment of nature.</p> - -<p>Another master who made many digressions into sea painting was -Constable; a number of sea and coast pictures are included among his -more memorable performances. His <i>Chesil Beach</i> (p. 39) has the better -qualities of his art, its strength and sincerity, its robust directness, -and its sense of rightly estimated reality. Without being in any way dry -or dull it is singularly faithful in its statement of the facts of the -subject and in its adherence to nature’s authority; and it bears -decisively the stamp of the artist’s personality.</p> - -<p>Even more personal both in point of view and in manner of interpretation -are the pictures by Turner, that greatest of all painters of the sea. No -one but Turner could have attained such a height of dramatic power as is -reached in<span class="pagenum"><a name="page_26" id="page_26">{26}</a></span> <i>Lowestoft</i> (p. 45), and <i>The Shipwreck</i> (p. 41), in which -the majesty and the tragedy of the sea are expressed with overwhelming -strength. Only a supreme master could have kept conception and execution -in such perfect relation, or could be so vehement in conviction without -lapsing into bombast. But Turner was a master without a peer, and in -these two pictures—and the extraordinarily suggestive and mysterious -<i>Farne Island</i> (p. 44)—he is seen to rare advantage. Yet he was not -less evidently a master when he chose to deal with less ambitious -material, when he painted subjects like the <i>Yacht Racing in the Solent</i> -(p. 43), and <i>The Prince of Orange Landing at Torbay</i> (p. 42), in which -no tragic note was needed, and no greater problem was presented than the -expression of the breezy freshness of a restless sea. Always, the -acuteness of his vision, the depth of his understanding, and the -consummate certainty of his method can be realized, whatever may have -been his mood or his intention.</p> - -<p>Beside Turner, John Thomson of Duddingston can be assigned but a minor -place; yet, amateur though he was, he cannot be passed over as unworthy -to be reckoned among the more accomplished of the earlier sea painters. -Minister of a church in Scotland, he was able to practise his art only -in the intervals of his clerical duties, but as can be judged from his -<i>Fast Castle</i> (p. 47) he had real ability and much command of technical -processes. He belongs to a period of great importance in British art, a -period which produced not only Turner and Constable, but other masters -of high rank, two of whom, Cotman and David Cox, painted marine pictures -frequently and treated them with delightful sympathy. Cotman’s broad, -dignified method is well seen in <i>A Galiot in a Storm</i> (p. 48), a -composition finely designed and convincing in its large simplicity; and -David Cox’s exquisite perception of beauties of atmospheric effect is -rarely better evidenced than in his delicate and luminous <i>Calais Pier</i> -(p. 49), a study of sea and sky which can be unreservedly praised for -its sensitiveness and truth. It is as rightly seen as it is attractively -painted. There is much less freedom and spontaneity in Pyne’s <i>Totland -Bay</i> (p. 51), and yet this picture has a scholarly quality that entitles -it to respect, though it is a little too formal and conscious. But at -the beginning of the nineteenth century there was a fashion for elegant -formality, and Pyne was, perhaps, induced to follow this fashion by his -study of Italian scenery. As a sea painter he can scarcely be compared -with George Chambers and Clarkson Stanfield, who were of the same date, -and both of whom had much professional experience of the sea before they -became artists. Chambers drew shipping with admirable accuracy—there is -ample proof of this in his picture, <i>Off Portsmouth</i> (p. 52)—and knew -the ways of the sea intimately; Stanfield was also an excellent -draughtsman, but on the whole was more artificial than Chambers. Both -men were for some while successful scene painters, and in Stanfield’s -work particularly the influence of the theatre is apparent; there is an -obvious scenic quality in such pictures as the <i>Entrance to the Zuyder -Zee</i> (p. 54) and <i>The Port of La Rochelle</i> (p. 53); and his <i>Coast -Scene</i> (p. 55) is planned and composed with the scene-painter’s feeling -for construction and distribution of detail. But, despite the theatrical -atmosphere of his art, Stanfield’s achievements are not to be despised, -because the foundation of them was sound and the knowledge he displayed -in them was acquired at first hand.</p> - -<p>Dyce’s <i>Pegwell Bay</i> (p. 57) is interesting for two reasons, as a -digression by a successful figure painter into open-air work, and as an -illustration of the influence exercised by the Pre-Raphaelite movement -upon the painters of the time.<span class="pagenum"><a name="page_27" id="page_27">{27}</a></span> It is an extraordinary piece of precise -statement, photographic in its accuracy, and is painted with a careful -regard for reality that deserves recognition. Indeed, its simple honesty -makes it of more account than such a picture as Cooke’s <i>Dutch Boats in -a Calm</i> (p. 58), which, capable though it is, has more than a suspicion -of artificiality; or than E. T. Crawford’s <i>Closehauled, Crossing the -Bar</i> (p. 59), in which the spirited treatment of the sea is to some -extent discounted by a certain clumsiness in the drawing of the -sailing-boats and by the somewhat mechanical manner in which they are -used to help out the composition. There is artificiality, too, in the -design of Müller’s <i>Dredging on the Medway</i> (p. 60), but it is more -cleverly disguised, and the handling is more accomplished. All three of -these men, however, contributed something to the sequence of paintings -which stands to the credit of the British school, and all were serious -observers of the sea.</p> - -<p>So, too, was Copley Fielding, though other subject-matter than the sea -engaged much of his attention. But he spent a good deal of his time on -the coast and used his opportunities there with considerable discretion. -As a result his sea paintings have a sympathetic quality that is -undeniably persuasive, and they derive an additional charm from their -dexterity of brushwork and from their pleasant management of colour and -tone. The <i>Coast Scene</i> (p. 61) represents him well; it is an eminently -skilful technical exercise, and it conveys correctly an impression of -gathering storm and of the force of a rising wind. The suggestion, also, -of cold, gleaming light when the sky is partly veiled by dark clouds is -sufficiently true and is made with due restraint—without that -over-accentuation of tone contrasts which is so apt to destroy breadth -and unity of effect.</p> - -<p>From Copley Fielding to Edwin Hayes is a wide step—a jump from the -methods of the past to those of the present day. Yet in actual time the -two men were not so widely separated, for Hayes was born some while -before Fielding died, and counted several of the earlier British masters -among his older contemporaries. Fielding, however, was brought up in a -tradition which had a strong hold upon the painters who were working at -the beginning of the nineteenth century, and he made no real effort to -break away from it, though in his interpretation of it he was, in some -respects, less narrow than his fellows. But the formula influenced him -as it did nearly all the other men of that date, and it gave a sort of -set pattern to the paintings even of those artists who had the sincerest -possible desire to be faithful to nature and to study her seriously and -persistently.</p> - -<p>The effect of this formula was to regulate the composition and to -prescribe the introduction of shipping in certain specified positions so -as to conform to an accepted pictorial convention. To its dominance is -due the general similarity which can be perceived between the works of -John Wilson, Chambers, Crawford, and Müller, here illustrated, and which -could be followed out in many other pictures by the lesser painters of -the time—a similarity which was neither accidental nor unconscious, but -directly induced by adherence to what were held to be the correct -principles of picture designing. Moreover, there seems to have been a -belief then that a painting of the sea must have some added interest to -assure it of popularity, for a sea without shipping prominently placed -upon it was hardly ever attempted; an incident was almost always -introduced or a story suggested.</p> - -<p>When Edwin Hayes began his career the earlier tradition was losing its -autho<span class="pagenum"><a name="page_28" id="page_28">{28}</a></span>rity and was being replaced by a less limited conception of the -sea-painter’s mission. To some extent he came under it in his youth, but -he was naturally responsive to new ideas and kept pace with the more -modern developments. Anyhow, in his <i>Sunset at Sea</i> (p. 63) there is no -hint of the old convention, and there is no trace of the belief that an -added interest was required to make a sea picture attractive. He was -content to give faithfully his impression of the sea as it appeared -before him, to tell no story save nature’s own, and to take for his -incident the gleam of sunlight upon tossing waves stirred into movement -by the wind—a poor subject, perhaps, according to the old standards, -but one which to-day appeals to us as admirably satisfying and -essentially complete.</p> - -<p>From the middle of the nineteenth century onwards there has been a -steadily growing tendency to enlarge the scope of marine painting and to -allow to the men who practise it more and more freedom in the assertion -of their personal feeling in art matters. That is why so much material -of the most varied character is available now for the illustration of -this branch of pictorial production, and why so many artists seek in it -opportunities for the display of their capacities. They can approach it -from the point of view that suits them best, they can interpret what -they find there in the way that seems to them most appropriate, and they -can, if their study is sincere, get most closely into touch with -nature’s secrets.</p> - -<p>One entirely legitimate point of view is given adequate demonstration in -the two pictures, <i>The Kyles of Bute</i> by C. Parsons Knight (p. 65), and -<i>From the Dorsetshire Cliffs</i> by John Brett (p. 67). Both pictures are -records, plain and uncompromising statements of fact, and in neither of -them is anything unaccounted for or any detail left for the imagination -of the spectator to supply. Frankly, the intention of both painters was -to put in everything that the most acute vision could detect in the -scene represented and to attain completeness by painstaking effort; and -undeniably both painters have justified themselves by the thoroughness -with which they have carried out this intention. Yet to many people so -much labour to prove the sincerity of the artist would seem to be -unnecessary and to savour somewhat of pedantry; knowledge so lavishly -displayed—and with such scrupulous regard for accuracy—is not always -persuasive. But such pictures have every right to exist, and there is a -place for them in art.</p> - -<p>So there is, too, for conceptions of such a totally different type as -<i>The Wreck</i> by C. E. Holloway (p. 68), and the <i>Marine</i> by Whistler (p. -69). These go to the opposite extreme, eliminating detail, avoiding -precise and careful explanations, conceding nothing to the unimaginative -man who can only believe what is made perfectly clear to his limited -vision. They demand from every one who sees them a full measure of -thought and intelligent analysis so that the shrewd understanding which -controls their apparent carelessness of method can be estimated at its -proper worth. Holloway’s painting is, in fact, only a rapid note in -which he has visualized a momentary impression, but visualized it so -surely that he has been able to make other people see just what he -himself saw in the subject. Whistler’s <i>Marine</i> is an impression, too, a -summary of movement and wave action; but it is something more than a -simple realization of the fundamental things in nature because into the -treatment of it a decorative intention has been definitely admitted. By -the painter’s skill the formality of the design has been cleverly -concealed, and by the spontaneity of his method the deliberate processes -of his art are kept from being too apparent;<span class="pagenum"><a name="page_29" id="page_29">{29}</a></span> but formality and -deliberation have both contributed to the successful evolution of a very -significant picture.</p> - -<p>Quite a different kind of sentiment pervades Hook’s vigorous canvas, -<i>The Seaweed Raker</i> (p. 71). He was not concerned with subtleties of -suggestion or with problems of decorative adjustment, but with the -robust representation of nature’s ruggedness, and there was a simple -honesty in his virile, forcible work. He understood the sea, and though -he looked at it in rather a literal way he never made his paintings of -it commonplace. Partly this was due, no doubt, to the unaffected -directness of his executive devices and to the frankness of his -craftsmanship—he never resorted to any graceful artifices to soften off -the bare facts of his subjects—but there came in also the influence of -a temperament which was by no means insensible to the romance of the sea -and to the sombre poetry of the seaman’s life. That Hook was one of the -greatest of British marine painters can fairly be claimed.</p> - -<p>But greater still was Henry Moore, greater because his insight was even -more acute and because, while he equalled Hook in robustness, he used -his powers with more reserve. He was a finer colourist, a truer judge of -tone relations, and more sensitive to refinements of atmospheric effect; -and as an executant he had a lighter and more flexible touch. A lifelong -painter of the open air, he began to study the sea almost at the outset -of his career, and for some years alternated between landscapes and -marine pictures, but eventually devoted himself almost exclusively to -the branch of practice in which, as he plainly proved, he was without a -serious rival. The particular charm of his work—a charm that is very -apparent in the two examples reproduced—is in its suggestion of space -and wide expansiveness, and of the recession of the surface of the sea -to the far horizon. From such a picture as <i>A Breezy Day</i>—which forms a -frontispiece to this article—many lessons are to be learned in the -management of tone values to express distance, and in the treatment of -clouds not as a background but as an overhanging canopy in true -perspective; and both this and the <i>Break in the Cloud</i> (p. 72) show -most clearly the certainty with which he could draw the form of -different kinds of waves and give to them their proper movement. And all -this he did without appearance of labour and without exaggerated display -of technical facility, but invariably with the quiet confidence that -comes from exact and well-tried knowledge.</p> - -<p>Colin Hunter’s <i>Farewell to Skye</i> (p. 73) seems, somehow, to have about -it a touch of sentimentality and to be lacking in force. Perhaps this -impression comes partly from the title, but it is encouraged also by the -sweetness of the composition with its flow of curving lines and its -carefully balanced distribution of lights and darks. But as a study of a -picturesque coast scene the picture is pleasing, and as a note of an -effect of evening illumination it has much merit. It represents well an -artist who possessed his full share of the Scottish feeling for romance -and whose methods were sound, and it can justly claim a place among the -more popular of modern marine paintings. There is a place, too, for W. -McTaggart’s <i>Sounding Sea</i> (p. 74), a picture very different in -inspiration and technical manner and yet as definitely expressive of the -Scottish temperament. Like all McTaggart’s works, it arrests attention -by the strength of its personal conviction and by the characteristic -method of handling that he has employed, and to this attention it is -fully entitled.</p> - -<p>Frank Brangwyn’s <i>In Port</i> (p. 75) has a story to tell, the story of a -voyage ended and of the safe arrival of a homeward-bound ship. The -artist has not<span class="pagenum"><a name="page_30" id="page_30">{30}</a></span> embroidered his subject with any touches of fancy; he -has dealt with it as a simple matter of fact and as an everyday incident -in the concerns of a seaport town—an incident which excites hardly more -than momentary interest among the idlers on the quay. Yet by this very -reticence he seems to give point to his story and to emphasize the -British attitude towards sea life as something to which the people are -accustomed and which they treat as an obvious part of the national -heritage. It is, perhaps, because he has been at sea himself that he has -no inclination to be either sensational or sentimental in painting what -a sailor would regard as a very ordinary occurrence; it is undoubtedly -to his experience afloat that can be ascribed the air of intimacy which -pervades the picture and the sterling accuracy with which every detail -of it is rendered. Of course, as a painter he is exceptionally -distinguished, but even the painter of distinction is none the worse for -possessing an expert technical understanding of the material which he -proposes to depict upon his canvas. In this instance the combination of -nautical experience and high artistic ability has been productive of -unusually satisfying results.</p> - -<p>It is questionable whether to T. B. Hardy has as yet been assigned the -position among British artists which is due to him on account of the -merit of his work. A prolific and popular painter he possibly spread his -energies over too wide a field and fell into the habit of -over-production. But in his best pictures he reached a very high level -of accomplishment, and as a sea painter he was especially successful. <i>A -Change of Wind, Boulogne Harbour</i> (p. 77), which has been chosen to -represent him, ranks among the best things of its class, on account of -its accuracy of observation and its powerful realization, not only of -the action of the sea, but of the weather conditions, too, by which this -action was induced. In design the picture is to some degree a reversion -to an earlier type, but in spirit and manner of execution it is -essentially a modern effort, and brings a past tradition logically up to -date.</p> - -<p>Napier Hemy’s <i>Boat Adrift</i> (p. 78) owes none of its inspiration to the -older sea painters, or at all events to none earlier than Hook. There is -a hint of Hook’s robustness and solid realism, but the character and -quality of the handling, the constructive sense, and the observation of -the lift and sweep of the waves are all Hemy’s own. He took his subject -far too seriously to depend upon any one else for his inspiration, and -he studied it afloat under all aspects and in all sorts of weather, not -as a landsman who limited himself to what he could see from the shore. -His thoroughness had its full reward, for it is by his marine paintings -that his reputation as one of our leading artists has been established, -though in his early days he was a figure painter and made some success -with landscape as well.</p> - -<p>Another instance of a figure-painter’s judicious dealing with the -subtleties of the sea is to be seen in Sir John Lavery’s <i>Evening—the -Coast of Spain from Tangier</i> (p. 79). He has found something here well -worth recording, an effect of warm evening light over still waters which -ripple gently on a flat beach, a subject full of colour and delicate -aerial suggestion. He has interpreted it with tenderness and sympathy, -but without descending into mere prettiness, and without losing the -strength of the subject. A picture so happily conceived deserves the -sincerest welcome.</p> - -<p>An entirely different class of work is exemplified in W. L. Wyllie’s -ambitious composition, <i>Blake’s Three Days Engagement with Van Tromp</i> -(p. 81). This is neither a simple piece of nature nor a representation -of a normal incident in<span class="pagenum"><a name="page_31" id="page_31">{31}</a></span> our modern life, but an imaginative -reconstruction of an historical scene. To build it up a vast amount of -research and consultation of authorities were needed, to carry it out -convincingly a very thorough acquaintance with the sea was -indispensable—both conditions have been excellently satisfied by the -artist. His picture is entirely credible: he makes us believe that he -has put before us what actually happened, and he treats the whole motive -with a seamanlike understanding that clears it of all suspicion of -artificiality. Compositions of this type were popular a century ago, -when the sea painters had opportunities to witness such picturesque, -yard-arm to yard-arm naval actions; the sea-fights of to-day do not lend -themselves so well to the artist’s purposes. A good deal of the drama -must inevitably be lost when miles of water intervene between the -opposing fleets.</p> - -<p>A sailor’s acquaintance with the sea gives a particular point to the -work of Thomas Somerscales. His pictures, <i>Off Valparaiso</i> (p. 82) and -<i>Before the Gale</i> (p. 83), have an unpretentious reality that can be -accepted in perfect good faith. They are distinguished by an unusual -straightforwardness, and by a simplicity of manner and method that is -curiously effective; and they tell us, because they are so simple and -straightforward, more about the sea than we can learn from paintings -which are much fuller of detail and accessory incident.</p> - -<p>R. W. Allan’s <i>Off to the Fishing Grounds</i> (p. 84), and C. W. Simpson’s -<i>Landing Fish</i> (p. 85), have to do with life in home waters instead of -the adventuring of ocean-going ships, but they are none the less -interesting on that account. In the first picture, indeed, the chance of -working out a very agreeable line composition has been used by the -artist with the best of judgment, and he has entered thoroughly into the -spirit of his subject. In the <i>Landing Fish</i>, a good illustration is -given of the way in which a perfectly literal statement of a scene, for -which almost any fishing-port would provide a setting, can be made -artistically important by a painter who looks at it sympathetically and -who can induce other people to look at it through his eyes. There are -few occupations carried on so picturesquely as that of the fisherman or -among surroundings so full of varied pictorial possibilities; and there -are fewer still which offer so many picture subjects ready-made.</p> - -<p>To turn from works such as these to Herbert Draper’s <i>Flying Fish</i> (p. -87), is to change abruptly from fact to fancy, from a frank rendering of -things as they are to a fantastic suggestion of something that never -existed save in the artist’s imagination. But the realities of the deep -often seem so fantastic, even to the people who have had long experience -of them, that the artist may surely be forgiven for building upon them -fancies of his own. Indeed, this water nymph at play in the element to -which she belongs appears much more credible than many of the sea -monsters which have been proved to be actually in existence; and by the -artist’s skill she is presented as a very pleasing embodiment of the -spirit of the sea—sportive, irresponsible, and ruthless too, but -beautiful and intensely alive. It is not good for us to be always -material-minded and matter-of-fact, so we can allow to the mermaid a -place in art even though we know that she has been classified by science -as merely a species of sea-cow—a most unpoetic translation of an -ancient myth.</p> - -<p>There is nothing either mythical or fantastic about H. S. Tuke’s <i>August -Blue</i> (p. 88); on the contrary it is a purely realistic painting of a -most ordinary subject—some boys bathing from a boat on a calm sunlit -sea. But out of this<span class="pagenum"><a name="page_32" id="page_32">{32}</a></span> quite ordinary material he has built up a picture -with an exceptional degree of dignity, largely felt, and with a kind of -classic distinction of manner. But there is in it no coldness or want of -human interest; it is living, animated, and essentially of to-day, and -wholly right in its fresh, unforced naturalism. Easy, fluent -draughtsmanship and strength of design help to make it a memorable -exercise in descriptive painting.</p> - -<p>The next three pictures, Sir David Murray’s <i>The Fiend’s Weather</i> (p. -89), <i>Where the Somme meets the Sea</i>, by Tom Robertson (p. 90), and -Moffat Lindner’s <i>The Storm-Cloud, Christchurch Harbour</i> (p. 91), -provide a sufficiently striking contrast in effects of atmosphere. The -first suggests the turmoil of a gathering storm, threatening ruin and -destruction to everything in its path and sweeping irresistibly over -land and sea. In his treatment of it the artist has made the most of a -dramatic opportunity to show how thorough has been his study of nature -and how well he understands her ways, even when she is in one of her -most perverse moods. The second picture finds her at her gentlest -moment, exquisitely calm and peaceful and perfectly in repose; the third -at a time when beneath her smile lies a threat, and when almost without -warning a sudden outburst may break the quiet of a summer evening. All -three paintings deserve attention, for they represent artists who are -prominent amongst us to-day and whose work is with justice widely -appreciated.</p> - -<p>Another painter who handles coast subjects with notable ability is W. -Russell Flint. His two water-colours, <i>The Fane Islands</i> (p. 93) and -<i>Passing Sails</i> (p. 95), have a breadth and distinction of manner and a -brilliant directness of brushwork that can be unreservedly admired. His -simplified method of dealing with nature’s facts is very effective, as -it gives plainly the real essentials without any labouring of detail and -without diverting attention from the things that he wishes to emphasize. -It has a decorative value, too, and adds a quality of style to his work. -During the last few years he has produced many paintings of this -type—coast scenes with figures—and he has kept them consistently at a -high level of accomplishment.</p> - -<p>Cecil King’s delightful <i>Regatta Day at Appledore</i> (p. 98) has to do -with the lighter side of sea life, and his <i>H.M.S. “Wolsey”</i> (p. 97) -with matters much more serious. The <i>Regatta Day</i>, as its subject -befits, is a lively and brightly treated study, full of incident, and -attractively irresponsible in composition. It has both power and -originality, and it puts beyond question his capabilities as a -draughtsman because it presents a difficult problem in perspective which -he has solved most happily. But much of its charm comes from the holiday -spirit in which it is conceived and carried out. The <i>H.M.S. “Wolsey”</i> -is more sober, and conveys well the idea of the grim simplicity of the -practical fighting machine built for use, not ornament.</p> - -<p>Norman Wilkinson is a versatile artist who does many things well, and -who yields to no one at the present time in knowledge of the pictorial -chances which the sea provides. He is shown here under more than one -aspect—as a painter of interesting realities in his panoramic <i>Plymouth -Harbour</i> (p. 100), as a very acute student of wave movement in <i>Up -Channel</i> (p. 103) and <i>The Wave</i> (p. 101), and as a maker of rapid and -suggestive notes in his sketch <i>Etretat</i> (p. 99). Of these examples the -most arresting in many ways is <i>The Wave</i>; it has such an unusual amount -of vitality, it is so seriously observed and yet so free and unlaboured, -and it is so correct not only in action but also in matters of lighting -and reflection and of colour variation as well. This is an instance<span class="pagenum"><a name="page_33" id="page_33">{33}</a></span> of -the happy alliance of the science and the art of marine painting to -bring about a perfectly balanced result.</p> - -<p class="csml"><i>Windbound</i> (p. 104), by Hely Smith, and <i>The Needles</i> (p. 107), by -Charles Pears, are inshore studies, notes of incidents which, though -they are undramatic, lend themselves well to the painters’ purposes. -<i>The Needles</i>, with its sense of breeziness and of the rough-and-tumble -of a tide-race, is a picture that excites a distinctly pleasurable -emotion, so much is there in it of the joy of living when the sun shines -brightly and the wind blows briskly and the sea is sparkling and full of -colour. The other two pictures by Charles Pears, <i>The Examination</i> (p. -106) and <i>The Yacht Race</i> (p. 105), make a contrast of grave and gay—a -contrast between the dark moments of war and the happy times of peace.</p> - -<p>Neither W. Marshall Brown in <i>The Sea</i> (p. 109), nor Julius Olsson in -<i>The Night Wrack</i> (p. 110) and <i>Heavy Weather in the Channel</i> (p. 111), -seek to make their pictures more attractive by adding to them any -subsidiary incident. They are content to depend for success upon the -plain statement of things they have seen in the sea itself and to be -painters of the sea, and the sea alone. But both of them have found -stirring subjects, impressively strong and calling for a particular -decisiveness of method, and both have proved fully equal to the -occasion. Of these three canvases perhaps the most largely seen and the -finest in its grasp of the motive as a whole is the <i>Heavy Weather in -the Channel</i>, which has really monumental breadth and dignity.</p> - -<p>Between these powerful paintings and those of the Hon. Duff Tollemache -and A. J. W. Burgess, which have a similar æsthetic intention, come in -the sequence of the illustrations two very interesting works of Walter -Bayes, <i>The Timid Bather</i> (p. 113) and <i>The Red Beach</i> (p. 112). These -make an intelligent compromise between realism and abstract decoration; -they are designs worked out with a sound idea of pattern-making and in -accordance with a pre-conceived scheme of arrangement, but the details -of which they are composed have been studied from nature with serious -and observant vision. They are fancies with a solid foundation of fact, -while <i>The Watch that Never Ends</i> (p. 116) and <i>The Scarborough Fleet</i> -(p. 117), by Burgess, and the <i>Storm on the Cornish Coast</i> (p. 115), by -Tollemache, are pure fact all through, and fact stated with -well-justified confidence.</p> - -<p>A decorative purpose is very definitely apparent in John Everett’s <i>Deck -of a Tea-Clipper in the Tropics</i> (p. 118) and <i>Breakers</i> (p. 119), but -this purpose has been fulfilled with excellent judgment and eminently -good taste. There is an obvious formality in both pictures, and yet this -formality does not detract from their charm—indeed, in the <i>Breakers</i> -it adds strength to a sensitive note of an afterglow effect in which -there is a delightful perception of tone subtleties and of varieties of -curiously related colour.</p> - -<p>Two absolutely opposed points of view are illustrated in <i>The Wave</i> (p. -123), by Nevinson, and <i>Margate</i> (p. 121), by James McBey. <i>The Wave</i> is -an exposition of a modern theory of pictorial expression; it is set -forth with unhesitating clearness of manner and method, and allows the -artist’s attitude to be estimated at its full value. In such a series as -this it fittingly has its place because it presents an aspect of marine -painting that has to be considered. The <i>Margate</i> sketch, like W. T. M. -Hawksworth’s clever <i>Low Water, Penzance</i> (p. 125), and the <i>Wet Rocks, -St. Ives</i>, by R. Borlase Smart (p. 126), is frankly naturalistic, -professing to be nothing more than a plain record of things as they -are,<span class="pagenum"><a name="page_34" id="page_34">{34}</a></span> and propounding no new theories about the development and -evolution of art. Its spontaneous delicacy of handling is one of its -most evident merits.</p> - -<p class="csml"><i>Motor Launches</i>, by G. S. Allfree (p. 127), is an example of a type of -work which seeks to combine actuality and fantasy in carefully studied -proportion, and to produce by this combination something that will be -more significant than an absolutely imitative transcription of nature. -Certain features of the picture are exaggerated and given marked -emphasis so that they may point more definitely the meaning of the -subject and increase the strength of its dramatic suggestion. When this -method is employed with sane understanding—and with the necessary touch -of imagination—it has excellent results. In this case the artist has -seen correctly how far it would be expedient for him to go and has not -spoiled his picture by making it too audacious.</p> - -<p>Yet another phase of modern thought in art influences the work of I. W. -Brooks, whose desire is not so much to tell a story or to hold the -mirror up to nature as to produce an ornamental abstraction. When the -methods he employs to attain this end are not too much defined the -outcome of them is a picture like <i>In Cymyran Bay</i> (p. 129), which has a -most agreeable restfulness and decorative balance and is inspired by a -feeling of serious reality. When he is more explicit in his processes he -arrives at results like the two coast scenes (pp. 128 and 131), which -have the arbitrary expression of a Japanese print and go as far in their -elimination of everything save the fundamentals of the design. But such -methods are undeniably legitimate because where they are used with due -discretion they make possible the working out of decorative schemes -which have both distinction and beauty.</p> - -<p>A number of notable paintings of marine subjects stand to the credit of -Terrick Williams, who has for some years past devoted himself to this -branch of art with conspicuous success. Some idea of the grace and -delicacy of his work can be obtained from the example shown, <i>Clouds -over the Sea, Holland</i> (p. 132); but naturally it does not reveal the -character of his colour. As a colourist he is more than ordinarily -endowed, he has the real colour emotion, and it is always delightfully -in evidence in everything he does, and always it is controlled by an -unerring taste. He has, too, an acute perception of refinements of tone -by which he is guided surely in his treatment of the luminous -atmospheric effects to which he especially inclines. His right to a -place among the chief of the British marine painters of the present day -is indisputable.</p> - -<p>The last two artists on the list are very unlike one another, so this -series of illustrations ends with an effective contrast of styles. The -picture by Frank Emanuel differs widely in intention and manner from -those by E. A. Cox. <i>The Ancient Port of Fêques</i> (p. 133) shows -affinities both in style and manner with the early nineteenth-century -sea painters and follows their tradition in composition and -light-and-shade arrangement. Still, the artist has chosen good material -and has made skilful use of it. The other painter, E. A. Cox (pp. 134 -and 135), is a decorator with a faculty for seeing things largely, and -for setting them down confidently. His use of broad, flat tones is most -effective, and the vigorous precision of his drawing gives a convincing -quality to his performances. He seems always to know just what he wants -to do and to be able to do it without a moment’s hesitation—and that -implies very assured knowledge acquired by the most thorough training.</p> - -<p class="rt"> -A. L. BALDRY</p> - -<p><span class="pagenum"><a name="page_35" id="page_35">{35]</a></span> </p> - -<div class="figcenter"><a href="images/ill_pg_035.jpg"> -<img src="images/ill_pg_035.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“THE CALM.” BY CHARLES BROOKING</p> - -<p class="csml"><i>Photo, Mansell</i></p> - -<p class="csml">(<i>In the National Gallery, London</i>)</p></div> - -<p><span class="pagenum"><a name="page_36" id="page_36">{36}</a></span> </p> - -<p><span class="pagenum"><a name="page_37" id="page_37">{37]</a></span> </p> - -<div class="figcenter"><a href="images/ill_pg_037.jpg"> -<img src="images/ill_pg_037.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“FISHERMEN HAULING IN A BOAT.” BY GEORGE MORLAND</p> - -<p class="csml"><i>Photo, Mansell</i></p> - -<p class="csml">(<i>In the Victoria and Albert Museum, London</i>)</p></div> - -<p><span class="pagenum"><a name="page_38" id="page_38">{38]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_038.jpg"> -<img src="images/ill_pg_038.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“SEAPIECE.” BY JOHN H. WILSON, R.S.A.</p> - -<p class="csml">(<i>In the possession of Messrs. Arthur Tooth & Sons</i>)</p></div> - -<p><span class="pagenum"><a name="page_39" id="page_39">{39]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_039.jpg"> -<img src="images/ill_pg_039.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“CHESIL BEACH.” BY JOHN CONSTABLE, R.A.</p> - -<p class="csml">(<i>In the possession of John Levy, Esq., New York</i>)</p></div> - -<p><span class="pagenum"><a name="page_40" id="page_40">{40}</a></span> </p> - -<p><span class="pagenum"><a name="page_41" id="page_41">{41]</a></span> </p> - -<div class="figcenter"><a href="images/ill_pg_041.jpg"> -<img src="images/ill_pg_041.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“THE SHIPWRECK.” BY J. M. W. TURNER, R.A.</p> - -<p class="csml"><i>Photo, Mansell</i></p> - -<p class="csml">(<i>In the National Gallery of British Art, London</i>)</p></div> - -<p><span class="pagenum"><a name="page_42" id="page_42">{42]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_042.jpg"> -<img src="images/ill_pg_042.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“THE PRINCE OF ORANGE LANDING AT TORBAY NOVEMBER 5, -1688.” BY J. M. W. TURNER, R.A.</p> - -<p class="csml"><i>Photo, Mansell</i></p> - -<p class="csml">(<i>In the National Gallery of British Art, London</i>)</p></div> - -<p><span class="pagenum"><a name="page_43" id="page_43">{43]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_043.jpg"> -<img src="images/ill_pg_043.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“YACHT RACING IN THE SOLENT.” BY J. M. W. TURNER, R.A.</p> - -<p class="csml"><i>Photo, Mansell</i></p> - -<p class="csml">(<i>In the National Gallery of British Art, London</i>)</p></div> - -<p><span class="pagenum"><a name="page_44" id="page_44">{44]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_044.jpg"> -<img src="images/ill_pg_044.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“FARNE ISLAND.” BY J. M. W. TURNER, R.A.</p> - -<p class="csml">(<i>In the Collection at Barbizon House</i>)</p></div> - -<p><span class="pagenum"><a name="page_45" id="page_45">{45]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_045.jpg"> -<img src="images/ill_pg_045.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“LOWESTOFT.” BY J. M. W. TURNER, R.A.</p> - -<p class="csml">(<i>In the possession of R. W. Lloyd, Esq.</i>)</p></div> - -<p><span class="pagenum"><a name="page_46" id="page_46">{46}</a></span> </p> - -<p><span class="pagenum"><a name="page_47" id="page_47">{47]</a></span> </p> - -<div class="figcenter"><a href="images/ill_pg_047.jpg"> -<img src="images/ill_pg_047.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“FAST CASTLE.” BY THE REV. JOHN THOMSON OF DUDDINGSTON, -R.S.A.</p> - -<p class="csml">(<i>In the Collection at Barbizon House</i>)</p></div> - -<p><span class="pagenum"><a name="page_48" id="page_48">{48]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_048.jpg"> -<img src="images/ill_pg_048.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“A GALIOT IN A STORM” BY JOHN SELL COTMAN</p> - -<p class="csml"><i>Photo Woodbury Co.</i></p> - -<p class="csml">(<i>In the National Gallery, London</i>)</p></div> - -<p><span class="pagenum"><a name="page_49" id="page_49">{49]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_049.jpg"> -<img src="images/ill_pg_049.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“CALAIS PIER.” BY DAVID COX</p> - -<p class="csml">(<i>In the possession of Messrs. Thos. Agnew & Sons</i>)</p></div> - -<p><span class="pagenum"><a name="page_50" id="page_50">{50}</a></span> </p> - -<p><span class="pagenum"><a name="page_51" id="page_51">{51]</a></span> </p> - -<div class="figcenter"><a href="images/ill_pg_051.jpg"> -<img src="images/ill_pg_051.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p class="csml"><i>Photo, Mansell</i></p> - -<p class="csml">(<i>In the National Gallery of British Art, London</i>)</p> - -<p>“TOTLAND BAY.” BY J. B. PYNE</p></div> - -<p><span class="pagenum"><a name="page_52" id="page_52">{52]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_052.jpg"> -<img src="images/ill_pg_052.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p class="csml">(<i>In the possession of A. T. Hollingsworth, Esq.</i>)</p> - -<p>“OFF PORTSMOUTH.” BY GEORGE CHAMBERS</p></div> - -<p><span class="pagenum"><a name="page_53" id="page_53">{53]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_053.jpg"> -<img src="images/ill_pg_053.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p class="csml">(<i>In the possession of Messrs. Arthur Tooth & Sons</i>)</p> - -<p>“THE PORT OF LA ROCHELLE.” BY W. CLARKSON STANFIELD, R.A.</p></div> - -<p><span class="pagenum"><a name="page_54" id="page_54">{54]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_054.jpg"> -<img src="images/ill_pg_054.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p class="csml"><i>Photo, Mansell</i></p> - -<p>“ENTRANCE TO THE ZUYDER ZEE, TEXEL ISLAND” BY W. CLARKSON STANFIELD, -R.A.</p> - -<p class="csml">(<i>In the National Gallery of British Art, London</i>)</p></div> - -<p><span class="pagenum"><a name="page_55" id="page_55">{55]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_055.jpg"> -<img src="images/ill_pg_055.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p class="csml">(<i>In the possession of Messrs. Thos. Agnew & Sons</i>)</p> - -<p>“COAST SCENE.” BY W. CLARKSON STANFIELD, R.A.</p></div> - -<p><span class="pagenum"><a name="page_56" id="page_56">{56}</a></span> </p> - -<p><span class="pagenum"><a name="page_57" id="page_57">{57]</a></span> </p> - -<div class="figcenter"><a href="images/ill_pg_057.jpg"> -<img src="images/ill_pg_057.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p class="csml"><i>Photo, Mansell</i></p> - -<p class="csml">(<i>In the National Gallery of British Art, London</i>)</p> - -<p>“PEGWELL BAY, 1858.” BY WILLIAM DYCE, R.A.</p></div> - -<p><span class="pagenum"><a name="page_58" id="page_58">{58]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_058.jpg"> -<img src="images/ill_pg_058.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p class="csml"><i>Photo, Mansell</i></p> - -<p class="csml">(<i>In the National Gallery of British Art, London</i>)</p> - -<p>“DUTCH BOATS IN A CALM.” BY E. W. COOKE, R.A.</p></div> - -<p><span class="pagenum"><a name="page_59" id="page_59">{59]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_059.jpg"> -<img src="images/ill_pg_059.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p class="csml"><i>Photo, Annan</i></p> - -<p class="csml">(<i>In the National Gallery of Scotland, Edinburgh</i>)</p> - -<p>“CLOSEHAULED, CROSSING THE BAR.” BY E. T. CRAWFORD, R.S.A.</p></div> - -<p><span class="pagenum"><a name="page_60" id="page_60">{60]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_060.jpg"> -<img src="images/ill_pg_060.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p class="csml"><i>Photo, Mansell</i></p> - -<p class="csml">(<i>In the National Gallery of British Art, London</i>)</p> - -<p>“DREDGING ON THE MEDWAY.” BY WILLIAM J. MÜLLER</p></div> - -<p><span class="pagenum"><a name="page_61" id="page_61">{61]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_061.jpg"> -<img src="images/ill_pg_061.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p class="csml">(<i>In the possession of Messrs</i>. <i>Arthur Tooth & Sons</i>)</p> - -<p>“COAST SCENE.” BY COPLEY FIELDING</p></div> - -<p><span class="pagenum"><a name="page_62" id="page_62">{62}</a></span> </p> - -<p><span class="pagenum"><a name="page_63" id="page_63">{63]</a></span> </p> - -<div class="figcenter"><a href="images/ill_pg_063.jpg"> -<img src="images/ill_pg_063.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p class="csml"><i>Photo, Mansell</i></p> - -<p class="csml">(<i>In the National Gallery of British Art, London</i>)</p> - -<p>“SUNSET AT SEA: FROM HARLYN BAY, CORNWALL.” BY EDWIN HAYES, R.H.A., -R.I.</p></div> - -<p><span class="pagenum"><a name="page_64" id="page_64">{64}</a></span> </p> - -<p><span class="pagenum"><a name="page_65" id="page_65">{65]</a></span> </p> - -<div class="figcenter"><a href="images/ill_pg_065.jpg"> -<img src="images/ill_pg_065.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p class="csml"><i>Photo, Mansell</i></p> - -<p class="csml">(<i>In the National Gallery of British Art, London</i>)</p> - -<p>“THE KYLES OF BUTE.” BY C. PARSONS KNIGHT</p></div> - -<p><span class="pagenum"><a name="page_66" id="page_66">{66}</a></span> </p> - -<p><span class="pagenum"><a name="page_67" id="page_67">{67]</a></span> </p> - -<div class="figcenter"><a href="images/ill_pg_067.jpg"> -<img src="images/ill_pg_067.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p class="csml"><i>Photo, Mansell</i></p> - -<p class="csml">(<i>In the National Gallery of British Art, London</i>)</p> - -<p>“FROM THE DORSETSHIRE CLIFFS.” BY JOHN BRETT, A.R.A.</p></div> - -<p><span class="pagenum"><a name="page_68" id="page_68">{68]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_068.jpg"> -<img src="images/ill_pg_068.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p class="csml">(<i>In the possession of Messrs. William Marchant & Co.</i>)</p> - -<p>“THE WRECK.” BY C. E. HOLLOWAY</p></div> - -<p><span class="pagenum"><a name="page_69" id="page_69">{69]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_069.jpg"> -<img src="images/ill_pg_069.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p class="csml">(<i>In the possession of Mrs. Lewis Hind</i>)</p> - -<p>“MARINE.” BY J. McNEILL WHISTLER</p></div> - -<p><span class="pagenum"><a name="page_70" id="page_70">{70}</a></span> </p> - -<p><span class="pagenum"><a name="page_71" id="page_71">{71]</a></span> </p> - -<div class="figcenter"><a href="images/ill_pg_071.jpg"> -<img src="images/ill_pg_071.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p class="csml"><i>Photo, Mansell</i></p> - -<p class="csml">(<i>In the National Gallery of British Art, London</i>)</p> - -<p>“THE SEAWEED RAKER.” BY J. C. HOOK, R.A.</p></div> - -<p><span class="pagenum"><a name="page_72" id="page_72">{72]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_072.jpg"> -<img src="images/ill_pg_072.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p class="csml">(<i>In the possession of Messrs. Arthur Tooth & Sons</i>)</p> - -<p>“A BREAK IN THE CLOUD.” BY HENRY MOORE, R.A.</p></div> - -<p><span class="pagenum"><a name="page_73" id="page_73">{73]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_073.jpg"> -<img src="images/ill_pg_073.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p class="csml"><i>Photo, Annan</i></p> - -<p class="csml">(<i>In the Corporation Art Gallery, Glasgow</i>)</p> - -<p>“FAREWELL TO SKYE.” BY COLIN HUNTER, A.R.A</p></div> - -<p><span class="pagenum"><a name="page_74" id="page_74">{74]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_074.jpg"> -<img src="images/ill_pg_074.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>(<i>By permission of Messrs. J. Maclehose & Sons, -Publishers of Mr. James L. Caw’s “William McTaggart, R.S.A.</i>”)</p> - -<p>“THE SOUNDING SEA.” BY WILLIAM McTAGGART, R.S.A.</p></div> - -<p><span class="pagenum"><a name="page_75" id="page_75">{75]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_075.jpg"> -<img src="images/ill_pg_075.jpg" -height="600" alt="[Image unavailable.]" /></a> -<p class="csml">(<i>In the possession of Mr. John A. Cooling</i>)</p> - -<p>“IN PORT.” BY FRANK BRANGWYN, R.A.</p></div> - -<p><span class="pagenum"><a name="page_76" id="page_76">{76}</a></span> </p> - -<p><span class="pagenum"><a name="page_77" id="page_77">{77]</a></span> </p> - -<div class="figcenter"><a href="images/ill_pg_077.jpg"> -<img src="images/ill_pg_077.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p class="csml"><i>Photo, Mansell</i></p> - -<p>(<i>By permission of the Leeds Art Gallery Committee</i>)</p> - -<p>“A CHANGE OF WIND: BOULOGNE HARBOUR.” BY T. B. HARDY</p></div> - -<p><span class="pagenum"><a name="page_78" id="page_78">{78]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_078.jpg"> -<img src="images/ill_pg_078.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p class="csml"><i>Photo, Mansell</i></p> - -<p>(<i>By permission of the Oldham Art Gallery Committee</i>)</p> - -<p>“A BOAT ADRIFT.” BY C. NAPIER HEMY, R.A., R.W.S.</p></div> - -<p><span class="pagenum"><a name="page_79" id="page_79">{79]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_079.jpg"> -<img src="images/ill_pg_079.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“EVENING.” THE COAST OF SPAIN FROM TANGIER. BY SIR JOHN -LAVERY, A.R.A., R.S.A.</p></div> - -<p><span class="pagenum"><a name="page_80" id="page_80">{80}</a></span> </p> - -<p><span class="pagenum"><a name="page_81" id="page_81">{81]</a></span> </p> - -<div class="figcenter"><a href="images/ill_pg_081.jpg"> -<img src="images/ill_pg_081.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“BLAKE’S THREE DAYS ENGAGEMENT WITH VAN TROMP.” BY W. L. -WYLLIE, R.A.</p></div> - -<p><span class="pagenum"><a name="page_82" id="page_82">{82]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_082.jpg"> -<img src="images/ill_pg_082.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p class="csml"><i>Photo, Mansell</i></p> - -<p class="csml">(<i>In the National Gallery of British Art, London</i>)</p> - -<p>“OFF VALPARAISO.” BY THOMAS SOMERSCALES</p></div> - -<p><span class="pagenum"><a name="page_83" id="page_83">{83]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_083.jpg"> -<img src="images/ill_pg_083.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“BEFORE THE GALE.” BY THOMAS SOMERSCALES</p></div> - -<p><span class="pagenum"><a name="page_84" id="page_84">{84]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_084.jpg"> -<img src="images/ill_pg_084.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“OFF TO THE FISHING GROUNDS.” BY ROBERT W. ALLAN, -R.W.S.</p></div> - -<p><span class="pagenum"><a name="page_85" id="page_85">{85]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_085.jpg"> -<img src="images/ill_pg_085.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“LANDING FISH.” BY CHARLES W. SIMPSON, R.I., R.B.A.</p></div> - -<p><span class="pagenum"><a name="page_86" id="page_86">{86}</a></span> </p> - -<p><span class="pagenum"><a name="page_87" id="page_87">{87]</a></span> </p> - -<div class="figcenter"><a href="images/ill_pg_087.jpg"> -<img src="images/ill_pg_087.jpg" -height="600" alt="[Image unavailable.]" /></a> -<p>“FLYING FISH.” BY HERBERT DRAPER</p></div> - -<p><span class="pagenum"><a name="page_88" id="page_88">{88]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_088.jpg"> -<img src="images/ill_pg_088.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p class="csml"><i>Photo, Mansell</i></p> - -<p class="csml">(<i>In the National Gallery of British Art, London</i>)</p> - -<p>“AUGUST BLUE.” BY HENRY S. TUKE, R.A., R.W.S.</p></div> - -<p><span class="pagenum"><a name="page_89" id="page_89">{89]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_089.jpg"> -<img src="images/ill_pg_089.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“THE FIEND’S WEATHER.” BY SIR DAVID MURRAY, R.A., P.R.I., -A.R.S.A.</p></div> - -<p><span class="pagenum"><a name="page_90" id="page_90">{90]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_090.jpg"> -<img src="images/ill_pg_090.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“WHERE THE SOMME MEETS THE SEA” BY TOM ROBERTSON</p></div> - -<p><span class="pagenum"><a name="page_91" id="page_91">{91]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_091.jpg"> -<img src="images/ill_pg_091.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p class="csml">(<i>In the possession of the Barcelona Corporation</i>)</p> - -<p>“THE STORM-CLOUD, CHRISTCHURCH HARBOUR” BY MOFFAT LINDNER, A.R.W.S.</p></div> - -<p><span class="pagenum"><a name="page_92" id="page_92">{92}</a></span> </p> - -<p><span class="pagenum"><a name="page_93" id="page_93">{93]</a></span> </p> - -<div class="figcenter"><a href="images/ill_pg_093.jpg"> -<img src="images/ill_pg_093.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p class="csml">(<i>In the possession of The Fine Art Society</i>)</p> - -<p>“THE FANE ISLANDS.” BY W. RUSSELL FLINT, R.W.S.</p></div> - -<p><span class="pagenum"><a name="page_94" id="page_94">{94}</a></span> </p> - -<p><span class="pagenum"><a name="page_95" id="page_95">{95]</a></span> </p> - -<div class="figcenter"><a href="images/ill_pg_095.jpg"> -<img src="images/ill_pg_095.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p class="csml">(<i>In the possession of The Fine Art Society</i>)</p> - -<p>“PASSING SAILS.” BY W. RUSSELL FLINT, R.W.S.</p></div> - -<p><span class="pagenum"><a name="page_96" id="page_96">{96}</a></span> </p> - -<p><span class="pagenum"><a name="page_97" id="page_97">{97]</a></span> </p> - -<div class="figcenter"><a href="images/ill_pg_097.jpg"> -<img src="images/ill_pg_097.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>(<i>By permission of the Imperial War Museum</i>)</p> - -<p>“H.M.S. ‘WOLSEY’ IN THE ICE AT LIBAU.” BY CECIL KING</p></div> - -<p><span class="pagenum"><a name="page_98" id="page_98">{98]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_098.jpg"> -<img src="images/ill_pg_098.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“REGATTA DAY AT APPLEDORE.” BY CECIL KING</p></div> - -<p><span class="pagenum"><a name="page_99" id="page_99">{99]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_099.jpg"> -<img src="images/ill_pg_099.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“ETRETAT.” BY NORMAN WILKINSON, R.I.</p></div> - -<p><span class="pagenum"><a name="page_100" id="page_100">{100]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_100.jpg"> -<img src="images/ill_pg_100.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“PLYMOUTH HARBOUR.” BY NORMAN WILKINSON, R.I.</p></div> - -<p><span class="pagenum"><a name="page_101" id="page_101">{101]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_101.jpg"> -<img src="images/ill_pg_101.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“THE WAVE.” BY NORMAN WILKINSON, R.I.</p></div> - -<p><span class="pagenum"><a name="page_102" id="page_102">{102}</a></span> </p> - -<p><span class="pagenum"><a name="page_103" id="page_103">{103]</a></span> </p> - -<div class="figcenter"><a href="images/ill_pg_103.jpg"> -<img src="images/ill_pg_103.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“UP CHANNEL.” BY NORMAN WILKINSON, R.I.</p></div> - -<p><span class="pagenum"><a name="page_104" id="page_104">{104]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_104.jpg"> -<img src="images/ill_pg_104.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“WINDBOUND.” BY HELY SMITH, R.B.A</p></div> - -<p><span class="pagenum"><a name="page_105" id="page_105">{105]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_105.jpg"> -<img src="images/ill_pg_105.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“THE YACHT RACE.” BY CHARLES PEARS</p></div> - -<p><span class="pagenum"><a name="page_106" id="page_106">{106]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_106.jpg"> -<img src="images/ill_pg_106.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“THE EXAMINATION.” BY CHARLES PEARS</p></div> - -<p><span class="pagenum"><a name="page_107" id="page_107">{107]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_107.jpg"> -<img src="images/ill_pg_107.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“THE NEEDLES.” BY CHARLES PEARS</p></div> - -<p><span class="pagenum"><a name="page_108" id="page_108">{108}</a></span> </p> - -<p><span class="pagenum"><a name="page_109" id="page_109">{109]</a></span> </p> - -<div class="figcenter"><a href="images/ill_pg_109.jpg"> -<img src="images/ill_pg_109.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“THE SEA.” BY W. MARSHALL BROWN, A.R.S.A.</p></div> - -<p><span class="pagenum"><a name="page_110" id="page_110">{110]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_110.jpg"> -<img src="images/ill_pg_110.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“THE NIGHT WRACK.” BY JULIUS OLSSON, A.R.A.</p></div> - -<p><span class="pagenum"><a name="page_111" id="page_111">{111]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_111.jpg"> -<img src="images/ill_pg_111.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“HEAVY WEATHER IN THE CHANNEL.” BY JULIUS OLSSON, -A.R.A.</p></div> - -<p><span class="pagenum"><a name="page_112" id="page_112">{112]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_112.jpg"> -<img src="images/ill_pg_112.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“THE RED BEACH.” BY WALTER BAYES, A.R.W.S.</p></div> - -<p><span class="pagenum"><a name="page_113" id="page_113">{113]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_113.jpg"> -<img src="images/ill_pg_113.jpg" -height="600" alt="[Image unavailable.]" /></a> -<p>“THE TIMID BATHER.” BY WALTER BAYES, A.R.W.S.</p></div> - -<p><span class="pagenum"><a name="page_114" id="page_114">{114}</a></span> </p> - -<p><span class="pagenum"><a name="page_115" id="page_115">{115]</a></span> </p> - -<div class="figcenter"><a href="images/ill_pg_115.jpg"> -<img src="images/ill_pg_115.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“STORM ON THE CORNISH COAST.” BY THE HON. DUFF -TOLLEMACHE</p></div> - -<p><span class="pagenum"><a name="page_116" id="page_116">{116]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_116.jpg"> -<img src="images/ill_pg_116.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p class="csml">(<i>In the possession of Capt. W. N. McClean</i>)</p> - -<p>“THE WATCH THAT NEVER ENDS.” BY ARTHUR J. W. BURGESS, R.I.</p></div> - -<p><span class="pagenum"><a name="page_117" id="page_117">{117]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_117.jpg"> -<img src="images/ill_pg_117.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“THE SCARBOROUGH FLEET.” BY ARTHUR J. W. BURGESS, R.I.</p></div> - -<p><span class="pagenum"><a name="page_118" id="page_118">{118]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_118.jpg"> -<img src="images/ill_pg_118.jpg" -height="600" alt="[Image unavailable.]" /></a> -<p>“THE DECK OF A TEA-CLIPPER IN THE TROPICS.” BY JOHN -EVERETT</p></div> - -<p><span class="pagenum"><a name="page_119" id="page_119">{119]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_119.jpg"> -<img src="images/ill_pg_119.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“BREAKERS.” BY JOHN EVERETT</p></div> - -<p><span class="pagenum"><a name="page_120" id="page_120">{120}</a></span> </p> - -<p><span class="pagenum"><a name="page_121" id="page_121">{121]</a></span> </p> - -<div class="figcenter"><a href="images/ill_pg_121.jpg"> -<img src="images/ill_pg_121.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“MARGATE.” BY JAMES McBEY</p></div> - -<p><span class="pagenum"><a name="page_122" id="page_122">{122}</a></span> </p> - -<p><span class="pagenum"><a name="page_123" id="page_123">{123]</a></span> </p> - -<div class="figcenter"><a href="images/ill_pg_123.jpg"> -<img src="images/ill_pg_123.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p class="csml">(<i>In the possession of Messrs Ernest Brown & Phillips, -The Leicester Galleries</i>)</p> - -<p>“THE WAVE.” BY C. R. W. NEVINSON</p></div> - -<p><span class="pagenum"><a name="page_124" id="page_124">{124}</a></span> </p> - -<p><span class="pagenum"><a name="page_125" id="page_125">{125]</a></span> </p> - -<div class="figcenter"><a href="images/ill_pg_125.jpg"> -<img src="images/ill_pg_125.jpg" -height="600" alt="[Image unavailable.]" /></a> -<p>“LOW WATER, PENZANCE.” BY W. T. M. HAWKSWORTH, R.B.A.</p></div> - -<p><span class="pagenum"><a name="page_126" id="page_126">{126]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_126.jpg"> -<img src="images/ill_pg_126.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“WET ROCKS, ST. IVES.” BY R. BORLASE SMART, R.B.A.</p></div> - -<p><span class="pagenum"><a name="page_127" id="page_127">{127]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_127.jpg"> -<img src="images/ill_pg_127.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>(<i>By permission of the Imperial War Museum</i>)</p> - -<p>“MOTOR LAUNCHES” BY G. S. ALLFREE</p></div> - -<p><span class="pagenum"><a name="page_128" id="page_128">{128]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_128.jpg"> -<img src="images/ill_pg_128.jpg" -height="600" alt="[Image unavailable.]" /></a> -<p>“COAST SCENE.” BY I. W. BROOKS</p></div> - -<p><span class="pagenum"><a name="page_129" id="page_129">{129]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_129.jpg"> -<img src="images/ill_pg_129.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“IN CYMYRAN BAY.” BY I. W. BROOKS</p></div> - -<p><span class="pagenum"><a name="page_130" id="page_130">{130}</a></span> </p> - -<p><span class="pagenum"><a name="page_131" id="page_131">{131]</a></span> </p> - -<div class="figcenter"><a href="images/ill_pg_131.jpg"> -<img src="images/ill_pg_131.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“COAST SCENE.” BY I. W. BROOKS</p></div> - -<p><span class="pagenum"><a name="page_132" id="page_132">{132]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_132.jpg"> -<img src="images/ill_pg_132.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“CLOUDS OVER THE SEA, HOLLAND” BY TERRICK WILLIAMS, -R.I.</p></div> - -<p><span class="pagenum"><a name="page_133" id="page_133">{133]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_133.jpg"> -<img src="images/ill_pg_133.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“THE ANCIENT PORT OF FÊQUES” BY FRANK L. EMANUEL</p></div> - -<p><span class="pagenum"><a name="page_134" id="page_134">{134]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_134.jpg"> -<img src="images/ill_pg_134.jpg" -width="600" alt="[Image unavailable.]" /></a> -<p>“ELIZABETH CASTLE, CHANNEL ISLANDS” BY E. A. COX, -R.B.A.</p></div> - -<p><span class="pagenum"><a name="page_135" id="page_135">{135]</a></span></p> - -<div class="figcenter"><a href="images/ill_pg_135.jpg"> -<img src="images/ill_pg_135.jpg" -height="600" alt="[Image unavailable.]" /></a> -<p class="csml">(<i>In the possession of H. A. Lay, Esq.</i>)</p> - -<p>“THE GOOD SHIP ‘ROSE ELIZABETH NOVEY.’” BY E. A. 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