Judd Waugh

Tropic Seas, 13.5 x 20 inches


The Caribbean, 30 x 39 cm


Deluge, 48 x 60 inches

Crashing Surf, 25 x 30 inches

Surf and Rocks, 32 x 49 inches

At High Tide, 20 x 24 inches

The Inlet, 18 x 24 inches

The Sea, oil on board, 36 x 49 inches

The Rocky Point, 25 x 30 inches

Crashing Surf, 16 x 20 inches

Breaking Waves, 36.2 x 50.8 cm

Golden Dawn, 40 x 50 inches

Judd Waugh was the most successful painter of seascapes, of his period, in America, and naturally has been much emulated by other artists. Such scenes in the hands of lesser artists have often degenerated into cliche or kitsch. His work needs to be seen in the context of his time.

Franklin Dullin Briscoe 1844-1903

The Cat Boat, 7 x 10 inches

The poetic elegance of simplicity in both image and frame.

Judd Waugh

Full of the Moon


West Shore Provincetown

Late Afternoon 25 x 30 inches

The Great Deep

Resounding Surf, 38 x 48 inches


The Caribbean, 13 x 19 inches

Paul Schulenburg - American

12 x 12 inches

12 x 12 inches

Winslow Homer - American

Long Branch, New Jersey


Eastern Point, Prout's Neck


Cannon Rock

Beach Scene

Two aspects of the seascape: the dark and threatening, and the sunny and playful

Chris Blossom - American, 1956

32 x 48 inches framed


Reaching for Monhegan, 21 x 25 inches

Schooner Monitor

Heading Out Big

Transfer the Pilot, 22 x 26 inches framed

Lowenstoft Beam Trawler Anthea, 23 x 31 inches

Julian Ashton - English Australian 1851-1942

The Wave, 95 x 274 cm

Art Gallery of NSW

Subtle pink in the sky sets off the emerald green wave.

Rick Amor - Australian 1948-

Seascape

Fire Across the Bay

It's an interesting idea to complement the water element with fire.

Journey, 2007, 116 x 130 cm

Journey is now on display in the Art Gallery of New South Wales. A photo doesn't give much indication of what it's like standing in front of this large, highly glazed painting. It reminded me of old European paintings that have darkened with age and become deep, mysterious and like the twilight world of dreams.

Frederick Judd Waugh - American

Sunrise on Monhegan, 25 x 30 inches


Pounding Surf, 34 x 46 inches


Heavy Waves, 25 x 30 inches

William C Ehrig - American 1892-1969

Emerald Sea, 27 x 37 inches

Composition based on subtle zig-zag movement.

Warren W Sheppard - American 1858-1937

Morning, Strait of Messina, 30 x 55.5 inches

Peter Arguimbau 1951-

Catboat Afternoon, NA, 20 x 35 inches

David Bareford - American 1947-

Brant Point, 24 x 36 inches
With the sunlight at the right angle, water can appear white.

30 x 40 inches
The curves and diagonals of sails, and their reflections or shadows in the water, add greatly to the visual interest of a seascape. Though small, the yellow sails in the distance draw the eye into the painting because they appear as a warm accent on a predominantly cool-coloured image.

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Outbound, 12 x 24 inches
The bright red in the top half of the painting really sings because of the neutral greens in the lower half. Too bright a green would compete with the red rather than setting it off. The red triangle is such a powerful eye magnet that no other visual interest is required in the top half of the image - The blank, cloudless sky is the right choice.

Montague Dawson - British 1895-1973

Atlantic Packet Albion, 24 x 44 inches

Establishing dark darks and light lights in the tonal range of a painting gives it visual crispness and impact.

A figure or a focus of visual interest (in this case the dark dark on the bow of the ship) is often placed on the right side of a composition, as the eye tends to scan a painting from left to right, which means that an object on the right tends to have greater visual weight. If the ship had been positioned on the left it would give the work a slightly more abrupt and perhaps less pleasing effect. Of course, compositional rules were made to be cleverly broken. The dark dark feature is also located in a golden mean "sweet spot".

Charles R Patterson - American 1878-1958

The Passage Makers, 21 x 26

Two objects on either side of a painting can create a disunified image, but the birds at the top help tie it together.

(See also Manet's beach scene)

Donald Curley - Canadian

Running the Grand Banks, 23 x 35 inches

Thomas Paquette - American

Cliffs at St. Nons, Pembrokeshire, 9 x 10 inches

Paquette also paints with gouache (an opaque watercolour medium that dries very quickly and does not allow much blending) This seems to have influenced his oil technique. In the work above, areas of of colour are applied almost as a mosaic.

The painting below has the subtlety of a watercolour.

Sky Befalling Skye 2,

38 x 66 inches, oil on linen

Nicholas Chevalier

Cook Straits, New Zealand, c 1884


Tunnel Rock, Cape Schanck, Victoria, 1860s,
30.6 x 47 cm


Pulpit Rock, Cape Schanck, Victoria, 31 x 46.3 cm

The two scenes of the Victorian coast are currently on display at the Art Gallery of New South Wales.

Chevalier was a Swiss painter and explorer, born in Russia, who worked in England and Australia.