Jensen M?

27 x 41 (inches?)

A horizon line located in the middle of the image, dividing it in two equal halves, can produce an uncomfortable duality, especially if it's dead straight. In this work the seabirds and white wavecrests, though insignificant in terms of the painting area, provide a unifying third element. Of course, there may be instances where a painter wants to create an unnerving, unresolved visual tension in a painting.

I posted this work because of the rich emerald and jade hues in the waves, and the fine brushwork. It came from an auction website with very little info.

Bruce Mulcahy - British

The palette of British seascapes is much colder than the Australian example in the previous post.

Frederick W Leist - Australian

Morning Bathers (detail) c. 1928

Our first instinct is to use only cool colours for water. But the reflective surface of the sea can mirror the warm tones of a hot summer day. Introducing warm tones into the water unifies this image.

Montague Dawson - British

The Sea Alone

The well-known maritime artist Montague Dawson (1895 – 1973) was never afraid to put dark tones in his waves. He was patronised by the British Royal Family and US presidents. His work was influenced by Charles Napier Hemy.

James Guppy - Australian

Nailing Down the Surf, Acrylic on linen, 45 x 91 cm

The Australian painter James Guppy is carrying on the Surrealist tradition of Magritte and Dali. I'm not a big fan of the Surrealists but when the dream-like element is subtle, as in this work, it works for me. Guppy shares my fascination with the technical achievements of the 18th and 19th century painters.

Dennis Doheny

Opalescence, 24 x 24 inches
(Winner of the Edgar Payne Landscape prize 2009)












From the wonderful blog underpaintings

Guy Rose - American

Point Lobos - 1918