,,british ,,marine ,,painting ,,with ,,articles ,,by ,a4 ,l4 ,,baldry #aiai ,,edited ,,by ,,geoffrey ,,holme 8,,the ,,studio0 ,l ,,london ,,paris ,,new ,,york ,,contents ,,articles ,,by ,a4 ,l4 ,,baldry ,,page ,british ,marine ,painting #i ,notes on the ,illustrations #bd ,,illustrations ,,in ,,colour ,bayes1 ,walter1 ,a4,r4,w4,s4 ,the ,timid ,bather #aac ,brangwyn1 ,frank1 ,r4,a4 ,in ,port #ge ,brooks1 ,i4 ,w4 ,in ,cymyran ,bay #abi ,constable1 ,john1 ,r4,a4 ,chesil ,beach #ci ,cox1 ,david ,calais ,pier #di ,everett1 ,john ,breakers #aai ,fielding1 ,copley ,coast ,scene #fa ,flint1 ,w4 ,russell1 ,r4,w4,s4 ,the ,fane ,islands #ic ,lavery1 ,sir ,john1 ,a4,r4,a41 ,r4,s4,a4 ,evening--,the ,coast of ,spain from ,tangier #gi ,moore1 ,henry1 ,r4,a4 ,a ,breezy ,day #h ,nevinson1 ,c4 ,r4 ,w4 ,the ,wave #abc ,pears1 ,charles ,the ,needles #ajg ,simpson1 ,charles ,w41 ,r4,i41 ,r4,b4,a4 ,landing ,fish #he ,stanfield1 ,w4 ,clarkson1 ,r4,a4 ,coast ,scene #ee ,turner1 ,j4 ,m4 ,w41 ,r4,a4 ,lowestoft #de ,whistler1 ,j4 ,mc,neill ,marine #fi ,wilkinson1 ,norman1 ,r4,i4 ,the ,wave #aja ,,illustrations ,,in ,,monotone ,allan1 ,robert ,w41 ,r4,w4,s4 ,off to the ,fishing ,grounds #hd ,allfree1 ,g4 ,s4 ,motor ,launches #abg ,bayes1 ,walter1 ,a4,r4,w4,s4 ,the ,red ,beach #aab ,brett1 ,john1 ,a4,r4,a4 ,from the ,dorsetshire ,cliffs #fg ,brooking1 ,charles ,the ,calm #ce ,brooks1 ,i4 ,w4 ,coast ,scene #abh ,coast ,scene #aca ,brown1 ,w4 ,marshall1 ,a4,r4,s4,a4 ,the ,sea #aji ,burgess1 ,arthur ,j4 ,w41 ,r4,i4 ,the ,watch that never ends #aaf ,the ,scarborough ,fleet #aag ,chambers1 ,george ,off ,portsmouth #eb ,cooke1 ,e4 ,w41 ,r4,a4 ,dutch ,boats in a ,calm #eh ,cotman1 ,john ,sell ,a ,galiot in a ,storm #dh ,cox1 ,e4 ,a41 ,r4,b4,a4 ,elizabeth ,castle1 ,channel ,islands #acd ,the ,good ,ship 8,rose ,elizabeth ,novey0 #ace ,crawford1 ,e4 ,t41 ,r4,s4,a4 ,closehauled1 ,crossing the ,bar #ei ,draper1 ,herbert ,flying ,fish #hg ,dyce1 ,william1 ,r4,a4 ,pegwell ,bay1 #aheh #eg ,emanuel1 ,frank ,l4 ,the ,ancient ,port of ,fques #acc ,everett1 ,john ,the ,deck of a ,tea-,clipper in the ,tropics #aah ,flint1 ,w4 ,russell1 ,r4,w4,s4 ,passing ,sails #ie ,hardy1 ,t4 ,b4 ,a ,change of ,wind3 ,boulogne ,harbour #gg ,hawksworth1 ,w4 ,t4 ,m41 ,r4,b4,a4 ,low ,water1 ,penzance #abe ,hayes1 ,edwin1 ,r4,h4,a41 ,r4,i4 ,sunset at ,sea3 from ,harlyn ,bay1 ,cornwall #fc ,hemy1 ,c4 ,napier1 ,r4,a41 ,r4,w4,s4 ,a ,boat ,adrift #gh ,holloway1 ,c4 ,e4 ,the ,wreck #fh ,hook1 ,j4 ,c41 ,r4,a4 ,the ,seaweed ,raker #ga ,hunter1 ,colin1 ,a4,r4,a4 ,farewell to ,skye #gc ,king1 ,cecil ,h4,m4,s4 8,wolsey0 in the ,ice at ,libau #ig ,regatta ,day at ,appledore #ih ,knight1 ,c4 ,parsons ,the ,kyles of ,bute #fe ,lindner1 ,moffat1 ,a4,r4,w4,s4 ,the ,storm-,cloud1 ,christchurch ,harbour #ia ,mc,bey1 ,james ,margate #aba ,mc,taggart1 ,william1 ,r4,s4,a4 ,the ,sounding ,sea #gd ,moore1 ,henry1 ,r4,a4 ,a ,break in the ,cloud #gb ,morland1 ,george ,fishermen ,hauling in a ,boat #cg ,mller1 ,william ,j4 ,dredging on the ,medway #fj ,murray1 ,sir ,david1 ,r4,a41 ,p4,r4,i41 ,a4,r4,s4,a4 ,the ,fiend's ,weather #hi ,olsson1 ,julius1 ,a4,r4,a4 ,the ,night ,wrack #aaj ,heavy ,weather in the ,channel #aaa ,pears1 ,charles ,the ,yacht ,race #aje ,the ,examination #ajf ,pyne1 ,j4 ,b4 ,totland ,bay #ea ,robertson1 ,tom ,where the ,somme meets the ,sea #ij ,smart1 ,r4 ,borlase1 ,r4,b4,a4 ,wet ,rocks1 ,st4 ,ives #abf ,smith1 ,hely1 ,r4,b4,a4 ,windbound #ajd ,somerscales1 ,thomas ,off ,valparaiso #hb ,before the ,gale #hc ,stanfield1 ,w4 ,clarkson1 ,r4,a4 ,the ,port of ,la ,rochelle #ec ,entrance to the ,zuider ,zee1 ,texel ,island #ed ,thomson of ,duddingston1 ,the ,rev4 ,john1 ,r4,s4,a4 ,fast ,castle #dg ,tollemache1 ,the ,hon4 ,duff ,storm on the ,cornish ,coast #aae ,tuke1 ,henry ,s41 ,r4,a41 ,r4,w4,s4 ,august ,blue #hh ,turner1 ,j4 ,m4 ,w41 ,r4,a4 ,the ,shipwreck #da ,the ,prince of ,orange landing at ,torbay1 ,november #e1 #afhh #db ,yacht ,racing in the ,solent #dc ,farne ,island #dd ,wilkinson1 ,norman1 ,r4,i4 ,etretat #ii ,plymouth ,harbour #ajj ,up ,channel #ajc ,williams1 ,terrick1 ,r4,i4 ,clouds over the ,sea1 ,holland #acb ,wilson1 ,john ,h41 ,r4,s4,a4 ,seapiece #ch ,wyllie1 ,w4 ,l41 ,r4,a4 ,blake's ,three ,days ,engagement with ,van ,tromp #ha ,,the ,,editor ,,desires ,,to ,,express ,,his ,,thanks ,,to ,,the ,,artists1 ,,collectors1 ,,and ,,the ,,authorities ,,of ,,public ,,galleries ,,who ,,have ,,kindly ,,assisted ,,him ,,in ,,the ,,preparation ,,of ,,this ,,volume ,,by ,,permitting ,,their ,,pictures ,,to ,,be ,,reproduced4 ,,their ,,names ,,appear ,,under ,,the ,,illustrations ,illustration3 8,a ,,breezy ,,day40 ,,by ,,henry ,,moore1 ,r4,a4 7,in the possession of the ,right ,hon4 ,lord ,leverhulme7 ,,british ,,marine ,,painting ,to most people it will seem quite natural that ,british artists should give much attention to marine painting4 ,the sea plays a very important part in our national affairs1 influences the character of the people1 and affects the political policy of the country1 so almost as a matter of course it has its place among the sources of inspiration for our native art4 ,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 necessity4 ,dutch artists have painted the sea and shipping and incidents in the life of the dwellers on the coast with skill and distinction2 there have been sea painters in ,denmark1 ,norway1 and ,sweden1 some in ,france1 a few in ,italy and ,spain2 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 account4 ,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 country4 ,a considerable proportion of our painters have been devoted students of nature1 and have occupied themselves with records of ,british scenery1 and of those subtle effects of atmosphere and illumination which are the product of the variable ,british climate4 ,responsive themselves to the charm of their surroundings1 they have catered for a public which appreciates the beauties of nature and likes to see them realized pictorially2 lovers themselves of the land in which they live1 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 reflected4 ,no record of ,british scenery could be complete1 and no appeal to ,british sentiment could be effective1 if our artists ignored the wide variety of subjects which the sea offers them4 ,for the sea is with us a tradition1 and the love of the sea is one of the strongest of our national instincts4 ,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 world2 it safeguards us against dangers to which other less fortunately situated countries are constantly exposed1 and yet it puts us directly in touch with even the most remote and apparently inaccessible peoples4 ,therefore we regard it naturally as a friendly influence in the lives of us all4 ,but we owe it a debt of gratitude also for the effect it has had upon our ,british art4 ,it is from our insular climate1 from the mists and moisture which the sea brings1 that those atmospheric qualities come which make the study of nature in the ,british ,isles such a never-ending delight4 ,it is the surrounding sea that encourages the rich growth of our vegetation1 and that gives to our landscape its wealth of detail and its ample variety of colour4 ,as the sea influences the manner of our national life1 so it influences the quality1 the sentiment1 and the method of our art1 helping us to build up a school which is insular in its merit and its expression1 and national in its feeling and its intention4 ,yet1 curiously enough1 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 beauties4 ,indeed1 at the beginning no attention was given to the study of open-air nature2 landscape painting was not attempted seriously1 and the study of atmospheric effects was generally disregarded4 ,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 art4 ,they worked for the glorification of their patrons1 to adorn the houses of the great1 or to prove themselves good sons of the ,church1 not to bring about the conversion of the people who were insensible to nature's charm4 ,it would be scarcely fair1 however1 to accuse the earlier ,british artists of insensibility because they worked in this manner within circumscribed limits2 they only followed1 after all1 what was the fashion of the schools in other countries4 ,in ,italy1 for instance1 during the splendours of the ,renaissance1 the study of landscape for its own sake was as little thought of as it was in ,great ,britain at the time of the ,tudors4 ,many of the ,italian masters introduced landscape backgrounds in their figure compositions1 but it was landscape of a formal and conventionalized kind1 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 story4 ,it was never landscape seen and set down as the motive of the painting2 at best it was only a sort of still life4 ,but in ,italy at that period the mission of the artist was very exactly defined1 and even if he had been inclined to escape from the limitations imposed upon his activities1 the custom of the time would have been too strong for him4 ,he was the servant of the great noble and the obedient assistant of the ,church1 he decorated palaces1 and he painted altar-pieces1 he recorded scenes from ancient or contemporary history1 and incidents in the lives of the saints4 ,neither the noble nor the churchman wanted from him studies of ,italian scenery1 or desired that he should show how he was impressed by the brightness of sunlight or by the glory of an evening sky4 ,the severest discouragement would have awaited him if he had attempted anything so unconventional2 he might even have incurred penalties as a man of unseemly and heterodox opinions4 ,for a long while ,british artists worked under restrictions hardly less rigid4 ,what was demanded of them they supplied1 but the demand that they should show to the public what nature is like was slow in coming4 ,word pictures of nature there were in plenty2 a chorus of poets extolled her charm1 but no one seemed to perceive that what they found so inspiring in their verse could be visualized and made apparent by the painters4 ,when ,herrick wrote3 8,i sing of brooks1 of blossoms1 birds1 and bowers1 ,of ,april1 ,may1 of ,june1 and ,july flowers0 ,british artists were looking to ,van ,dyck as their leader1 and were striving1 as he did1 to immortalize their contemporaries or to tell in paint purely human stories4 ,the brooks and blossoms1 birds and flowers did not claim their consideration or provide them with material for popular canvases1 and it did not occur to them to paint the groves and twilights1 the damasked meadows and the pebbly streams1 which ,herrick loved so well4 ,in fact1 it was not until the eighteenth century that the representation of landscape subjects began to be recognized as a legitimate sphere of artistic activity4 ,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 archological relics which were to be found in different parts of the country1 and accordingly it became the fashion to collect pictures of famous 8views0 and of ruined abbeys and other ancient buildings4 ,but in producing these pictures little scope was allowed to the artist for the exercise of his imagination or for the expression of any sthetic sentiment4 ,the more precise and careful he was in his statement of fact1 the more accurate his paintings were as portraits of the places or objects chosen1 the better were his clients satisfied4 ,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 fancy4 ,however1 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 realities4 ,a number of artists broke away from restrictions by which they felt themselves to be hampered1 and they found a considerable section of the public prepared to countenance them in their effort to attain freer and more significant expression4 ,they brought a new spirit into the art of the country1 a spirit of inquiry and investigation1 and they taught people to look more closely at nature's manifestations and to interest themselves intelligently in her elusive suggestions4 ,in other words1 they destroyed a convention which had been generally accepted1 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 was1 and how seriously it stood in the way of the right kind of development and progress4 ,the new school of landscape was deficient neither in enthusiasm nor energy4 ,men of marked originality and brilliant capacity rallied to it in large numbers1 and with the vigorous initiative of pioneers in a land of promise set to work to make their discoveries effective4 ,they wrested nature's secrets from her one by one1 secrets of colour1 secrets of illumination and light and shade1 secrets and mysteries of ever-changing atmospheric effect4 ,there were still 8views0 to paint1 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 manifested1 and in which the impression made upon him by the motive in its various aspects was appropriately summed up4 ,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 world1 and the most independent and progressive in its practice4 ,but1 even then1 few painters had realized the wonderful pictorial possibilities of the sea4 ,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 mood1 or it may be to gain experience in what was to them a novel kind of material4 ,probably in the eighteenth century an excursion to the coast was something of an adventure for men who lived inland2 facilities for travel were very limited1 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 home4 ,moreover1 his clients were mostly stay-at-home people1 too1 who knew the sea only as a sort of vague abstraction1 as something they had heard about1 but of which they had no personal knowledge1 and therefore their interest in it was too indefinite to be remunerative to him4 ,it was more to his advantage to paint the things they knew than to make them realize what seemed to them strange and surprising4 ,anyhow1 nearly all the earlier painters of marine subjects were men who had some particular reason for taking to this line of practice4 ,one of the first--,charles ,brooking1 who was born in #agbc--was brought up in ,deptford ,dockyard1 and as a not unnatural consequence acquired considerable skill in the representation of shipping and naval incidents4 ,during the latter part of his short life--he died at the age of thirty-six--he gave some instruction to ,dominic ,serres1 a ,frenchman by birth1 who was a foundation member of the ,royal ,academy and was appointed to the post of ,marine ,painter to the ,king4 ,serres had been a sailor1 and was captured by an ,english frigate in the war of #ageb when he was in command of a trading vessel2 he settled in this country1 and with ,brooking's assistance and a good deal of hard work on his own part became a painter of repute4 ,in his choice of the direction he followed in his art he was1 like ,brooking1 influenced by his earlier associations and by the desire to treat pictorially material with which he was thoroughly conversant4 ,another artist of this period who was almost exclusively a marine painter was ,nicholas ,pocock1 born in #agda4 ,he1 too1 had been at sea1 and had commanded a sailing vessel before he adopted the profession of painting4 ,yet another was ,john ,cleveley1 born #agde1 who is supposed to have been the son of a draughtsman in ,deptford ,dockyard1 and who in his youth held some post there himself2 and there was another ,cleveley1 ,robert by name1 born about the same time1 who gained distinction by his pictures of naval engagements4 ,he1 again1 had had previous experience at sea4 ,then there was ,clarkson ,stanfield1 born at ,sunderland in #agic1 who went to sea in his boyhood1 and was for a while in the ,navy1 until an accident cut short his career2 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 painter4 ,and to the list can be added ,george ,chambers1 born at ,whitby in #ahjc1 the son of a seaman1 and himself a sailor when he was not more than ten years old4 ,that men like these should have specialized in sea painting is not surprising4 ,it is evident1 by their later success as artists1 that they had the faculty of observation and the capacity to visualize their impressions1 and almost as a matter of course they were inclined to put into a pictorial form the matters with which they were so well acquainted4 ,the sea had become a part of their lives1 and of shipping they had an exact and technical knowledge2 and they were in touch with people who were no strangers to the sea1 and who in consequence demanded that it should be represented with fidelity and understanding4 ,everything combined to make them the leaders in a branch of practice which requires close and accurate insight1 and their works in the early days of the nature study development set a standard of accomplishment which was helpful in the highest degree2 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 coast4 ,the marine painters of our modern days who work with conscience and a love of completeness owe1 perhaps1 more than they realize to these predecessors of theirs who established the tradition of serious effort to get things right1 and who built this tradition upon first-hand knowledge4 ,but to some extent it is to the example of these specialists that must also be ascribed the skill in sea painting that1 as time went on1 was attained by many of their contemporaries who did not deal systematically with this class of subject4 ,the habitual landscape painter1 accustomed to fixed forms and effects that followed more or less regular rules1 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 intimately1 and if works by these men had not existed to provide him with the means of testing his own achievement4 ,for his own credit1 however1 he had to strive to compete with them in knowledge of the sea1 and had to measure an understanding of it acquired by deliberate and conscious effort against theirs which had been obtained by prolonged and personal contact2 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 handle4 ,therefore1 the adoption of a convention1 the inadequacy of which could have easily been demonstrated1 would have been a confession either of want of conscience or of deficient intelligence1 and would have reflected upon his claim to rank as an artist of distinction4 ,that is why at the end of the eighteenth century and the beginning of the nineteenth the number of men who1 without specializing in the subject1 painted the sea with undeniable ability1 had become considerable4 ,by that time artists were moving about much more freely in search of motives1 and many of them made frequent visits to the coast with the particular intention of mastering the problems of sea painting1 and of studying at first hand phases of nature which were to them comparatively new4 ,moreover1 the interest taken by the public in sea pictures had grown in a marked degree1 and there was a demand which the popular artist was called upon to satisfy4 ,so most of the landscape men alternated regularly between inland views and coast scenes1 and painted both with the same sincerity and the same strength of purpose4 ,constable1 ,david ,cox1 ,de ,wint1 ,copley ,fielding1 ,edward ,duncan1 ,j4 ,s4 ,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 productions2 and there was1 of course1 ,turner1 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 achievement4 ,turner was supreme because he1 and he only1 estimated at its full value the poetry and the majesty of the sea2 because he alone could grasp its immensity and its tragic strength and yet be exquisitely in sympathy with its smiling serenity and placid calm4 ,turner saw and understood the drama of the sea1 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 action4 ,but then1 ,turner had not only 8the eye of an eagle0--as ,ruskin said of him--he had1 too1 the gift of imagination by which realities are transmuted into poetic suggestion4 ,accuracy of detail and plain statement of fact were the foundations on which his art was built 7and no one made more sure of his facts or looked more closely into details71 but the superstructure he erected was designed and arranged to express his own large conception of his motive as a whole1 and to illustrate the workings of his own emotion4 ,therefore1 when he painted the sea it was the appeal that his subjects made to his imagination that directed and established the final result2 and how strong this appeal was can be judged from the amazing beauty and power of his accomplishment as a marine painter4 ,although it has been given to no other artist to rival or approach ,turner in mastery of accomplishment1 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 art1 the stimulus of ,turner's example must always be vividly felt by every true student of nature1 and especially by every one who aspires to paint marine subjects in the right manner4 ,for1 certainly1 the poetry of the sea and the drama of the sea are among the most salient of its characteristics1 and there is surrounding it an atmosphere of sentiment that must be sympathetically perceived4 ,a commonplace and matter-of-fact statement of wave forms would be about as worthless artistically as an architectural elevation of a mountain range1 and the more coldly and scientifically correct it was the less would it convey of the spirit of the sea4 ,the frame of mind in which the painter must assume his task must be akin to that of ,thomson when he wrote3 8,thou1 majestic main ,a secret world of wonders in thyself60 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 romance4 ,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 reveal2 every fresh discovery will open up to him new matters for investigation1 and suggest other lines of thought4 ,turner1 at all events1 never came to the conclusion that his knowledge of the sea was complete1 for to the end of his life he maintained the freshness and variety of his interpretation4 ,he gave to it1 year by year1 a deeper note of sentiment1 responding always more directly to the impression he received1 and eliminating everything that did not help in the attainment of his pictorial purpose4 ,detail at the last he almost entirely disregarded1 concentrating the whole of his attention upon the main effect by which temperamentally he was inspired2 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 care4 ,even in his slightest and1 seemingly1 most casual notes of the sea there was the subtlest accuracy of vision1 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 message4 ,never did he descend to a formula or use a set convention to gain his dramatic result4 ,it was partly for this reason that he stood so sublimely apart from his contemporaries2 he did not repeat himself1 while they were too often content to follow rules and to do over again things that they had discovered to be attractive to the public4 ,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 inspiration4 ,stanfield suggested well the movement and action of the sea and was sensitive to its atmosphere2 ,copley ,fielding saw and took the opportunities that the sea offered him for arranging graceful compositions and charming studies of light and shade1 and he1 too1 had a sound understanding of wave movement2 ,de ,wint and ,david ,cox1 both masterly students of nature1 painted the misty subtleties of the coast with masculine power and with the knowledge that comes only from prolonged and thoughtful observation2 and others not less observant showed that the pictorial possibilities of the sea had by no means escaped them4 ,but none of them arrived at ,turner's magnificent disregard of limitations or approached him in dramatic strength1 and certainly none of them had the courage to abandon1 as he did1 detailed reality for the sake of presenting a higher and more impressive truth4 ,indeed1 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 variation4 ,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 clear1 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 end4 ,paradoxically1 he left things out to gain a greater completeness of result1 and he departed from strict correctness to secure more absolute reality4 ,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 fault4 ,that is why ,turner's manner of representing the sea cannot be applied by lesser men4 ,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 fallen4 ,certainly to none of them has been granted his rare endowment of intimate vision and profound imagination2 certainly none has possessed that combination of exhaustive knowledge and perfect confidence which made him so consummately a master of his craft4 ,there have been in the recent past1 there are at work to-day1 artists who have studied the sea in the most sympathetic spirit and whose seriousness of effort deserves the highest praise1 artists whose accomplishment would be wholly satisfying if ,turner had not shown so brilliantly the greater possibilities of sea painting2 but theirs is a limited and specialized view beside that of their great predecessor4 ,it is as well1 however1 that they do not try to do too much4 ,to paint the abstract drama of the sea in the only way that can be made convincing1 the possession of a temperament is absolutely essential1 but this temperament must be schooled and disciplined by lifelong study or the drama will degenerate into incredible fantasy4 ,turner was temperamentally fitted to attempt the highest flights1 and with his perfect technical equipment nothing was beyond his reach4 ,other artists must be content to admire his poetic power without aspiring to rival it4 ,but1 after all1 honest1 well-educated1 serious prose is better than incoherent poetry1 no matter how well-intentioned that may be2 and certainly the prose of many of our modern sea painters is very good indeed--clear1 logical1 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 statement4 ,to illustrate the difference between these two types of sea painting the work of ,henry ,moore can appropriately be instanced4 ,he was1 next to ,turner1 the most learned and accomplished student of marine motives and the finest exponent of the facts of the sea whom any school has produced4 ,but beside the dramatic poetry of ,turner his art was prose1 fine prose1 persuasive and dignified1 but never rising into inspired fancy4 ,in other words1 he saw nobly and beautifully1 but ,turner saw and imagined as well1 and the more he saw the more splendidly did he use his imagination4 ,yet ,henry ,moore has indisputably his place among the masters because his art1 though not profoundly imaginative1 was as able in achievement as it was accurate in observation4 ,moreover1 he was acutely responsive to the sentiment of nature1 and interpreted her in her many moods with exquisite discretion4 ,frank and straightforward as his work always was1 it never lacked the direction of a sympathetic mind2 its strength was controlled by a singularly correct sense of artistic propriety and was never allowed to degenerate into mere display of executive cleverness4 ,certainly ,henry ,moore was a fine craftsman1 and was not hampered by technical difficulties in the practice of his art2 indeed1 one of the most salient characteristics of his pictures1 as we see them to-day1 is the confidence of the handling by which they are distinguished4 ,this confidence1 this directness of method1 was the outcome of a not less confident understanding of the material with which he was accustomed to deal4 ,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 correct4 ,wisely1 too 7not having the ,turner temperament71 he did not aim at possibilities which he honestly recognized as being beyond his reach4 ,facts and realities he could grasp1 subtle shades of fact and delicate variations of reality he could express with discriminating subtlety and sensitive delicacy1 but to conceive a vision in which actual nature would be turned into a gloriously fanciful abstraction was outside the range of his personality4 ,so he kept to the path which it was right that he should tread1 and made no excursions into strange places in the domain of art1 proving himself thereby a master of himself as well as of his art4 ,we have every reason to be grateful to him for his solid and well-balanced common sense4 ,henry ,moore as an imitator of ,turner1 following in the wake of a leader whom he could never overtake1 would have been a wasted force in art4 ,henry ,moore as a painter true to his own convictions1 striving earnestly to set before us his extraordinarily intimate view of the sea1 has established a standard against which the achievements of our modern sea painters can be measured most instructively1 and has pointed out the principles on which these painters must work if they are to justify their effort4 ,knowledge such as ,turner possessed is by its very vastness incomprehensible to the ordinary man2 but knowledge like that which ,henry ,moore gathered is possible to other artists1 though to few of them is given his capacity to express it1 and to fewer still his sureness of touch and his command of executive method4 ,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 fitness4 ,there are1 of course1 many ways of representing the sea pictorially--as a background or setting to some nautical incident2 as an accessory in a scene which has humanity for its main interest2 as a generalized scheme of colour or tone2 as a decorative motive with conventionalized forms2 or as a poetically indefinite fantasy in which nearly everything is left to the imagination of the beholder4 ,but the most scholarly and serious way--,henry ,moore's way--is to analyse and dissect2 to account for every variation in form and every changing gleam of colour2 to find the reasons for each of the many kinds of wave movement2 to learn the connexion between certain conditions of the weather and certain states of the sea2 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 consideration4 ,henry ,moore spared himself none of these exhaustive preparations and had the technical skill to make the outcome of them wholly attractive in artistic quality2 that is why he ranks as a master at whose feet it is good for the would-be sea painter to sit in all humility4 ,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 motive4 ,unthinking people are apt to say that sea paintings are monotonous because they lack incident and variety of subject1 because they are nothing but waves and sky1 but this objection implies an unobservant habit of mind4 ,henry ,moore did not repeat himself1 and among the most personal characteristics of his work was its breadth of outlook1 a breadth of outlook which was developed by his constant search for fresh impressions4 ,although he had not had1 like ,stanfield or ,chambers1 a professional connexion with the sea1 he was frequently afloat and always trying to enlarge his experience of his subject4 ,he had1 too1 the gift of very rapid technical expression which enabled him to set down what he saw while the impression was vividly in his mind1 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 statement4 ,this combination of instantaneous apprehension and unhesitating expression is1 indeed1 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 variety4 ,there is so much that must be done quickly1 there are such incessant changes of effect and condition1 that the deliberate worker1 thinking slowly and using his appliances unreadily1 is always in danger of being left with his intention unrealized4 ,he sees something that appeals to him as a good subject and he begins to study it in all seriousness2 but before he has grasped its meaning1 and before he has more than the first few careful touches on his canvas1 the effect that stirred him has gone1 and in its place there is something else that is surprisingly different4 ,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 despair4 ,possibly1 being a conscientious person1 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 practice2 or1 being less particular1 he builds up a pretty convention which will help him to turn out superficially attractive things that will please a none too critical public4 ,but in neither way is the great sea painter made1 the painter who can tell the story of the sea and convey to us its sentiment and its character4 ,what makes the problems of marine painting so complex is1 first of all1 the fact that the sea is never in absolute repose1 and therefore its surface forms are constantly undergoing some degree of change4 ,another difficulty is that the sea-water seems to vary in composition and consistency according to the conditions under which it is viewed2 at one time it is solid1 opaque1 ponderous1 and sombre in colour1 and at another it is light1 transparent and full of delicate tints4 ,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 effect2 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 restlessness4 ,most people1 indeed1 would hold that the cynical comment on womankind1 8,toujours femme varie1 souvent elle est folle10 could be applied with particular appropriateness to the sea1 so feminine is it in its charming irresponsibility4 ,yet the student of the sea can1 if he sets to work in the right way1 discover the sources of its irresponsibility and the reasons for its lapses into insanity4 ,he can dissect its forms and learn its anatomical construction1 and he can find out what regulates and determines its movements4 ,he can establish a direct agreement between the apparent texture of the sea and the bottom over which it flows1 as well as between its surface character and the nature of the weather4 ,and having dissected and analysed1 having investigated and arranged his discoveries in the proper order1 he can solve pictorial problems which ordinary men would count as puzzles to which there was no key4 ,with this knowledge at his disposal he would be able1 too1 to paint pictures which would show the sea as it is and as it can be1 not as an erratic and unaccountable phenomenon acting contrary to all natural laws1 which is the view given of it by the artists who are incautious enough to paint it without having learned its ways4 ,for instance1 the painter properly equipped would make the right distinction1 both in colour and wave form1 between the deep sea and that in shallow places2 between the transparency of waves breaking on a rocky coast and those on a sandy beach2 between the wave action in a tidal current moving with or against the wind2 or between the seas that are penned in a narrow channel and those that are running free in wide spaces4 ,these are elementary matters1 perhaps1 in the study of marine painting1 but elementary or not they are only too often misapprehended by the careless observer2 and they are typical of a host of others which are not less likely to become pitfalls for the unwary4 ,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 existence4 ,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 atmosphere2 another is to paint in a sea picture a sky that is in wrong relation to the wave movement4 ,both these errors arise from the failure of the painter to study his subject as a whole1 from his inexperience of what may be called the technical peculiarities of his material4 ,he has by him a sea note that seems worth treating on a more ambitious scale1 and he finds in his portfolio a sketch of a sky that composes nicely and is quite attractive in its general character2 so he mixes the two together and calls the compilation a marine painting4 ,but1 really1 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 8art0 photographer who prints his sky from one negative and his landscape from another2 or who grafts a studio-lighted figure on to a background photographed out of doors4 ,the sea painter must1 for the credit of art1 keep clear of such silly tricks and mechanical devices4 ,he must be logical both in his observations and in the use he makes of them1 and he must be consistent in his statement of the facts before him4 ,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 absurdity1 and it would be not less ridiculous to paint the full colours of sunlight in an atmosphere of mist and driving rain2 yet these things are done by artists from whom more regard for truth is to be expected4 ,lapses of this sort cannot be forgiven2 they imply a shirking of responsibility that is beyond excuse1 and a failure to grasp the first principles of nature study4 ,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 dictate1 and if they would recognize that it has its own anatomical structure by which its movements are controlled4 ,there is a reason for everything it does and there is a way of accounting for every aspect it assumes1 but the reason has to be sought for1 and the way to necessary knowledge must be pursued with painstaking effort4 ,there is no place in marine painting for the man who wants to take things easily4 ,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 drawing1 of colour and tone management1 of imitative suggestion1 and of technical application4 ,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 rocks1 some of which are submerged while others stand up above the surface1 the water clear and transparent and neither smooth nor much agitated4 ,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 sky1 and the movement of the small waves swinging towards the rocks and rebounding from them1 and eddying over the shallow places1 would make a pattern of lines and planes set at all sorts of angles4 ,to realize such a subject adequately an almost perfect balance of observation would be needed4 ,too much attention given to the under-water details would destroy the suggestion of the surface2 too much concentration on the surface lights and reflections would make the water seem opaque2 exaggeration of the lines and planes of the ripples would diminish the breadth of effect and alter the character of the subject4 ,the painter must perceive that this problem has many sides1 and that each one must receive exactly its right amount of consideration if the pictorial solution is to be correct2 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 truth4 ,to multiply such examples would be easy1 for there is no phase of sea painting in which difficulties do not abound4 ,it is difficult to paint a breaking wave1 to preserve its architectural quality of design and its appearance of massive strength1 and yet to show that it is a moving and momentary thing disappearing as quickly as it is formed4 ,it is difficult to represent the confusion of a stormy sea1 churned into foam and tossing in the wildest turmoil1 and yet to make intelligible the order and regularity of its movement and the right sequence of its changing forms4 ,it is as difficult to render the smoothness of calm1 quiet water without making it look solid and opaque1 dull and lifeless1 as it is to suggest the liveliness of a breezy day without lapsing into meaningless repetition and restless pattern-making4 ,every successful sea picture is a difficulty overcome and a problem solved1 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 knowledge4 ,probably that is why there have been comparatively few great sea painters2 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 art4 ,next in importance to the study of the sea itself comes the acquisition of a capacity to paint shipping1 the two do not necessarily go together4 ,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 water2 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 desired4 ,as a matter of fact1 a ship provides one of the severest tests of draughtsmanship2 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 powers4 ,moreover1 every ship has its own individuality1 a character peculiar to itself1 and to express this individuality as much analytical effort is needed as to draw the right distinction between the differing types of humanity4 ,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 intelligible1 and to slur over these details is a fatal mistake4 ,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 interesting4 ,the painter of shipping has1 too1 a very wide field to cover4 ,he has to range from the yacht to the warship1 from the liner to the rusty1 weather-beaten tramp2 he has to show how the lively movement of the sailing ship differs from the steady1 methodical progression of the steamer2 he has to understand the behaviour of all sorts of craft under all sorts of weather conditions2 and to make this varied assortment of knowledge intelligible in his pictures he has to depend almost entirely upon his powers of drawing4 ,by bad drawing he will not only miss the specific character of the ship1 but he will also fail to explain the part that this ship is intended to play in the story which his picture seeks to tell4 ,the introduction of shipping into a painting of the sea is usually to increase the dramatic strength of the subject1 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 accentuated4 ,unfortunately it is rather too easy to produce instances of the wrong handling of ships in sea pictures1 which otherwise are quite acceptable1 and of imperfect understanding of the action of vessels afloat4 ,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 composition4 ,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 it2 or they would put a ship so close to a gently shelving beach that there was an obvious and immediate danger of its running aground1 a position that would alarm even the boldest of sailors4 ,they were as a rule cheerfully ignorant of the intricacies of rigging and of the set of sails1 and occasionally they seemed to credit a ship with an uncanny power of progressing at full speed in the teeth of a stiff breeze4 ,all this resulted from inadequate study of technicalities that a seafaring man would treat as a matter of course--from insufficient acquaintance with things that1 after all1 scarcely came within the scope of a landsman's experience4 ,but the present-day painter is expected to be more precise2 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 account4 ,he has to face a more critical generation than his predecessors knew1 a generation which travels more and has much wider opportunities of acquiring knowledge of many subjects1 and he has to reckon with a familiarity with marine details that has become an eminently ,british characteristic4 ,picturesque improbabilities would not be left unquestioned now2 there would be scathing comments by nautical experts1 and even the ordinary man would not hesitate to voice his doubts4 ,perhaps we have grown a little pedantic in this demand for strict reality1 but1 all the same1 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 it4 ,even a piece of imaginative fantasy is none the worse for being based judiciously on solid fact4 ,beside the purely marine painting1 the picture that is concerned solely with the sea and ships that sail on it1 there is a place for the coast subject4 ,it is true that the coast scene is1 more often than not1 only a landscape into which the sea is introduced as a subsidiary interest1 but under this heading can be included also those views of harbours1 estuaries1 cliffs1 and beaches1 which many painters have treated with distinction of style and charm of sentiment4 ,yet even the coast scene in which the actual nearness of the sea is only suggested owes its character to the sea4 ,only the sea could have carved those cliffs into their impressive shapes1 or could have piled up those masses of huge rocks4 ,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 forms4 ,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 shelter4 ,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 objects4 ,the scent of the sea is in the air1 the sound of its waves is unceasing1 its influence is all about2 the coast is1 indeed1 but the subject of the sea and owes to it allegiance4 ,it is in this spirit1 unquestionably1 that many artists have painted the coast1 with a sense of the dominating power of the sea and a conscious acknowledgement of its influence4 ,they have appreciated the dramatic value of the persistent struggle between the sea and the land1 a struggle of which the evidences are not to be mistaken2 and they have felt the nature of the resistance which the land1 an unwilling subject1 offers to the encroachments of its tyrant4 ,even in pictures which represent the coast in its most peaceful moments1 when the sea ripples lazily round the rocks under the light of the summer sun1 the scars left by the assaults of waves driven by past storms cannot be concealed4 ,fragments torn from the cliffs strew the shore1 the wreckage of the land is heaped up waiting for the inevitable moment when the sea1 renewing its attack1 will swallow up what it has already half destroyed4 ,the note of tragedy is always present1 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 restraint4 ,the same kind of sentiment marks the picture of the harbour subject in which man's conflict with the sea is illustrated4 ,humanity is perpetually at war with the forces of nature1 and is always seeking to keep them in check1 with1 at best1 only partial success4 ,incessant watchfulness is necessary1 constant effort to repair what is as constantly wrecked and overthrown1 unwearying patience and unceasing toil4 ,often man sees something he has done blotted out utterly by nature's act1 and he has to start again and build up anew from the very beginning1 knowing as he builds that he is defying a power stronger than himself1 more patient than he is and more serenely confident of ultimate success4 ,yet he goes on with his work1 patching1 renewing1 rebuilding1 and fighting stubbornly every step forward or back4 ,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 sea1 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 storm4 ,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 on4 ,it is a story1 too1 with an appeal because it shows a phase of human endurance which deserves sympathy and respect1 sympathy for the difficulties encountered1 and respect for the way in which they have been overcome2 and it has its full measure of picturesqueness and artistic fitness by which its claim to serious treatment is amply justified4 ,indeed1 the paintings of the fringe and surrounding of the sea which have been produced by ,british artists uphold worthily the best traditions of our school2 they include much that proves indisputably the powers of our greater masters1 and certainly they are more numerous than the pictures of the open sea4 ,that this should be is scarcely surprising for1 after all1 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 material1 and to most men the combination of land and sea offers more attractive problems than the less-known waste of waters4 ,moreover1 there is a wider public for the coast scene 7and few artists can afford to disregard the popular demand71 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 afloat4 ,the purely marine subject seen intimately and interpreted finely offers opportunities for a higher type of achievement1 and in some respects calls for more concentrated study2 but where the land and sea meet there is a more obvious variety of pictorial suggestions and the touch of romantic sentiment is more apparent4 ,it is not given to many people1 artists or laymen1 to feel the profound mystery and the dramatic grandeur of the open sea2 there are plenty1 however1 who can sense the appeal of the broken and battered coast and find romance in the harbours and tidal inlets4 ,from a purely technical standpoint the coast picture is also more convenient than the painting of the open sea2 it is easier to compose satisfactorily and to arrange in proper order4 ,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 composition4 ,this technicality has evidently perplexed many sea painters1 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 forms1 or into the introduction of shipping where the subject was already too complicated to require an added interest4 ,such evasions of a difficulty by artificial means are1 however1 not to be defended1 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 disposal4 ,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 unsuited4 ,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 existence4 ,the sailors1 the fisher-folk1 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 illustrated4 ,they live picturesquely and they are admirably in harmony with their surroundings2 they work hard1 but in the freedom of the open air1 and they are not cramped within the walls of the shop or factory4 ,in their occupation there is always the spice of adventure and there are many moments of danger1 many tragic happenings1 and many incidents which test severely both mind and body4 ,but all this develops character and sets its stamp upon the seaman's personality1 marking with signs that cannot be mistaken his place in the community4 ,of the figure pictures by ,british artists which are popular to-day1 and for which continued appreciation can safely be prophesied1 a large number have for subject something that refers to the sea4 ,the ,north-,west ,passage1 by ,sir ,john ,millais1 is1 for instance1 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 race2 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 sea4 ,other pictures like the ,hon4 ,john ,collier's ,last ,voyage of ,henry ,hudson1 and ,h4 ,s4 ,tuke's ,all ,hands to the ,pumps1 give us full opportunity to judge the nature of the dangers to which seamen are exposed2 while others again1 like ,napier ,hemy's ,pilchards1 and ,colin ,hunter's ,their ,only ,harvest1 show us what kind of work occupies the fisher-folk and the other coast dwellers whose necessities the sea supplies4 ,another aspect of the subject is seen in ,tuke's ,august ,blue1 and ,c4 ,w4 ,wyllie's ,digging for ,bait1 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 forgotten4 ,these particular pictures are quoted because1 being all in a national collection1 they are accessible to every one and are permanently available to illustrate the varying relation of humanity with the sea4 ,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 contributions2 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 treatment2 and they mark the lines along which men who have the faculty of observation and a capacity for personal interpretation can travel to great accomplishment4 ,there is1 indeed1 hardly any kind of sentiment that does not1 in this connexion1 lend itself well to the artist's purpose3 tragedy1 domestic drama1 romance1 pure fantasy1 comedy even1 are all permissible1 and often a picture with the most attractive qualities can be made out of a plain statement of everyday facts1 so picturesque is the setting which the sea life provides for the people who lead it4 ,during recent years1 indeed1 many painters have established themselves by the sea with the express intention of seeking there material for important works1 and many others have paid long visits to our coasts for the sake of studying at close quarters the subjects which are so plentifully available2 and these men have not found it necessary to depart from strict reality to give interest and convincing strength to their pictures4 ,by being true to fact1 by recording faithfully what they saw around them1 they have added to ,british art much that is well worth possessing1 and they have proved that realism under suitable conditions is a factor of infinite value in pictorial production4 ,they have had ample scope for the exercise of their selective sense and for the use of their powers of observation1 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 preferences4 ,this is because the sea life is so abounding in action1 and because the people who lead it are of so many types and so unstereotyped in their ways1 that to the painter who works by the sea a constant succession of new motives is presented1 and motives1 too1 which by their picturesqueness and human interest satisfy completely the artistic demand4 ,clearly1 in marine painting there is no lack of opportunities4 ,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 powers4 ,if he aspires to conquer difficulties they are there in plenty1 difficulties which have to be met with courage and handled with discretion4 ,if he is content with simple tasks there are many which will occupy him agreeably and be well worth working out4 ,if he is a serious student of nature's manifestations they are set before him in profusion1 and the whole array of her mysteries is paraded for his instruction2 and if humanity is his subject1 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 achievements4 ,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 skill2 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 practice4 ,there is no place in marine painting for the man who1 taking the line of least resistance1 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 analysis4 ,an artist of this sort had better let the sea alone and choose something simpler and less abounding with pitfalls for his inexperience4 ,,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 application4 ,examples belonging to different periods have been included to show what have been the changes and developments during a term of nearly two hundred years1 and what has been the nature of the appeal of the sea to men of widely differing temperaments4 ,the conventional arrangement1 the poetic transcription of fact1 the realistic study1 the decorative interpretation1 and the frank expression of the modern idea are all presented and are available for intelligent comparison4 ,the capabilities1 too1 of marine painting are made clear1 and the extent of opportunity it affords to the serious student of art4 ,there are illustrations which have a specially instructive significance because of the technical knowledge of the subject displayed in them2 there are others which are interesting on account of their imaginative quality2 and there are others again which reveal the inspiration of the sea life and reflect the spirit by which it is guided4 ,all these have their part in the record of ,british marine painting1 and are both valuable historically and worthy of consideration for artistic reasons4 ,rightly1 an early place in this record must be assigned to ,charles ,brooking1 because in his works can be seen for the first time the clear intention to study marine subjects with a perception of their inherent characteristics4 ,brooking's intimate knowledge of shipping1 acquired during his early days at ,deptford ,dockyard1 is plainly shown in such a picture as ,the ,calm 7p4 #ce71 which has an attractive truth and precision of statement4 ,it is a matter for much regret that his early death should have cut short a career which was so full of promise1 and in which he accomplished so much that deserves to be remembered2 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 subject4 ,other men carried on ably the tradition he had established1 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 them4 ,within half a century of his death he had many successors1 some of whom were true sea painters1 though1 perhaps1 the majority were landscape men who included the sea in their study of nature's manifestations1 and only turned to it1 more or less frequently1 in the intervals of their more usual work4 ,yet in this latter class were counted some of the greatest ,british masters whose achievements rank among the best by which our school is distinguished4 ,to the company of these masters certainly belongs ,george ,morland1 the erratic genius who1 ranging over a wide field of subjects1 found that the sea was often one of the most helpful sources of his inspiration4 ,his coast scenes--of which the ,fishermen ,hauling in a ,boat 7p4 #cg7 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 attention4 ,morland1 however1 did not paint marine pictures so frequently as his contemporary1 ,john ,wilson1 who was a consistent student of the sea and lived for some years at ,folkestone4 ,his capacity can scarcely be questioned4 ,the picture reproduced 7p4 #ch7 has a very modern freshness of manner and shows exceptional knowledge of wave movement and atmospheric subtleties1 and though there is in it something of the convention of the period1 it certainly conveys the sentiment of nature4 ,another master who made many digressions into sea painting was ,constable2 a number of sea and coast pictures are included among his more memorable performances4 ,his ,chesil ,beach 7p4 #ci7 has the better qualities of his art1 its strength and sincerity1 its robust directness1 and its sense of rightly estimated reality4 ,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 authority2 and it bears decisively the stamp of the artist's personality4 ,even more personal both in point of view and in manner of interpretation are the pictures by ,turner1 that greatest of all painters of the sea4 ,no one but ,turner could have attained such a height of dramatic power as is reached in ,lowestoft 7p4 #de71 and ,the ,shipwreck 7p4 #da71 in which the majesty and the tragedy of the sea are expressed with overwhelming strength4 ,only a supreme master could have kept conception and execution in such perfect relation1 or could be so vehement in conviction without lapsing into bombast4 ,but ,turner was a master without a peer1 and in these two pictures--and the extraordinarily suggestive and mysterious ,farne ,island 7p4 #dd7--;he is seen to rare advantage4 ,yet he was not less evidently a master when he chose to deal with less ambitious material1 when he painted subjects like the ,yacht ,racing in the ,solent 7p4 #dc71 and ,the ,prince of ,orange ,landing at ,torbay 7p4 #db71 in which no tragic note was needed1 and no greater problem was presented than the expression of the breezy freshness of a restless sea4 ,always1 the acuteness of his vision1 the depth of his understanding1 and the consummate certainty of his method can be realized1 whatever may have been his mood or his intention4 ,beside ,turner1 ,john ,thomson of ,duddingston can be assigned but a minor place2 yet1 amateur though he was1 he cannot be passed over as unworthy to be reckoned among the more accomplished of the earlier sea painters4 ,minister of a church in ,scotland1 he was able to practise his art only in the intervals of his clerical duties1 but as can be judged from his ,fast ,castle 7p4 #dg7 he had real ability and much command of technical processes4 ,he belongs to a period of great importance in ,british art1 a period which produced not only ,turner and ,constable1 but other masters of high rank1 two of whom1 ,cotman and ,david ,cox1 painted marine pictures frequently and treated them with delightful sympathy4 ,cotman's broad1 dignified method is well seen in ,a ,galiot in a ,storm 7p4 #dh71 a composition finely designed and convincing in its large simplicity2 and ,david ,cox's exquisite perception of beauties of atmospheric effect is rarely better evidenced than in his delicate and luminous ,calais ,pier 7p4 #di71 a study of sea and sky which can be unreservedly praised for its sensitiveness and truth4 ,it is as rightly seen as it is attractively painted4 ,there is much less freedom and spontaneity in ,pyne's ,totland ,bay 7p4 #ea71 and yet this picture has a scholarly quality that entitles it to respect1 though it is a little too formal and conscious4 ,but at the beginning of the nineteenth century there was a fashion for elegant formality1 and ,pyne was1 perhaps1 induced to follow this fashion by his study of ,italian scenery4 ,as a sea painter he can scarcely be compared with ,george ,chambers and ,clarkson ,stanfield1 who were of the same date1 and both of whom had much professional experience of the sea before they became artists4 ,chambers drew shipping with admirable accuracy--there is ample proof of this in his picture1 ,off ,portsmouth 7p4 #eb7--;and knew the ways of the sea intimately2 ,stanfield was also an excellent draughtsman1 but on the whole was more artificial than ,chambers4 ,both men were for some while successful scene painters1 and in ,stanfield's work particularly the influence of the theatre is apparent2 there is an obvious scenic quality in such pictures as the ,entrance to the ,zuyder ,zee 7p4 #ed7 and ,the ,port of ,la ,rochelle 7p4 #ec72 and his ,coast ,scene 7p4 #ee7 is planned and composed with the scene-painter's feeling for construction and distribution of detail4 ,but1 despite the theatrical atmosphere of his art1 ,stanfield's achievements are not to be despised1 because the foundation of them was sound and the knowledge he displayed in them was acquired at first hand4 ,dyce's ,pegwell ,bay 7p4 #eg7 is interesting for two reasons1 as a digression by a successful figure painter into open-air work1 and as an illustration of the influence exercised by the ,pre-,raphaelite movement upon the painters of the time4 ,it is an extraordinary piece of precise statement1 photographic in its accuracy1 and is painted with a careful regard for reality that deserves recognition4 ,indeed1 its simple honesty makes it of more account than such a picture as ,cooke's ,dutch ,boats in a ,calm 7p4 #eh71 which1 capable though it is1 has more than a suspicion of artificiality2 or than ,e4 ,t4 ,crawford's ,closehauled1 ,crossing the ,bar 7p4 #ei71 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 composition4 ,there is artificiality1 too1 in the design of ,mller's ,dredging on the ,medway 7p4 #fj71 but it is more cleverly disguised1 and the handling is more accomplished4 ,all three of these men1 however1 contributed something to the sequence of paintings which stands to the credit of the ,british school1 and all were serious observers of the sea4 ,so1 too1 was ,copley ,fielding1 though other subject-matter than the sea engaged much of his attention4 ,but he spent a good deal of his time on the coast and used his opportunities there with considerable discretion4 ,as a result his sea paintings have a sympathetic quality that is undeniably persuasive1 and they derive an additional charm from their dexterity of brushwork and from their pleasant management of colour and tone4 ,the ,coast ,scene 7p4 #fa7 represents him well2 it is an eminently skilful technical exercise1 and it conveys correctly an impression of gathering storm and of the force of a rising wind4 ,the suggestion1 also1 of cold1 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 effect4 ,from ,copley ,fielding to ,edwin ,hayes is a wide step--a jump from the methods of the past to those of the present day4 ,yet in actual time the two men were not so widely separated1 for ,hayes was born some while before ,fielding died1 and counted several of the earlier ,british masters among his older contemporaries4 ,fielding1 however1 was brought up in a tradition which had a strong hold upon the painters who were working at the beginning of the nineteenth century1 and he made no real effort to break away from it1 though in his interpretation of it he was1 in some respects1 less narrow than his fellows4 ,but the formula influenced him as it did nearly all the other men of that date1 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 persistently4 ,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 convention4 ,to its dominance is due the general similarity which can be perceived between the works of ,john ,wilson1 ,chambers1 ,crawford1 and ,mller1 here illustrated1 and which could be followed out in many other pictures by the lesser painters of the time--a similarity which was neither accidental nor unconscious1 but directly induced by adherence to what were held to be the correct principles of picture designing4 ,moreover1 there seems to have been a belief then that a painting of the sea must have some added interest to assure it of popularity1 for a sea without shipping prominently placed upon it was hardly ever attempted2 an incident was almost always introduced or a story suggested4 ,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 mission4 ,to some extent he came under it in his youth1 but he was naturally responsive to new ideas and kept pace with the more modern developments4 ,anyhow1 in his ,sunset at ,sea 7p4 #fc7 there is no hint of the old convention1 and there is no trace of the belief that an added interest was required to make a sea picture attractive4 ,he was content to give faithfully his impression of the sea as it appeared before him1 to tell no story save nature's own1 and to take for his incident the gleam of sunlight upon tossing waves stirred into movement by the wind--a poor subject1 perhaps1 according to the old standards1 but one which to-day appeals to us as admirably satisfying and essentially complete4 ,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 matters4 ,that is why so much material of the most varied character is available now for the illustration of this branch of pictorial production1 and why so many artists seek in it opportunities for the display of their capacities4 ,they can approach it from the point of view that suits them best1 they can interpret what they find there in the way that seems to them most appropriate1 and they can1 if their study is sincere1 get most closely into touch with nature's secrets4 ,one entirely legitimate point of view is given adequate demonstration in the two pictures1 ,the ,kyles of ,bute by ,c4 ,parsons ,knight 7p4 #fe71 and ,from the ,dorsetshire ,cliffs by ,john ,brett 7p4 #fg74 ,both pictures are records1 plain and uncompromising statements of fact1 and in neither of them is anything unaccounted for or any detail left for the imagination of the spectator to supply4 ,frankly1 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 effort2 and undeniably both painters have justified themselves by the thoroughness with which they have carried out this intention4 ,yet to many people so much labour to prove the sincerity of the artist would seem to be unnecessary and to savour somewhat of pedantry2 knowledge so lavishly displayed--and with such scrupulous regard for accuracy--is not always persuasive4 ,but such pictures have every right to exist1 and there is a place for them in art4 ,so there is1 too1 for conceptions of such a totally different type as ,the ,wreck by ,c4 ,e4 ,holloway 7p4 #fh71 and the ,marine by ,whistler 7p4 #fi74 ,these go to the opposite extreme1 eliminating detail1 avoiding precise and careful explanations1 conceding nothing to the unimaginative man who can only believe what is made perfectly clear to his limited vision4 ,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 worth4 ,holloway's painting is1 in fact1 only a rapid note in which he has visualized a momentary impression1 but visualized it so surely that he has been able to make other people see just what he himself saw in the subject4 ,whistler's ,marine is an impression1 too1 a summary of movement and wave action2 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 admitted4 ,by the painter's skill the formality of the design has been cleverly concealed1 and by the spontaneity of his method the deliberate processes of his art are kept from being too apparent2 but formality and deliberation have both contributed to the successful evolution of a very significant picture4 ,quite a different kind of sentiment pervades ,hook's vigorous canvas1 ,the ,seaweed ,raker 7p4 #ga74 ,he was not concerned with subtleties of suggestion or with problems of decorative adjustment1 but with the robust representation of nature's ruggedness1 and there was a simple honesty in his virile1 forcible work4 ,he understood the sea1 and though he looked at it in rather a literal way he never made his paintings of it commonplace4 ,partly this was due1 no doubt1 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 life4 ,that ,hook was one of the greatest of ,british marine painters can fairly be claimed4 ,but greater still was ,henry ,moore1 greater because his insight was even more acute and because1 while he equalled ,hook in robustness1 he used his powers with more reserve4 ,he was a finer colourist1 a truer judge of tone relations1 and more sensitive to refinements of atmospheric effect2 and as an executant he had a lighter and more flexible touch4 ,a lifelong painter of the open air1 he began to study the sea almost at the outset of his career1 and for some years alternated between landscapes and marine pictures1 but eventually devoted himself almost exclusively to the branch of practice in which1 as he plainly proved1 he was without a serious rival4 ,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 expansiveness1 and of the recession of the surface of the sea to the far horizon4 ,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 distance1 and in the treatment of clouds not as a background but as an overhanging canopy in true perspective2 and both this and the ,break in the ,cloud 7p4 #gb7 show most clearly the certainty with which he could draw the form of different kinds of waves and give to them their proper movement4 ,and all this he did without appearance of labour and without exaggerated display of technical facility1 but invariably with the quiet confidence that comes from exact and well-tried knowledge4 ,colin ,hunter's ,farewell to ,skye 7p4 #gc7 seems1 somehow1 to have about it a touch of sentimentality and to be lacking in force4 ,perhaps this impression comes partly from the title1 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 darks4 ,but as a study of a picturesque coast scene the picture is pleasing1 and as a note of an effect of evening illumination it has much merit4 ,it represents well an artist who possessed his full share of the ,scottish feeling for romance and whose methods were sound1 and it can justly claim a place among the more popular of modern marine paintings4 ,there is a place1 too1 for ,w4 ,mc,taggart's ,sounding ,sea 7p4 #gd71 a picture very different in inspiration and technical manner and yet as definitely expressive of the ,scottish temperament4 ,like all ,mc,taggart's works1 it arrests attention by the strength of its personal conviction and by the characteristic method of handling that he has employed1 and to this attention it is fully entitled4 ,frank ,brangwyn's ,in ,port 7p4 #ge7 has a story to tell1 the story of a voyage ended and of the safe arrival of a homeward-bound ship4 ,the artist has not embroidered his subject with any touches of fancy2 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 quay4 ,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 heritage4 ,it is1 perhaps1 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 occurrence2 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 rendered4 ,of course1 as a painter he is exceptionally distinguished1 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 canvas4 ,in this instance the combination of nautical experience and high artistic ability has been productive of unusually satisfying results4 ,it is questionable whether to ,t4 ,b4 ,hardy has as yet been assigned the position among ,british artists which is due to him on account of the merit of his work4 ,a prolific and popular painter he possibly spread his energies over too wide a field and fell into the habit of over-production4 ,but in his best pictures he reached a very high level of accomplishment1 and as a sea painter he was especially successful4 ,a ,change of ,wind1 ,boulogne ,harbour 7p4 #gg71 which has been chosen to represent him1 ranks among the best things of its class1 on account of its accuracy of observation and its powerful realization1 not only of the action of the sea1 but of the weather conditions1 too1 by which this action was induced4 ,in design the picture is to some degree a reversion to an earlier type1 but in spirit and manner of execution it is essentially a modern effort1 and brings a past tradition logically up to date4 ,napier ,hemy's ,boat ,adrift 7p4 #gh7 owes none of its inspiration to the older sea painters1 or at all events to none earlier than ,hook4 ,there is a hint of ,hook's robustness and solid realism1 but the character and quality of the handling1 the constructive sense1 and the observation of the lift and sweep of the waves are all ,hemy's own4 ,he took his subject far too seriously to depend upon any one else for his inspiration1 and he studied it afloat under all aspects and in all sorts of weather1 not as a landsman who limited himself to what he could see from the shore4 ,his thoroughness had its full reward1 for it is by his marine paintings that his reputation as one of our leading artists has been established1 though in his early days he was a figure painter and made some success with landscape as well4 ,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 7p4 #gi74 ,he has found something here well worth recording1 an effect of warm evening light over still waters which ripple gently on a flat beach1 a subject full of colour and delicate aerial suggestion4 ,he has interpreted it with tenderness and sympathy1 but without descending into mere prettiness1 and without losing the strength of the subject4 ,a picture so happily conceived deserves the sincerest welcome4 ,an entirely different class of work is exemplified in ,w4 ,l4 ,wyllie's ambitious composition1 ,blake's ,three ,days ,engagement with ,van ,tromp 7p4 #ha74 ,this is neither a simple piece of nature nor a representation of a normal incident in our modern life1 but an imaginative reconstruction of an historical scene4 ,to build it up a vast amount of research and consultation of authorities were needed1 to carry it out convincingly a very thorough acquaintance with the sea was indispensable--both conditions have been excellently satisfied by the artist4 ,his picture is entirely credible3 he makes us believe that he has put before us what actually happened1 and he treats the whole motive with a seamanlike understanding that clears it of all suspicion of artificiality4 ,compositions of this type were popular a century ago1 when the sea painters had opportunities to witness such picturesque1 yard-arm to yard-arm naval actions2 the sea-fights of to-day do not lend themselves so well to the artist's purposes4 ,a good deal of the drama must inevitably be lost when miles of water intervene between the opposing fleets4 ,a sailor's acquaintance with the sea gives a particular point to the work of ,thomas ,somerscales4 ,his pictures1 ,off ,valparaiso 7p4 #hb7 and ,before the ,gale 7p4 #hc71 have an unpretentious reality that can be accepted in perfect good faith4 ,they are distinguished by an unusual straightforwardness1 and by a simplicity of manner and method that is curiously effective2 and they tell us1 because they are so simple and straightforward1 more about the sea than we can learn from paintings which are much fuller of detail and accessory incident4 ,r4 ,w4 ,allan's ,off to the ,fishing ,grounds 7p4 #hd71 and ,c4 ,w4 ,simpson's ,landing ,fish 7p4 #he71 have to do with life in home waters instead of the adventuring of ocean-going ships1 but they are none the less interesting on that account4 ,in the first picture1 indeed1 the chance of working out a very agreeable line composition has been used by the artist with the best of judgment1 and he has entered thoroughly into the spirit of his subject4 ,in the ,landing ,fish1 a good illustration is given of the way in which a perfectly literal statement of a scene1 for which almost any fishing-port would provide a setting1 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 eyes4 ,there are few occupations carried on so picturesquely as that of the fisherman or among surroundings so full of varied pictorial possibilities2 and there are fewer still which offer so many picture subjects ready-made4 ,to turn from works such as these to ,herbert ,draper's ,flying ,fish 7p4 #hg71 is to change abruptly from fact to fancy1 from a frank rendering of things as they are to a fantastic suggestion of something that never existed save in the artist's imagination4 ,but the realities of the deep often seem so fantastic1 even to the people who have had long experience of them1 that the artist may surely be forgiven for building upon them fancies of his own4 ,indeed1 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 existence2 and by the artist's skill she is presented as a very pleasing embodiment of the spirit of the sea--sportive1 irresponsible1 and ruthless too1 but beautiful and intensely alive4 ,it is not good for us to be always material-minded and matter-of-fact1 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 myth4 ,there is nothing either mythical or fantastic about ,h4 ,s4 ,tuke's ,august ,blue 7p4 #hh72 on the contrary it is a purely realistic painting of a most ordinary subject--some boys bathing from a boat on a calm sunlit sea4 ,but out of this quite ordinary material he has built up a picture with an exceptional degree of dignity1 largely felt1 and with a kind of classic distinction of manner4 ,but there is in it no coldness or want of human interest2 it is living1 animated1 and essentially of to-day1 and wholly right in its fresh1 unforced naturalism4 ,easy1 fluent draughtsmanship and strength of design help to make it a memorable exercise in descriptive painting4 ,the next three pictures1 ,sir ,david ,murray's ,the ,fiend's ,weather 7p4 #hi71 ,where the ,somme meets the ,sea1 by ,tom ,robertson 7p4 #ij71 and ,moffat ,lindner's ,the ,storm-,cloud1 ,christchurch ,harbour 7p4 #ia71 provide a sufficiently striking contrast in effects of atmosphere4 ,the first suggests the turmoil of a gathering storm1 threatening ruin and destruction to everything in its path and sweeping irresistibly over land and sea4 ,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 ways1 even when she is in one of her most perverse moods4 ,the second picture finds her at her gentlest moment1 exquisitely calm and peaceful and perfectly in repose2 the third at a time when beneath her smile lies a threat1 and when almost without warning a sudden outburst may break the quiet of a summer evening4 ,all three paintings deserve attention1 for they represent artists who are prominent amongst us to-day and whose work is with justice widely appreciated4 ,another painter who handles coast subjects with notable ability is ,w4 ,russell ,flint4 ,his two water-colours1 ,the ,fane ,islands 7p4 #ic7 and ,passing ,sails 7p4 #ie71 have a breadth and distinction of manner and a brilliant directness of brushwork that can be unreservedly admired4 ,his simplified method of dealing with nature's facts is very effective1 as it gives plainly the real essentials without any labouring of detail and without diverting attention from the things that he wishes to emphasize4 ,it has a decorative value1 too1 and adds a quality of style to his work4 ,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 accomplishment4 ,cecil ,king's delightful ,regatta ,day at ,appledore 7p4 #ih7 has to do with the lighter side of sea life1 and his ,h4,m4,s4 8,wolsey0 7p4 #ig7 with matters much more serious4 ,the ,regatta ,day1 as its subject befits1 is a lively and brightly treated study1 full of incident1 and attractively irresponsible in composition4 ,it has both power and originality1 and it puts beyond question his capabilities as a draughtsman because it presents a difficult problem in perspective which he has solved most happily4 ,but much of its charm comes from the holiday spirit in which it is conceived and carried out4 ,the ,h4,m4,s4 8,wolsey0 is more sober1 and conveys well the idea of the grim simplicity of the practical fighting machine built for use1 not ornament4 ,norman ,wilkinson is a versatile artist who does many things well1 and who yields to no one at the present time in knowledge of the pictorial chances which the sea provides4 ,he is shown here under more than one aspect--as a painter of interesting realities in his panoramic ,plymouth ,harbour 7p4 #ajj71 as a very acute student of wave movement in ,up ,channel 7p4 #ajc7 and ,the ,wave 7p4 #aja71 and as a maker of rapid and suggestive notes in his sketch ,etretat 7p4 #ii74 ,of these examples the most arresting in many ways is ,the ,wave2 it has such an unusual amount of vitality1 it is so seriously observed and yet so free and unlaboured1 and it is so correct not only in action but also in matters of lighting and reflection and of colour variation as well4 ,this is an instance of the happy alliance of the science and the art of marine painting to bring about a perfectly balanced result4 ,windbound 7p4 #ajd71 by ,hely ,smith1 and ,the ,needles 7p4 #ajg71 by ,charles ,pears1 are inshore studies1 notes of incidents which1 though they are undramatic1 lend themselves well to the painters' purposes4 ,the ,needles1 with its sense of breeziness and of the rough-and-tumble of a tide-race1 is a picture that excites a distinctly pleasurable emotion1 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 colour4 ,the other two pictures by ,charles ,pears1 ,the ,examination 7p4 #ajf7 and ,the ,yacht ,race 7p4 #aje71 make a contrast of grave and gay--a contrast between the dark moments of war and the happy times of peace4 ,neither ,w4 ,marshall ,brown in ,the ,sea 7p4 #aji71 nor ,julius ,olsson in ,the ,night ,wrack 7p4 #aaj7 and ,heavy ,weather in the ,channel 7p4 #aaa71 seek to make their pictures more attractive by adding to them any subsidiary incident4 ,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 sea1 and the sea alone4 ,but both of them have found stirring subjects1 impressively strong and calling for a particular decisiveness of method1 and both have proved fully equal to the occasion4 ,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 ,channel1 which has really monumental breadth and dignity4 ,between these powerful paintings and those of the ,hon4 ,duff ,tollemache and ,a4 ,j4 ,w4 ,burgess1 which have a similar sthetic intention1 come in the sequence of the illustrations two very interesting works of ,walter ,bayes1 ,the ,timid ,bather 7p4 #aac7 and ,the ,red ,beach 7p4 #aab74 ,these make an intelligent compromise between realism and abstract decoration2 they are designs worked out with a sound idea of pattern-making and in accordance with a pre-conceived scheme of arrangement1 but the details of which they are composed have been studied from nature with serious and observant vision4 ,they are fancies with a solid foundation of fact1 while ,the ,watch that ,never ,ends 7p4 #aaf7 and ,the ,scarborough ,fleet 7p4 #aag71 by ,burgess1 and the ,storm on the ,cornish ,coast 7p4 #aae71 by ,tollemache1 are pure fact all through1 and fact stated with well-justified confidence4 ,a decorative purpose is very definitely apparent in ,john ,everett's ,deck of a ,tea-,clipper in the ,tropics 7p4 #aah7 and ,breakers 7p4 #aai71 but this purpose has been fulfilled with excellent judgment and eminently good taste4 ,there is an obvious formality in both pictures1 and yet this formality does not detract from their charm--indeed1 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 colour4 ,two absolutely opposed points of view are illustrated in ,the ,wave 7p4 #abc71 by ,nevinson1 and ,margate 7p4 #aba71 by ,james ,mc,bey4 ,the ,wave is an exposition of a modern theory of pictorial expression2 it is set forth with unhesitating clearness of manner and method1 and allows the artist's attitude to be estimated at its full value4 ,in such a series as this it fittingly has its place because it presents an aspect of marine painting that has to be considered4 ,the ,margate sketch1 like ,w4 ,t4 ,m4 ,hawksworth's clever ,low ,water1 ,penzance 7p4 #abe71 and the ,wet ,rocks1 ,st4 ,ives1 by ,r4 ,borlase ,smart 7p4 #abf71 is frankly naturalistic1 professing to be nothing more than a plain record of things as they are1 and propounding no new theories about the development and evolution of art4 ,its spontaneous delicacy of handling is one of its most evident merits4 ,motor ,launches1 by ,g4 ,s4 ,allfree 7p4 #abg71 is an example of a type of work which seeks to combine actuality and fantasy in carefully studied proportion1 and to produce by this combination something that will be more significant than an absolutely imitative transcription of nature4 ,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 suggestion4 ,when this method is employed with sane understanding--and with the necessary touch of imagination--it has excellent results4 ,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 audacious4 ,yet another phase of modern thought in art influences the work of ,i4 ,w4 ,brooks1 whose desire is not so much to tell a story or to hold the mirror up to nature as to produce an ornamental abstraction4 ,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 7p4 #abi71 which has a most agreeable restfulness and decorative balance and is inspired by a feeling of serious reality4 ,when he is more explicit in his processes he arrives at results like the two coast scenes 7pp4 #abh and #aca71 which have the arbitrary expression of a ,japanese print and go as far in their elimination of everything save the fundamentals of the design4 ,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 beauty4 ,a number of notable paintings of marine subjects stand to the credit of ,terrick ,williams1 who has for some years past devoted himself to this branch of art with conspicuous success4 ,some idea of the grace and delicacy of his work can be obtained from the example shown1 ,clouds over the ,sea1 ,holland 7p4 #acb72 but naturally it does not reveal the character of his colour4 ,as a colourist he is more than ordinarily endowed1 he has the real colour emotion1 and it is always delightfully in evidence in everything he does1 and always it is controlled by an unerring taste4 ,he has1 too1 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 inclines4 ,his right to a place among the chief of the ,british marine painters of the present day is indisputable4 ,the last two artists on the list are very unlike one another1 so this series of illustrations ends with an effective contrast of styles4 ,the picture by ,frank ,emanuel differs widely in intention and manner from those by ,e4 ,a4 ,cox4 ,the ,ancient ,port of ,fques 7p4 #acc7 shows affinities both in style and manner with the early nineteenth-century sea painters and follows their tradition in composition and light-and-shade arrangement4 ,still1 the artist has chosen good material and has made skilful use of it4 ,the other painter1 ,e4 ,a4 ,cox 7pp4 #acd and #ace71 is a decorator with a faculty for seeing things largely1 and for setting them down confidently4 ,his use of broad1 flat tones is most effective1 and the vigorous precision of his drawing gives a convincing quality to his performances4 ,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 training4 ,a4 ,l4 ,,baldry ,illustration3 8,,the ,,calm40 ,,by ,,charles ,,brooking ,photo1 ,mansell 7,in the ,national ,gallery1 ,london7 ,illustration3 8,,fishermen ,,hauling ,,in ,a ,,boat40 ,,by ,,george ,,morland ,photo1 ,mansell 7,in the ,victoria and ,albert ,museum1 ,london7 ,illustration3 8,,seapiece40 ,,by ,,john ,h4 ,,wilson1 ,r4,s4,a4 7,in the possession of ,messrs4 ,arthur ,tooth ,sons7 ,illustration3 8,,chesil ,,beach40 ,,by ,,john ,,constable1 ,r4,a4 7,in the possession of ,john ,levy1 ,esq41 ,new ,york7 ,illustration3 8,,the ,,shipwreck40 ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 ,photo1 ,mansell 7,in the ,national ,gallery of ,british ,art1 ,london7 ,illustration3 8,,the ,,prince ,,of ,,orange ,,landing ,,at ,,torbay ,,november #e1 #afhh40 ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 ,photo1 ,mansell 7,in the ,national ,gallery of ,british ,art1 ,london7 ,illustration3 8,,yacht ,,racing ,,in ,,the ,,solent40 ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 ,photo1 ,mansell 7,in the ,national ,gallery of ,british ,art1 ,london7 ,illustration3 8,,farne ,,island40 ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 7,in the ,collection at ,barbizon ,house7 ,illustration3 8,,lowestoft40 ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a4 7,in the possession of ,r4 ,w4 ,lloyd1 ,esq47 ,illustration3 8,,fast ,,castle40 ,,by ,,the ,,rev4 ,,john ,,thomson ,,of ,,duddingston1 ,r4,s4,a4 7,in the ,collection at ,barbizon ,house7 ,illustration3 8,a ,,galiot ,,in ,a ,,storm0 ,,by ,,john ,,sell ,,cotman ,photo ,woodbury ,co4 7,in the ,national ,gallery1 ,london7 ,illustration3 8,,calais ,,pier40 ,,by ,,david ,,cox 7,in the possession of ,messrs4 ,thos4 ,agnew ,sons7 ,illustration3 ,photo1 ,mansell 7,in the ,national ,gallery of ,british ,art1 ,london7 8,,totland ,,bay40 ,,by ,j4 ,b4 ,,pyne ,illustration3 7,in the possession of ,a4 ,t4 ,hollingsworth1 ,esq47 8,,off ,,portsmouth40 ,,by ,,george ,,chambers ,illustration3 7,in the possession of ,messrs4 ,arthur ,tooth ,sons7 8,,the ,,port ,,of ,,la ,,rochelle40 ,,by ,w4 ,,clarkson ,,stanfield1 ,r4,a4 ,illustration3 ,photo1 ,mansell 8,,entrance ,,to ,,the ,,zuyder ,,zee1 ,,texel ,,island0 ,,by ,w4 ,,clarkson ,,stanfield1 ,r4,a4 7,in the ,national ,gallery of ,british ,art1 ,london7 ,illustration3 7,in the possession of ,messrs4 ,thos4 ,agnew ,sons7 8,,coast ,,scene40 ,,by ,w4 ,,clarkson ,,stanfield1 ,r4,a4 ,illustration3 ,photo1 ,mansell 7,in the ,national ,gallery of ,british ,art1 ,london7 8,,pegwell ,,bay1 #aheh40 ,,by ,,william ,,dyce1 ,r4,a4 ,illustration3 ,photo1 ,mansell 7,in the ,national ,gallery of ,british ,art1 ,london7 8,,dutch ,,boats ,,in ,a ,,calm40 ,,by ,e4 ,w4 ,,cooke1 ,r4,a4 ,illustration3 ,photo1 ,annan 7,in the ,national ,gallery of ,scotland1 ,edinburgh7 8,,closehauled1 ,,crossing ,,the ,,bar40 ,,by ,e4 ,t4 ,,crawford1 ,r4,s4,a4 ,illustration3 ,photo1 ,mansell 7,in the ,national ,gallery of ,british ,art1 ,london7 8,,dredging ,,on ,,the ,,medway40 ,,by ,,william ,j4 ,m,,ller ,illustration3 7,in the possession of ,messrs4 ,arthur ,tooth ,sons7 8,,coast ,,scene40 ,,by ,,copley ,,fielding ,illustration3 ,photo1 ,mansell 7,in the ,national ,gallery of ,british ,art1 ,london7 8,,sunset ,,at ,,sea3 ,,from ,,harlyn ,,bay1 ,,cornwall40 ,,by ,,edwin ,,hayes1 ,r4,h4,a41 ,r4,i4 ,illustration3 ,photo1 ,mansell 7,in the ,national ,gallery of ,british ,art1 ,london7 8,,the ,,kyles ,,of ,,bute40 ,,by ,c4 ,,parsons ,,knight ,illustration3 ,photo1 ,mansell 7,in the ,national ,gallery of ,british ,art1 ,london7 8,,from ,,the ,,dorsetshire ,,cliffs40 ,,by ,,john ,,brett1 ,a4,r4,a4 ,illustration3 7,in the possession of ,messrs4 ,william ,marchant ,co47 8,,the ,,wreck40 ,,by ,c4 ,e4 ,,holloway ,illustration3 7,in the possession of ,mrs4 ,lewis ,hind7 8,,marine40 ,,by ,j4 ,mc,n,e,i,l,l ,,whistler ,illustration3 ,photo1 ,mansell 7,in the ,national ,gallery of ,british ,art1 ,london7 8,,the ,,seaweed ,,raker40 ,,by ,j4 ,c4 ,,hook1 ,r4,a4 ,illustration3 7,in the possession of ,messrs4 ,arthur ,tooth ,sons7 8,a ,,break ,,in ,,the ,,cloud40 ,,by ,,henry ,,moore1 ,r4,a4 ,illustration3 ,photo1 ,annan 7,in the ,corporation ,art ,gallery1 ,glasgow7 8,,farewell ,,to ,,skye40 ,,by ,,colin ,,hunter1 ,a4,r4,a ,illustration3 7,by permission of ,messrs4 ,j4 ,maclehose ,sons1 ,publishers of ,mr4 ,james ,l4 ,caw's 8,william ,mc,taggart1 ,r4,s4,a407 8,,the ,,sounding ,,sea40 ,,by ,,william ,mc,t,a,g,g,a,r,t1 ,r4,s4,a4 ,illustration3 7,in the possession of ,mr4 ,john ,a4 ,cooling7 8,,in ,,port40 ,,by ,,frank ,,brangwyn1 ,r4,a4 ,illustration3 ,photo1 ,mansell 7,by permission of the ,leeds ,art ,gallery ,committee7 8,a ,,change ,,of ,,wind3 ,,boulogne ,,harbour40 ,,by ,t4 ,b4 ,,hardy ,illustration3 ,photo1 ,mansell 7,by permission of the ,oldham ,art ,gallery ,committee7 8,a ,,boat ,,adrift40 ,,by ,c4 ,,napier ,,hemy1 ,r4,a41 ,r4,w4,s4 ,illustration3 8,,evening40 ,,the ,,coast ,,of ,,spain ,,from ,,tangier4 ,,by ,,sir ,,john ,,lavery1 ,a4,r4,a41 ,r4,s4,a4 ,illustration3 8,,blake',s ,,three ,,days ,,engagement ,,with ,,van ,,tromp40 ,,by ,w4 ,l4 ,,wyllie1 ,r4,a4 ,illustration3 ,photo1 ,mansell 7,in the ,national ,gallery of ,british ,art1 ,london7 8,,off ,,valparaiso40 ,,by ,,thomas ,,somerscales ,illustration3 8,,before ,,the ,,gale40 ,,by ,,thomas ,,somerscales ,illustration3 8,,off ,,to ,,the ,,fishing ,,grounds40 ,,by ,,robert ,w4 ,,allan1 ,r4,w4,s4 ,illustration3 8,,landing ,,fish40 ,,by ,,charles ,w4 ,,simpson1 ,r4,i41 ,r4,b4,a4 ,illustration3 8,,flying ,,fish40 ,,by ,,herbert ,,draper ,illustration3 ,photo1 ,mansell 7,in the ,national ,gallery of ,british ,art1 ,london7 8,,august ,,blue40 ,,by ,,henry ,s4 ,,tuke1 ,r4,a41 ,r4,w4,s4 ,illustration3 8,,the ,,fiend',s ,,weather40 ,,by ,,sir ,,david ,,murray1 ,r4,a41 ,p4,r4,i41 ,a4,r4,s4,a4 ,illustration3 8,,where ,,the ,,somme ,,meets ,,the ,,sea0 ,,by ,,tom ,,robertson ,illustration3 7,in the possession of the ,barcelona ,corporation7 8,,the ,,storm-,,cloud1 ,,christchurch ,,harbour0 ,,by ,,moffat ,,lindner1 ,a4,r4,w4,s4 ,illustration3 7,in the possession of ,the ,fine ,art ,society7 8,,the ,,fane ,,islands40 ,,by ,w4 ,,russell ,,flint1 ,r4,w4,s4 ,illustration3 7,in the possession of ,the ,fine ,art ,society7 8,,passing ,,sails40 ,,by ,w4 ,,russell ,,flint1 ,r4,w4,s4 ,illustration3 7,by permission of the ,imperial ,war ,museum7 8,h4,m4,s4 #8,,wolsey' ,,in ,,the ,,ice ,,at ,,libau40 ,,by ,,cecil ,,king ,illustration3 8,,regatta ,,day ,,at ,,appledore40 ,,by ,,cecil ,,king ,illustration3 8,,etretat40 ,,by ,,norman ,,wilkinson1 ,r4,i4 ,illustration3 8,,plymouth ,,harbour40 ,,by ,,norman ,,wilkinson1 ,r4,i4 ,illustration3 8,,the ,,wave40 ,,by ,,norman ,,wilkinson1 ,r4,i4 ,illustration3 8,,up ,,channel40 ,,by ,,norman ,,wilkinson1 ,r4,i4 ,illustration3 8,,windbound40 ,,by ,,hely ,,smith1 ,r4,b4,a ,illustration3 8,,the ,,yacht ,,race40 ,,by ,,charles ,,pears ,illustration3 8,,the ,,examination40 ,,by ,,charles ,,pears ,illustration3 8,,the ,,needles40 ,,by ,,charles ,,pears ,illustration3 8,,the ,,sea40 ,,by ,w4 ,,marshall ,,brown1 ,a4,r4,s4,a4 ,illustration3 8,,the ,,night ,,wrack40 ,,by ,,julius ,,olsson1 ,a4,r4,a4 ,illustration3 8,,heavy ,,weather ,,in ,,the ,,channel40 ,,by ,,julius ,,olsson1 ,a4,r4,a4 ,illustration3 8,,the ,,red ,,beach40 ,,by ,,walter ,,bayes1 ,a4,r4,w4,s4 ,illustration3 8,,the ,,timid ,,bather40 ,,by ,,walter ,,bayes1 ,a4,r4,w4,s4 ,illustration3 8,,storm ,,on ,,the ,,cornish ,,coast40 ,,by ,,the ,,hon4 ,,duff ,,tollemache ,illustration3 7,in the possession of ,capt4 ,w4 ,n4 ,mc,clean7 8,,the ,,watch ,,that ,,never ,,ends40 ,,by ,,arthur ,j4 ,w4 ,,burgess1 ,r4,i4 ,illustration3 8,,the ,,scarborough ,,fleet40 ,,by ,,arthur ,j4 ,w4 ,,burgess1 ,r4,i4 ,illustration3 8,,the ,,deck ,,of ,a ,,tea-,,clipper ,,in ,,the ,,tropics40 ,,by ,,john ,,everett ,illustration3 8,,breakers40 ,,by ,,john ,,everett ,illustration3 8,,margate40 ,,by ,,james ,mc,b,e,y ,illustration3 7,in the possession of ,messrs ,ernest ,brown ,phillips1 ,the ,leicester ,galleries7 8,,the ,,wave40 ,,by ,c4 ,r4 ,w4 ,,nevinson ,illustration3 8,,low ,,water1 ,,penzance40 ,,by ,w4 ,t4 ,m4 ,,hawksworth1 ,r4,b4,a4 ,illustration3 8,,wet ,,rocks1 ,,st4 ,,ives40 ,,by ,r4 ,,borlase ,,smart1 ,r4,b4,a4 ,illustration3 7,by permission of the ,imperial ,war ,museum7 8,,motor ,,launches0 ,,by ,g4 ,s4 ,,allfree ,illustration3 8,,coast ,,scene40 ,,by ,i4 ,w4 ,,brooks ,illustration3 8,,in ,,cymyran ,,bay40 ,,by ,i4 ,w4 ,,brooks ,illustration3 8,,coast ,,scene40 ,,by ,i4 ,w4 ,,brooks ,illustration3 8,,clouds ,,over ,,the ,,sea1 ,,holland0 ,,by ,,terrick ,,williams1 ,r4,i4 ,illustration3 8,,the ,,ancient ,,port ,,of ,f,,ques0 ,,by ,,frank ,l4 ,,emanuel ,illustration3 8,,elizabeth ,,castle1 ,,channel ,,islands0 ,,by ,e4 ,a4 ,,cox1 ,r4,b4,a4 ,illustration3 7,in the possession of ,h4 ,a4 ,lay1 ,esq47 8,,the ,,good ,,ship #8,,rose ,,elizabeth ,,novey4'0 ,,by ,e4 ,a4 ,,cox1 ,r4,b4,a4