من بين جميع لوحات John Fraser، تُعد 'Defender' in the Atlantic (1910) هي الأكثر شهرة؛ وهي معروضة في Torre Abbey Historic House And Gardens، Torquay. ويأتي في المرتبة التالية كل من Low Tide, Whitstable Harbour, Kent (1885) و Chain Pier, Brighton, East Sussex (1883). من بين 60 من أعمال John Fraser في كتالوجنا، تُعد هذه 60 الأعمال هي الأكثر شهرة، حيث نُعرض كل واحدة منها مع تاريخها، والمتحف الذي تنتمي إليه، وقصتها.
تُصنف الأعمال بناءً على درجة شعبيتنا، التي تجمع بين عمليات البحث والزيارات والطلبات لكل عمل فني. تم التحديث في أكتوبر 2026. يمكن طلب كل لوحة في هذه الصفحة كنسخة زيتية مرسومة يدوياً على قماش كتان، أو كطباعة فنية فاخرة بالمقاس الذي تختاره.
A large sailboat with three sails occupies the center of a vast, blue expanse. The vessel floats amidst the open ocean, isolated from any visible land or human presence. The composition focuses entirely on the boat, which remains the singular point of interest against the surrounding waters. The scene is characterized by a sense of stillness and calm, capturing a moment of quietude on the Atlantic.
إطار خشبي مربع داخل مربع ثانية لـ جون فرASER تعتبر لوحة إطار خشبي مربع داخل مربع ثانية للفنان الأمريكي جون فرASER تحفة فنية تجسد أسلوبًا فريدًا في عالم…
اطلب هذه اللوحة →
المواضيع الأربعة الأكثر تكراراً في هذه اللوحات، مع تقديم أفضل الأمثلة لكل منها.
المتاحف الـ 5 التي تضم أكبر عدد من اللوحات الموجودة في هذه الصفحة.
| المتحف | المدينة | أعمال John Fraser | لوحات من هذه القائمة |
|---|---|---|---|
 National Maritime Museum |
لندن | 24 | A Large Sloop Yacht and a Barge, A Zeppelin Raid, 8 October 1915, A Lifeboat, c.1920 |
 Torre Abbey Historic House And Gardens |
Torquay | 1 | 'Defender' in the Atlantic |
 Walker Art Gallery |
ليفربول | 1 | On the Moray Firth |
 McNay Art Museum |
سان أنطونيو | 1 | مربع داخل مربع ثانية |
 Royal College of Music Museum |
London | 1 | Costume design for Miss Bentson in Lakme by Delibes |
من 1881 إلى 1885، عبر 5 عاماً، تروي لوحات John Fraser المؤرخة قصة موجزة: إليكم تفاصيلها، عاماً تلو الآخر.
'Defender' in the Atlantic (1910)، Torre Abbey Historic House And Gardens, Torquay. يليهما Low Tide, Whitstable Harbour, Kent (1885) وChain Pier, Brighton, East Sussex (1883).
'Defender' in the Atlantic, Low Tide, Whitstable Harbour, Kent, Chain Pier, Brighton, East Sussex, Low Tide, Whitstable Harbour, Kent, On the Moray Firth, Hulks off Portsmouth, From the Leas, A Large Sloop Yacht and a Barge, A Large Sloop Yacht and a Barge و A Lifeboat. ترفق مع كل لوحة في التصنيف أعلاه سنة رسمها والمتحف الذي تنتمي إليه.
يوجد في كتالوجنا 60 من أعمال John Fraser، وتتراوح تواريخها من 1881 إلى 1885.
توجد معظمها في National Maritime Museum (لندن), Torre Abbey Historic House And Gardens (Torquay) و Walker Art Gallery (ليفربول)؛ وتدرج القائمة أعلاه كل متحف ولوحاته.
في 1885، التي قدمت 2 من أصل 60 من الأعمال في هذه الصفحة، كان هناك Low Tide, Whitstable Harbour, Kent من بينها.
أقدم لوحة قماشية هنا هي On the Moray Firth (1881)؛ وأحدثها هي Low Tide, Whitstable Harbour, Kent (1885).
Ocean (3), Tranquility (3) و Water (2)، عبر 60 من الأعمال في هذه الصفحة.
Impressionism و Realism، كما تظهر اللوحات في هذه الصفحة.
يضم National Maritime Museum, لندن عدد 24 من الأعمال المعروضة في هذه الصفحة، من بينها A Large Sloop Yacht and a Barge, A Zeppelin Raid, 8 October 1915 و A Lifeboat, c.1920.
نعم. يمكن طلب كل لوحة في هذه الصفحة من صفحتها الخاصة، سواء كنسخة زيتية مرسومة يدوياً، أو كمطبوعة فنية فاخرة، وذلك بالمقاس الذي تختارونه.
John Arthur Fraser began his days in London, England, born on January 9th, 1838. His father, a tailor from Portsoy, Scotland, carried the political weight of the Chartist movement into their home, while his maternal grandparents had settled in Stanstead, Lower Canada, years earlier. By the time Fraser reached his twenties, he moved to Montreal, finding work as a decorative painter. It was here, in 1860, that his path crossed with William Notman. He joined Notman’s firm not merely as an artist, but as a specialist in color printing. His hands worked on the edges of photography, tinting portraits and adding watercolor washes to photographic paper to create depth and life.
This period in Montreal shaped his eye for detail. Working within the art department of a major photographic studio required a disciplined way of seeing. He learned to translate the flat reality of a negative into something with atmosphere. Alongside assistants like Henry Sandham, he helped produce cartes-de-visite and cabinet photographs that carried his subtle touches of color. His work was often about what could be added to a captured moment—a soft sky or a textured landscape behind a seated subject.
As the Canadian Pacific Railway pushed its tracks toward the mountains, Fraser found himself documenting the changing terrain. He took on commissions that placed him in the heart of the wilderness, from Banff to Jasper National Park. These were not mere sketches; they were records of a landscape being opened to the world. His paintings of the Rockies, such as Fishing Camp, the Rockies, captured the heavy presence of mountains like Mt. Carroll. He used a precise brush to note the way light hit a granite face or how shadows pooled in a mountain pass.
His style grew from these observations. While his roots were in the meticulous realism required for photographic tinting, he began to use color with a lightness that suggested the influence of Impressionism. He focused on the clarity of the air and the specific hues of the Canadian woods and waterways. His landscapes often moved between the heavy textures of oil on canvas and the translucent layers of watercolor, always seeking to capture the actual light of the Eastern Townships or the New Hampshire forests.
Fraser’s presence was felt in the very structures of the Canadian art community. He did not just paint; he helped build the organizations that supported others. His name is tied to several foundational groups:
In 1868, he moved to Toronto, eventually opening the firm Notman and Fraser. This business venture combined his entrepreneurial spirit with his technical skill. Even as he moved through cities like Boston and New York, his subjects remained tied to the North American landscape. He died in New York City on January 1st, 1898, leaving behind a body of work that documented the physical and cultural expansion of a young nation through the lens of both the brush and the camera.
