Z všech obrazů autora John Fraser je nejznámější dílo 'Defender' in the Atlantic (1910); visí v Torre Abbey Historic House And Gardens, Torquay. Hned za nimi následují Low Tide, Whitstable Harbour, Kent (1885) a Chain Pier, Brighton, East Sussex (1883). Z 60 děl umělce John Fraser v našem katalogu je těchto 60 nejuznávanějších, z nichž každé je uvedeno s datem vzniku, muzeem a příběhem.
Seřazeno podle našeho skóre popularity, které kombinuje počet vyhledávání, návštěv a objednávek u každého díla. Aktualizováno říjen 2026. Každý obraz na této stránce lze objednat jako ručně malovanou olejovou reprodukci na lněném plátně, nebo jako umělecký tisk vyrobený v požadovaném rozměru.
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.
Česká analýza díla „Kvádr uvnitř kvádru II“ od Johna Frasera John Fraser (Američan narozený 1952) působí v různých uměleckých disciplínách – kreslení, malováním, sochou a fotografiemi. Jeho MFA…
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Čtyři témata, která se na těchto plátnech nejčastěji objevují, každé s jedním z jejich nejoblíbenějších příkladů.
5 muzea, v nichž je umístěno nejvíce obrazů z této stránky.
| Muzea | Město | Díla autora John Fraser | Obrazy z tohoto seznamu |
|---|---|---|---|
 National Maritime Museum |
Londýn | 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 |
Liverpool | 1 | On the Moray Firth |
 McNay Art Museum |
San Antonio | 1 | Čtverec uvnitř čtverece II |
 Royal College of Music Museum |
London | 1 | Costume design for Miss Bentson in Lakme by Delibes |
Od 1881 do 1885, celkem 5 let, plátna s datováním od John Fraser vyprávějí krátký příběh: zde je on, rok po roce.
'Defender' in the Atlantic (1910), Torre Abbey Historic House And Gardens, Torquay. Následují Low Tide, Whitstable Harbour, Kent (1885) a Chain 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 a A Lifeboat. U každého plátna v uvedeném žebříčku je uveden rok jeho vzniku a muzeum, ve kterém se nachází.
V našem katalogu je 60 děl umělce John Fraser, datovaných od 1881 do 1885.
Většinou v National Maritime Museum (Londýn), Torre Abbey Historic House And Gardens (Torquay) a Walker Art Gallery (Liverpool); výše uvedený seznam obsahuje názvy jednotlivých muzeí a jejich pláten.
V období 1885, které tvoří 2 z 60 děl na této stránce, mezi nimi i Low Tide, Whitstable Harbour, Kent.
Nejstarší plátno se zde datuje do On the Moray Firth (1881); nejnovější je z Low Tide, Whitstable Harbour, Kent (1885).
Ocean (3), Tranquility (3) a Water (2) napříč 60 díly na této stránce.
Impressionism a Realism, jak dokazují plátna na této stránce.
Muzeum National Maritime Museum, Londýn se vlastní 24 děl z této stránky, mezi nimiž jsou i A Large Sloop Yacht and a Barge, A Zeppelin Raid, 8 October 1915 a A Lifeboat, c.1920.
Ano. Každý obraz na této stránce lze objednat z jeho vlastní stránky jako ručně malovanou olejovou reprodukci nebo jako umělecký tisk v požadovaném rozměru.
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.
