Kaikista John Fraser's teoksista 'Defender' in the Atlantic (1910) on tunnetuin; se on esillä Torre Abbey Historic House And Gardens -museossa, kaupungissa Torquay. Heti perässä tulevat Low Tide, Whitstable Harbour, Kent (1885) ja Chain Pier, Brighton, East Sussex (1883). John Fraserin 60 teoksen joukosta nämä 60 ovat kuuluisimpia; jokaisesta on esitetty päivämäärä, museo ja tarina.
Sijoitus perustuu suosiotulokseemme, joka yhdistää kunkin teoksen hakuja, vierailuja ja tilauksia. Päivitetty lokakuu 2026. Jokainen tämän sivun maalauksista on tilattavissa joko käsin maalatun öljyreproduktiona pellavalle tai valitun kokoisena taideprinttinä.
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.
John Fraserin ”Neliö sisällä neliöstä II” – Minimalistinen käsintehty kehikko John Fraserin vuonna 2002 valmistunut ”Neliö sisällä neliöstä II” on kiehtova esimerkki yksinkertaisen kauneuden ja tarkkaan harkitun teknisen…
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Nämä neljä aihetta toistuvat näissä maalauksissa useimmin, ja jokaisesta on esitetty suosituin esimerkki.
Tämän sivun teoksista eniten sisältävät 5 museota.
| Museo | Kaupunki | John Fraser teokset | Tämän listan maalaukset |
|---|---|---|---|
 National Maritime Museum |
Lontoo | 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 | Neliö sisällä neliöstä II |
 Royal College of Music Museum |
London | 1 | Costume design for Miss Bentson in Lakme by Delibes |
Vuosien 1881 ja 1885 välillä, yhteensä 5 vuotta, John Fraser -taiteilijan päivätyt kankaat kertovat lyhyen tarinan: tässä se on, vuosi vuodelta.
'Defender' in the Atlantic (1910), Torre Abbey Historic House And Gardens, Torquay. Seuraavina ovat Low Tide, Whitstable Harbour, Kent (1885) ja 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 ja A Lifeboat. Jokaisessa yllä olevassa sijoituksessa olevassa kankaassa on ilmoitettu sen vuosi ja museo.
Luettelossamme on 60 teosta taiteilijalta John Fraser, aikaväliltä 1881–1885.
Pääasiassa kohteissa National Maritime Museum (Lontoo), Torre Abbey Historic House And Gardens (Torquay) ja Walker Art Gallery (Liverpool); yllä oleva lista nimeää jokaisen museon ja sen teokset.
Aikakaudella 1885, jolta on 2 tästä sivusta löytyvää 60 teoksesta, joukossa on Low Tide, Whitstable Harbour, Kent.
Varhaisin tässä kokoelmassa oleva kangas on On the Moray Firth (1881); uusin on Low Tide, Whitstable Harbour, Kent (1885).
Ocean (3), Tranquility (3) ja Water (2), yhteensä 60 teosta tällä sivulla.
Impressionism ja Realism, kuten tämän sivun teokset osoittavat.
National Maritime Museum, Lontoo -museossa on 24 tämän sivun teoksista, mukaan lukien A Large Sloop Yacht and a Barge, A Zeppelin Raid, 8 October 1915 ja A Lifeboat, c.1920.
Kyllä. Jokainen tämän sivun maalauksista voidaan tilata omalta sivultaan joko käsin maalatun öljyreprodusktion tai taideprintinina valitsemassasi koossa.
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.
