Van alle schilderijen van John Fraser is 'Defender' in the Atlantic (1910) het bekendst; het hangt in het Torre Abbey Historic House And Gardens in Torquay. Direct daarna volgen Low Tide, Whitstable Harbour, Kent (1885) en Chain Pier, Brighton, East Sussex (1883). Van de 60 werken van John Fraser in onze catalogus zijn dit de 60 meest gevierde werken, elk getoond met de datum, het museum en het verhaal erachter.
Gerangschikt op basis van onze populariteitsscore, die de zoekopdrachten, bezoeken en bestellingen voor elk werk combineert. Bijgewerkt in oktober 2026. Elk schilderij op deze pagina kan worden besteld als een handgeschilderde oliereductie op linnen canvas, of als een fine art print, uitgevoerd in de door u gekozen afmeting.
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.
Een Gebroken Raster van Licht en Textuur: Een Analyse van ‘Square Within Square II’ door John Fraser ‘Square within Square II’, geschilderd in 2002 door de Amerikaanse kunstenaar…
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De vier onderwerpen die het meest voorkomen op deze doeken, elk met zijn meest geliefde voorbeeld.
De 5 musea met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van John Fraser | Schilderijen uit deze lijst |
|---|---|---|---|
 National Maritime Museum |
Londen | 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 | Kwadrat binnen Kwadrat II |
 Royal College of Music Museum |
London | 1 | Costume design for Miss Bentson in Lakme by Delibes |
Van 1881 tot 1885, in totaal 5 jaar, vertellen de gedateerde doeken van John Fraser een kort verhaal: hier is het, jaar voor jaar.
'Defender' in the Atlantic (1910), Torre Abbey Historic House And Gardens, Torquay. Low Tide, Whitstable Harbour, Kent (1885) en Chain Pier, Brighton, East Sussex (1883) volgen.
'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 en A Lifeboat. Elk canvas in de bovenstaande ranglijst is voorzien van het jaartal en het museum.
60 werken van John Fraser zijn opgenomen in onze catalogus, gedateerd van 1881 tot 1885.
Voornamelijk in National Maritime Museum (Londen), Torre Abbey Historic House And Gardens (Torquay) en Walker Art Gallery (Liverpool); de bovenstaande lijst vermeldt elk museum en de bijbehorende doeken.
In 1885, die 2 van de 60 werken op deze pagina vertegenwoordigt, waaronder Low Tide, Whitstable Harbour, Kent.
Het oudste canvas hier is On the Moray Firth (1881); het nieuwste is Low Tide, Whitstable Harbour, Kent (1885).
Ocean (3), Tranquility (3) en Water (2), verspreid over de 60 werken op deze pagina.
Impressionism en Realism, zoals de doeken op deze pagina laten zien.
Het National Maritime Museum, Londen herbergt 24 van de werken op deze pagina, waaronder A Large Sloop Yacht and a Barge, A Zeppelin Raid, 8 October 1915 en A Lifeboat, c.1920.
Ja. Elk schilderij op deze pagina kan via de eigen pagina worden besteld als een handgeschilderd olieverfreproductie, of als een fine art print, in de door u gekozen afmeting.
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.
