Spośród wszystkich obrazów John Fraser, najbardziej znanym jest 'Defender' in the Atlantic (1910); znajduje się on w Torre Abbey Historic House And Gardens w Torquay. Tuż za nimi plasują się Low Tide, Whitstable Harbour, Kent (1885) oraz Chain Pier, Brighton, East Sussex (1883). Spośród 60 dzieł John Fraser w naszym katalogu, tych 60 jest najbardziej znanych – każde z nich zostało przedstawione wraz z datą powstania, muzeum oraz historią.
Ranking oparty na naszym wskaźniku popularności, który łączy liczbę wyszukiwań, wizyt oraz zamówień dla każdego dzieła. Aktualizacja: Październik 2026. Każdy obraz na tej stronie można zamówić jako ręcznie malowaną reprodukcję olejną na płótnie lnianym lub jako wysokiej jakości wydruk artystyczny, wykonany w wybranym przez Ciebie formacie.
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.
Square Within Square II – John Fraser: Minimalist Elegance Rooted in Craft Tradition John Fraser’s “Square Within Square II,” created in 2002, is more than just a decorative…
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Cztery tematy najczęściej pojawiające się na tych płótnach, z których każdy wraz z jego najbardziej cenionym przykładem.
5 muzeów, w których znajduje się najwięcej obrazów z tej strony.
| Muzeum | Miasto | Dzieła artysty John Fraser | Obrazy z tej listy |
|---|---|---|---|
 National Maritime Museum |
Londyn | 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 w kwadracie II |
 Royal College of Music Museum |
London | 1 | Costume design for Miss Bentson in Lakme by Delibes |
Od 1881 do 1885, czyli w sumie 5 lat, datowane płótna John Fraser opowiadają krótką historię: oto one, rok po roku.
'Defender' in the Atlantic (1910), Torre Abbey Historic House And Gardens, Torquay. Następują po nim Low Tide, Whitstable Harbour, Kent (1885) oraz 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 i A Lifeboat. Każde płótno w powyższym rankingu zawiera informację o roku powstania oraz muzeum.
W naszym katalogu znajduje się 60 dzieł artysty John Fraser, datowanych od 1881 do 1885.
Większość znajduje się w National Maritime Museum (Londyn), Torre Abbey Historic House And Gardens (Torquay) i Walker Art Gallery (Liverpool); powyższa lista wymienia każde muzeum oraz jego płótna.
W 1885, który obejmuje 2 z 60 dzieł na tej stronie, wśród nich znajduje się Low Tide, Whitstable Harbour, Kent.
Najwcześniejsze płótno pochodzi z On the Moray Firth (1881), a najpóźniejsze z Low Tide, Whitstable Harbour, Kent (1885).
Ocean (3), Tranquility (3) i Water (2), w ramach 60 dzieł na tej stronie.
Impressionism i Realism, co pokazują płótna na tej stronie.
Muzeum National Maritime Museum, Londyn posiada 24 dzieł widocznych na tej stronie, w tym A Large Sloop Yacht and a Barge, A Zeppelin Raid, 8 October 1915 i A Lifeboat, c.1920.
Tak. Każdy obraz na tej stronie można zamówić z jego własnej podstrony jako ręcznie malowaną reprodukcję olejną lub jako wysokiej jakości wydruk artystyczny w wybranym przez Ciebie rozmiarze.
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.
