Dintre toate picturile lui John Fraser, 'Defender' in the Atlantic (1910) este cea mai celebră; aceasta este expusă în Torre Abbey Historic House And Gardens, Torquay. Imediat după ei urmează Low Tide, Whitstable Harbour, Kent (1885) și Chain Pier, Brighton, East Sussex (1883). Dintre cele 60 opere ale lui John Fraser din catalogul nostru, acestea 60 sunt cele mai celebre, fiecare fiind prezentată cu data creării, muzeul de păstrare și povestea sa.
Clasate în funcție de scorul nostru de popularitate, care combină numărul de căutări, vizite și comenzi pentru fiecare operă. Actualizat Octombrie 2026. Fiecare pictură de pe această pagină poate fi comandată sub formă de reproducere pictată manual în ulei pe pânză de in, sau ca print de artă, realizat la dimensiunea aleasă de dumneavoastră.
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 – O Simplitate Geometrică În Armonie Cu Natura John Fraser (American, born 1952) este un artist multidisciplinar care îmbină experiența în desen, pictură, sculptură…
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Cele patru teme care apar cel mai des pe aceste pânze, fiecare cu cel mai apreciat exemplu al său.
Cele 5 muzee care dețin cele mai multe dintre picturile de pe această pagină.
| Muzeu | Oraș | Lucrări lui John Fraser | Picturi din această listă |
|---|---|---|---|
 National Maritime Museum |
Londra | 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 | Pachet în pachet II |
 Royal College of Music Museum |
London | 1 | Costume design for Miss Bentson in Lakme by Delibes |
De la 1881 la 1885, în total 5 de ani, picturile datate ale lui John Fraser spun o scurtă poveste: iată-o, an de an.
'Defender' in the Atlantic (1910), Torre Abbey Historic House And Gardens, Torquay. Urmează Low Tide, Whitstable Harbour, Kent (1885) și 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 și A Lifeboat. Fiecare pictură din clasamentul de mai sus este însoțită de anul creării și de muzeul în care este expusă.
În catalogul nostru sunt 60 lucrări ale lui John Fraser, datate între 1881 și 1885.
În principal în National Maritime Museum (Londra), Torre Abbey Historic House And Gardens (Torquay) și Walker Art Gallery (Liverpool); lista de mai sus enumeră fiecare muzeu și picturile sale.
În 1885, care a inclus 2 dintre cele 60 lucrări de pe această pagină, Low Tide, Whitstable Harbour, Kent printre acestea.
Cea mai veche pânză de aici datează din On the Moray Firth (1881), iar cea mai recentă este din Low Tide, Whitstable Harbour, Kent (1885).
Ocean (3), Tranquility (3) și Water (2), din cele 60 lucrări de pe această pagină.
Impressionism și Realism, așa cum demonstrează picturile de pe această pagină.
National Maritime Museum, Londra deține 24 dintre lucrările de pe această pagină, printre care se numără A Large Sloop Yacht and a Barge, A Zeppelin Raid, 8 October 1915 și A Lifeboat, c.1920.
Da. Orice pictură de pe această pagină poate fi comandată de pe pagina sa dedicată, sub formă de reproducere pictată manual în ulei sau ca print de artă, în dimensiunea aleasă de dumneavoastră.
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.
