Med vsemi slikami umetnika John Fraser je najbolj znana 'Defender' in the Atlantic (1910); razpolaga v muzeju Torre Abbey Historic House And Gardens, Torquay. Takoj za njima sta Low Tide, Whitstable Harbour, Kent (1885) in Chain Pier, Brighton, East Sussex (1883). Med 60 dela umetnika John Fraser v našem katalogu so ta 60 najbolj znamenita, od katerih je vsaka prikazana z letom nastanka, muzejem in zgodbojo.
Uvrščeno glede na naš skoraj priljubljenosti, ki združuje število iskanj, obiskov in naročil za vsako delo. Posodobljeno oktober 2026. Vsako sliko na tej strani je mogoče naročiti kot ročno slikano oljno reprodukcijo na lanenem platnu ali kot umetniški natisk, izdelan v izbrani velikosti.
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 Fraser – Četrta kvadratura Četrta kvadratura (Square within Square II) je izjemna dela ameriškega umetnika Johna Frasera, ki ga je ustvaril leta 2002. Ta minimalistična vodnjana okvirasta…
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Četiri teme, ki se najpogosteje pojavljajo na teh platnah, vsaka z svojim najbolj priljubljenim primerom.
5 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga John Fraser | Slike iz tega seznama |
|---|---|---|---|
 National Maritime Museum |
London | 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 | Kvadrat v kvadratu II |
 Royal College of Music Museum |
London | 1 | Costume design for Miss Bentson in Lakme by Delibes |
Od 1881 do 1885, skupaj 5 let, datirana platna umetnika John Fraser pripovedajo kratko zgodbo: tukaj je, leto za letom.
'Defender' in the Atlantic (1910), Torre Abbey Historic House And Gardens, Torquay. sledita Low Tide, Whitstable Harbour, Kent (1885) in 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 in A Lifeboat. Vsako platno v zgornji uvrstitvi vključuje leto nastanka in muzej.
V našem katalogu je 60 del umetnika John Fraser, datiranih od 1881 do 1885.
Večinoma v National Maritime Museum (London), Torre Abbey Historic House And Gardens (Torquay) in Walker Art Gallery (Liverpool); zgornji seznam navaja vsak muzej in njegova platna.
V obdobju 1885, ki je vključilo 2 od 60 del na tej strani, je med njimi tudi Low Tide, Whitstable Harbour, Kent.
Najstarejše platno tukaj je On the Moray Firth (1881); najstarejše je Low Tide, Whitstable Harbour, Kent (1885).
Ocean (3), Tranquility (3) in Water (2), na 60 delih na tej strani.
Impressionism in Realism, kot to pokažejo platna na tej strani.
Muzej National Maritime Museum, London hrani 24 del z te strani, med katerimi so tudi A Large Sloop Yacht and a Barge, A Zeppelin Raid, 8 October 1915 in A Lifeboat, c.1920.
Da. Vsako sliko na tej strani lahko naročite na njeni lastni strani kot ročno naslikano oljno reprodukcijo ali kot umetniški natisk v izbrani velikosti.
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.
