John Fraser'in tüm tabloları arasında en ünlüsü 'Defender' in the Atlantic (1910)'dir; bu eser Torquay, Torre Abbey Historic House And Gardens bünyesinde sergilenmektedir. Hemen ardından Low Tide, Whitstable Harbour, Kent (1885) ve Chain Pier, Brighton, East Sussex (1883) geliyor. Katalogumuzdaki John Fraser imzalı 60 eser arasından en çok ses getiren bu 60 eser; tarihleri, sergilendikleri müzeler ve hikayeleriyle birlikte sunulmaktadır.
Her bir eser için yapılan aramalar, ziyaretler ve siparişlerin birleşimiyle oluşturulan popülerlik puanımıza göre sıralanmıştır. Ekim 2026 tarihinde güncellenmiştir. Bu sayfadaki her bir tablo, keten kanvas üzerine elle boyanmış bir yağlı boya reprodüksiyon olarak veya seçtiğiniz boyutta hazırlanan bir sanat baskısı olarak sipariş edilebilir.
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’ın İnanılmaz Straw Çerçevesi: “Square Within Square II” John Fraser (Amerikan, doğumlu 1952), çizim, tablo yapma, heykel ve fotoğrafçılık disiplinlerinde çalışıyor. Kuzey Illinois Üniversitesi’nden MFA derecesini aldı…
Bu kanvası sipariş edin →
Bu tuvallerde en sık rastlanan ve her biri en sevilen örneğiyle birlikte sunulan dört konu.
Bu sayfadaki tabloların çoğuna ev sahipliği yapan 5 müze.
| Müze | Şehir | John Fraser Eserleri | Bu listedeki tablolar |
|---|---|---|---|
 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 | Kare İçinde Kare II |
 Royal College of Music Museum |
London | 1 | Costume design for Miss Bentson in Lakme by Delibes |
1881 ile 1885 yılları arası, toplam 5 yıla yayılan John Fraser'in tarihli tuvalleri kısa bir hikaye anlatıyor: işte yıl yıl dökümü.
'Defender' in the Atlantic (1910), Torre Abbey Historic House And Gardens, Torquay. Ardından Low Tide, Whitstable Harbour, Kent (1885) ve Chain Pier, Brighton, East Sussex (1883) geliyor.
'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 ve A Lifeboat. Yukarıdaki sıralamadaki her tuval, yapıldığı yıl ve sergilendiği müze bilgisiyle birlikte sunulmaktadır.
John Fraser tarafından yapılan 60 eser, 1881 ile 1885 tarihleri arasında katalogumuzda yer almaktadır.
Çoğunlukla National Maritime Museum (Londra), Torre Abbey Historic House And Gardens (Torquay) ve Walker Art Gallery (Liverpool) bünyesinde yer alan; yukarıdaki liste her bir müzeyi ve o müzedeki tabloları belirtmektedir.
Bu sayfadaki 60 eserin 2 tanesi 1885 dönemine aittir ve bunlar arasında Low Tide, Whitstable Harbour, Kent bulunmaktadır.
Buradaki en eski tuval On the Moray Firth (1881); en yenisi ise Low Tide, Whitstable Harbour, Kent (1885).
Ocean (3), Tranquility (3) ve Water (2), bu sayfadaki 60 eser genelinde.
bu sayfadaki tabloların da gösterdiği gibi Impressionism ve Realism.
National Maritime Museum, Londra, bu sayfadaki eserlerden 24 tanesine ev sahipliği yapmaktadır; bunlar arasında A Large Sloop Yacht and a Barge, A Zeppelin Raid, 8 October 1915 ve A Lifeboat, c.1920 bulunmaktadır.
Evet. Bu sayfadaki her tablo, kendi sayfasından seçtiğiniz boyutta, elle boyanmış bir yağlı boya reprodüksiyon veya bir sanat baskısı olarak sipariş edilebilir.
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.
