Life on the Coast

Collector's Focus: Marine & Coastlines

Introduction by Chelsea Koressel

Behind every coastline or nautical painting, there seems to be an artist with a bit of a romantic streak—enthralled by the idea of danger, adventure or merely overwhelmed with the feeling of something bigger than oneself.

Whatever the case may be, the genre is certainly a popular one, as marine artwork has existed for thousands of years, since boats and vessels were first invented. “Examples date as far back as the ancient Egyptian and ancient Greek times, with experts suggesting depictions began even earlier,” explains a specialist at Bonhams Fine Art Auctioneers. “During the Dutch Golden Age in the 17th century, marine art took off spectacularly, reflecting the importance of marine battles and overseas trade.”

Rehs Galleries, The Mayflower II at Sea Under Full Sail, oil on canvas, 20 x 24”, by John Stobart (1929-2023).

Bonhams continues to note that artists like Willem van de Velde became famous for detailed depictions of Dutch naval victories over the English, before the English court poached him for their own in the 1670s— “a cunning move that reflects just how valuable marine paintings were to a nation’s prestige,” according to Bonhams.

One of the most renowned contemporary marine artists is master of the genre, John Stobart (1929-2023), whose works are available at Rehs Galleries. “Stobart was incredibly influential on the genres of marine and maritime painting,” says Lance Rehs, gallery vice president and director. “Early on in his career, he made the astute observation that American artists had not been capturing many of America’s great ports of trade. Growing up in the United Kingdom, Stobart was fascinated with nautical life and made it his mission to fill the gaps in American art history. With that, Stobart would intensely research important trading posts, bays and waterways, and then recreate scenes that were historically accurate. Throughout his career of more than half a century, Stobart created thousands of works of art and truly accomplished that goal.”

His painting The Mayflower II at Sea Under Full Sail,circa 1960, was commissioned by Jumbo Goddard, a member of the crew of Mayflower II in 1957,” says Rehs. “The Mayflower II was a full-scale replica of the ship that carried the ‘Pilgrim Fathers’ to North America in the 1600s. It began its maiden voyage on April 20, 1957, as it sailed from Brixham, United Kingdom, to Plymouth, Massachusetts.”

Top: Christopher Forrest, Breaktime, oil on panel, 20 x 16”; Rehs Galleries, Stonington Harbor, oil on canvas, 39½ x 39½”, by Leo Mancini-Hresko. Bottom: Patsy Lindamood, Pelicans on the Pier, graphite on cradled Claybord, 24 x 48”

While the influence of the sea has never wavered, the genre did expand beyond ships in battle, portraits and historical events, to include coastal scenes and coastal life. Artist Christopher Forrest highlights the coast while also including wildlife. In works like Breaktime, the artist incorporates a tern, or sea swallow, landing on a wood piling sticking out of the water. “They’re incredibly graceful in flight and diving for fish,” says Forrest. “Close to my home is a wildlife refuge that has long abandoned bulkheads covered with moss, rust, distressed weathered wood and are just great fun to paint. Terns hang out on this structure, thus combining the two made for a thoroughly enjoyable painting experience.”

Patsy Lindamood, 2 Grumpy, graphite on Claybord, 24 x 36”

Another Rehs Galleries artist, Leo Mancini-Hresko, also paints life on the coast in works like Stonington Harbor, of Stonington, Connecticut. He primarily works in plein air and is influenced by scenes that challenge him to capture effects of light and color. Overall, his classical training at the Florence Academy of Art, combined with his interest in nature, has led him to an extensive and impressive body of work. Surrounded by water in his hometown of Boston, Massachusetts, has seemingly swayed his choice of subject matter, but he remains true to evoking a “timelessness” found in historic impressionist paintings—working from many different natural settings.

Continue reading for additional insights from additional contemporary artists who are reinvigorating the genre of marine and coastline art in unique and exciting ways.

Artist Ray Cranecombines past and present, depicting classic sailing vessels in locales along the New England coast, where they can still be seen today. The “scene” is often from the perspective of the mariner, looking across water and back toward land—“which requires many boat trips to observe and get it right,” says Crane. “My paintings are for the collector who appreciates traditional realism in portraying coastal views and vessels important to New England’s maritime history. I hope sharing a bit of that history here will enhance understanding of the paintings, and my goals as an artist.”

Ray Crane, Arriving at Gloucester – Schooner “Ardelle” and Lobster Boat off Eastern Point, oil on canvas, 14 x 20

In works like Arriving Gloucester—Bark “Picton Castle” and Schooner “Alabama”, Crane explains, “Every Labor Day weekend, Gloucester hosts schooner races that began in the 1920s. The festival attracts many visiting schooners and other rigs as well.”

Also pictured is Sunset off Boston, at Graves Light, depicting one of the last built lighthouses in America; and Arriving at Gloucester – Schooner “Ardelle” and Lobster Boat off Eastern Point,featuring “the pinky schooner Ardelle (hand-built in the last remaining historic Essex boatyard) and a traditional lobster boat returning to Gloucester,” explains Crane.

Ray Crane, Sunset off Boston, at Graves Light, oil on canvas, 12 x 20”

About four years ago, on a birding expedition to the central Texas coast, other elements of the Texas landscape eclipsed Patsy Lindamood’s fixation on the avian population of the area. “I transitioned to working in graphite on claybord and to drawing workboats, grain silos, decaying homesteads, architecturally distinguished courthouses and alleyways,” she says. “Creating these subjects in graphite allows me to focus on the ‘bones’ of my subjects.”

For her workboat scenes, Lindamood notes they are “dominated by intricate rigging that is almost abstract in appearance and presents a challenge to render accurately. But more intriguing than the puzzle of the rigging is the way of life these boats embody, one that is rapidly disappearing from the Texas coast. “I hope my workboat art will capture the smell of the salt and the shrimp, the clanking of the lines against their outriggers, and the struggle and sacrifices of this industry,” she says.

Patsy Lindamood, 2 Grumpy, Too, graphite on Claybord, 36 x 24”; Sam Paonessa, Sail la Vie, Thousand Islands, oil on panel, 11 x 14”

Art is central to Sam Paonessa’s existence, as are faith and family. “My love for painting continues to grow as I observe the world around me,” he says. “I draw inspiration from nature in all its forms, from the grandest landscapes to the tiniest blossoms. The opportunity to witness nature’s wonders—let alone interpret them—brings me closer to God. For that I am grateful. As I mature artistically, I endeavour to grow spiritually as well. I am constantly striving to develop my character and my faith. I hope to inspire others not only as an artist, but also as a person.”

For his painting Sail la Vie, Thousand Islands,Paonessa explains that inspiration came from a friend who sails, and shared with him a serene image from a sailing trip to the scenic archipelago in Ontario, Canada. “The photo is a perfect symbol of a peaceful haven that we seek in this life,” says the artist. “Tall white pines stand like sentinels and the granite shoreline shelters the pristine white sailboat. Pink and gray rock textures are contrasted by smooth ultramarine and indigo reflected waters. “I invite my viewers and collectors to enter the lee of the protected inlet, and enjoy a time of peace and rest before the next sailing voyage.”

Ray Crane, Arriving Gloucester—Bark “Picton Castle” and Schooner “Alabama”, oil on canvas, 12 x 20”

You can view Paonessa’s work in person at the Joyner Gallery of the Niagara Pumphouse Arts Centre during his show Watermark, running from August 11 to 29. —