{"id":834,"date":"2020-11-18T16:42:10","date_gmt":"2020-11-18T16:42:10","guid":{"rendered":"http:\/\/blogs.rollins.edu\/cfam\/?p=834"},"modified":"2020-11-18T17:02:01","modified_gmt":"2020-11-18T17:02:01","slug":"seascape-ship-portraiture-and-the-drama-of-detail-in-marine-painting","status":"publish","type":"post","link":"https:\/\/blogs.rollins.edu\/rma\/2020\/11\/18\/seascape-ship-portraiture-and-the-drama-of-detail-in-marine-painting\/","title":{"rendered":"Seascape, Ship Portraiture, and the Drama of Detail in Marine Painting"},"content":{"rendered":"\n

This week I have been considering Black\nSquall at Gibraltar<\/em>, a recent addition to the collection. Its maker, James\nE. Buttersworth, is one of those artists, like Arthur\nFitzwilliam Tait<\/a>, who was prolific and comfortably successful in his own\ntime, but who has mostly escaped scholarly attention in the years since his\ndeath. Like Tait, Buttersworth worked largely on a smaller scale, selling his\npaintings for relatively modest prices\u2014one estimate is that most of his works\nwere sold for between twenty and fifty dollars\u2014to a wide variety of customers.1<\/sup>\nBorn in England, where he was trained by his father (also a marine painter),\nButtersworth arrived in the United States by 1847, just in time to capture a\nnumber of changes in the American maritime industry. The 1850s saw the peak of\nthe clipper ship, a kind of swept-back, fast-moving sailing ship designed to\nprioritize speed over carrying capacity. Built originally for the tea trade\nwith China, these ships became essential to the speedy transmission of supplies\nto San Francisco during the California Gold Rush. The clippers were the subject\nof constant fascination from the public, which clamored for prints depicting\nthe newest holders of various transit records, in particular of the route from\nNew York to San Francisco around the Cape of Good Hope. The clippers were in\nmany ways the height of the Age of Sail, but they were also the beginning of\nits decline, as wooden-hulled sailing ships would soon be overtaken by\ncoal-powered steamships. Finally, American yachts were also beginning to make\nan impact on the sport of sailing, and famous winners were another subject of\nmedia fascination. Buttersworth specialized in representing all three, with his\nability to accurately depict rigging and other details of shipboard\narchitecture particularly prized by collectors.2<\/sup><\/p>\n\n\n\n

\"James
James Edward Buttersworth (English born, American 1817-1894) Black Squall at Gibraltar<\/em>, ca. 1855, Oil on artist\u2019s board, 15 x 23 \u00bd inches, Donated in memory of Robert G. Scully. 2019.10<\/figcaption><\/figure>\n\n\n\n

Black Squall at Gibraltar<\/em> is a tour-de-force of marine painting, perfectly blending Buttersworth\u2019s ability to accurately represent ships with his perfectly timed sense of the drama inherent to life on the sea. As I looked at it, I couldn\u2019t help but think of another painting in the collection, Francis A. Silva\u2019s Moonrise on the New England Coast<\/em>. Silva\u2019s seascape shares many elements in common with Buttersworth\u2019s, including the depiction of a rocky shore, ships and boats, and an expert handling of the effects of light on the open water. A few weeks ago, I wrote about another seascape<\/a>, by the American painter William Trost Richards. In that post, I related the growing American preference for the genre starting around 1870. Silva\u2019s painting stands resolutely in that tradition, with scholars remarking on the way that it seems to build upon the seascape tradition established by John F. Kensett and Sanford R. Gifford, among others.3<\/sup> Dating from a period later in his career when he increasingly turned to nocturnes and sunset scenes, Moonrise on the New England Coast<\/em> sets a scene of calm serenity. It is however punctuated by uncertainty, as Silva may have represented the aftermath of a shipwreck: a small boat full of figures is seen fleeing the ruin of their larger vessel.4<\/sup><\/p>\n\n\n\n

\"Francis
Francis Augustus Silva (American, 1835\u20131866) Moonrise on the New England Coast<\/em>, 1879, Oil on Canvas, 26 1\/4 x 42 5\/16 in., Gift of John \u201976, Kelly, Isabella \u201919 and Grace Burrus, 2015.4<\/figcaption><\/figure>\n\n\n\n

Eagle-eyed readers will have noted\nthat I have called Silva\u2019s work a seascape<\/em>, while I have used the term marine\npainting<\/em> to describe Black Squall at Gibraltar<\/em>. Though they might\nseem like synonyms, the literature on such paintings is careful to distinguish\nbetween the two. In the words of Stuart M. Frank, a foremost expert on the\ngenre, <\/p>\n\n\n\n

“What distinguishes\nmarine painting from seascape and other genres as a special class of fine arts\nis the indispensable value of technical proficiency. Marine pictures are judged\non the dual standard of aesthetics and technical accuracy, where technical\naccuracy is a prerequisite.”5<\/sup><\/p>\n\n\n\n

It is just that eye for detail\nthat distinguishes the two paintings. Silva\u2019s calm, somewhat eerie seascape is ultimately\nconcerned with capturing and evoking a mood, not with the details of the boats\nthat populate its outer reaches. Buttersworth, for all the drama of his\ndepiction of this unnamed clipper ship\u2019s encounter with a storm at the mouth of\nthe Mediterranean, has always at the forefront of his mind the importance of\ntechnical mastery, which was highly valued by his discerning and knowledgeable\npatrons. Though we do not know the name of this particular ship, it is quite\nlikely that a contemporary observer might have known her from just these\ndetails, in particular the careful way that Buttersworth has represented her\nrigging as the crew scrambles to furl the sails before they are torn to shreds\nby the onrushing tempest. In fact, he was well known for his ability to capture\nsails and rigging under just such difficult conditions.6<\/sup> Perhaps\nfuture research (Buttersworth\u2019s archives remain unlocated) will enable us to\nname this ship. Until then, I will remain impressed at Buttersworth\u2019s\nimpeccable rendering of this moment of maximum drama.
<\/p>\n\n\n\n

\n\n\n\n

1<\/sup> Alan Granby and Janice Hyland, Flying the Colors: The Unseen Treasures of Nineteenth-Century American Marine Art<\/em> (New York: Hudson Hills Press, 2009), 160.<\/p>\n\n\n\n

2<\/sup> Rudolph J. Schaefer et al., J. E. Buttersworth: 19th-Century Marine Painter<\/em>, Second ed., rev.expanded (Mystic, Conn: Mystic Seaport, 2009), 25.<\/p>\n\n\n\n

3<\/sup> Francis A Silva et al., Francis A. Silva (1835-1886): In His Own Light<\/em> (New York, N.Y.: Berry-Hill Galleries, 2002), 12\u201315.<\/p>\n\n\n\n

4<\/sup> Silva et al., 44\u201346. The predominance of sunset scenes in Silva\u2019s oeuvre<\/em> at this point might in fact argue that Moonrise on the New England Coast<\/em> is a sunset scene, though the painting has long been known by its current title.<\/p>\n\n\n\n

5<\/sup> Stuart M.\nFrank, \u201cSaltwater Glory: Visions of American Seafaring Prowess in the Age of\nSail,\u201d in Flying the Colors: The Unseen Treasures of Nineteenth-Century\nAmerican Marine Art<\/em>, ed. Alan Granby and Janice Hyland (New York: Hudson\nHills Press, 2009), xv.<\/p>\n\n\n\n

6<\/sup> Schaefer et\nal., J. E. Buttersworth<\/em>, 27.<\/p>\n","protected":false},"excerpt":{"rendered":"

This week I have been considering Black Squall at Gibraltar, a recent addition to the collection. Its maker, James E. 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