Whatever Floats Your Boats

Boats belong in water, right? Right. At least most artists seem to think so. Landscapes involving boats always include a source of water somewhere. This subject matter seems to beg for a complement, and these two nearly always come together. So then, how is it that artists are not painting the same picture, when they just keep putting boats in water? This is why art is appealing: it is not that simple; variation and individualism is key.

There is a wide variety that these landscapes occupy. The way that nature is depicted in these aquatic settings can be astoundingly different due to the artist or location. Even using the same main subject matter, a scene can be portrayed differently from another using various materials, and accompanying objects. All of these variables can cause a piece to be utterly individual to itself and its creator.

This collection highlights landscapes that are serene and provide a calming effect. The different ways that this is done within each piece is noteworthy. The color schemes and use of color, materials, location, and movement differ between all of these pieces. Yet, they are able to send a similar message. They are landscapes contain bodies of water, on which there are vessels floating that evoke calm thoughts, but no two look the same even when they are painted by the same artist.

There is not one correct way to paint anything. Artists have painted boats and water over and over again for centuries, and yet every one is different. Formal placement, color, materials, proportions and composition are the variable parts in these pieces, and it is easy to see the vast possibilities of taking these two objects and creating something pleasant to look at. Strong varieties of landscapes can be created with these two basic subjects by affecting their surroundings, and this is how artworks become independently beautiful.

Here is the feature piece...

Joseph Mallord William Turner, Venice, from the Porch of Madonna della Salute, 1835 

Oil on canvas, 99.31

In this oil painting, the general blurriness creates a serene atmosphere that does not necessarily match the action in the close-up landscape. The piece is generally abstract and has a naturalistic form. The water takes up one-third of the space, and the boats take up about half of that space at the focal point of the piece. The general color scheme of blues and greens seem common to pieces containing the same subject matter.

Wigerus Vitringa, Various Ships and a Rowing Boat on a Estuary, unknown date

black chalk, brush in black ink and gray wash, 2004.302

The grayscale effect of this chalk piece creates a bit of mystery since it lacks specificity in that way, and causes the looker to wonder why the artist found this scene noteworthy. The two mediums are mixed well to create a sky that blurs away to the edge, while the ships are drawn with precise lines. The focal point in this piece is obviously the boats that sit in uncharacteristically calm water compared to artworks of similar subject matter. This piece seems as if it is trying to educate the viewer by almost saying this is how boats sit on water and this is what a calm day near the dock look like, instead of simply trying to be something nice to look at.

Utagawa Hiroshige, Sailing Boats Returning to Yabse, Lake Biwa,1835 

Polychrome woodblock print; ink and color on paper, JP55

This piece has more vivid color and crisper lines than are typically found in this genre of landscapes. Its Asian origin is quite obvious in its materials and form. The blues compliment the rest of the collection and the simplistic lines used provide a glimpse of the wide variety found in landscape pieces. The boats are very plain and the shading and figure of the surroundings also causes it to stand out in relation to its counterparts. The color palette is limited, further causing the piece to look simple. Yet the recession into space created by the diagonal line of boats and the vivid oranges and blues give the picture depth and make it interesting to look at.

John Singer Sargent, Boats, 1913

watercolor and graphite on off-white wove paper, 15.142.9

This piece combines blurriness with bright, saturated color to create a rich scene. The completely still, crystal blue water draws your eye to the mismatched boats and the dark contrast of the background makes the sail of the larger boat leave the flat domain of the paper. There is a serene, rich feeling that exudes from the piece and the saturated colors make it especially interesting to look at. This one, like the others promotes a calm mood.

John Singer Sargent, Boats, unknown date 

watercolor on white wove paper, 50.130.80q

In this piece, Sargent uses a muted color scheme, and most of the scene is composed of blues and greens. These canoes seem quite still in the water that is splashing around just a bit, but the general clutter of the scene does not detract from the serenity of the location. The blurred, soft brush strokes and color palette aid in generating the idea of stillness and an overall pleasing atmosphere. Comparing this piece with another by Sargent, one is able to see great differences even though they are painted by the same man. Consider the color palette and brush strokes.

Robert Charles Dudley, Foilhommerum Bay, Valencia, looking from Cromwell Fort. The Caroline and boats laying the earth wire, July 21^st 1865, ca. 1865-66 

watercolor over graphite with gouache, 92.10.59

This piece differs from the others due to the rustic nature of the general landscape. The gray clouds and rocks of the cliff create an ominous feeling. In this piece, the boats are not necessarily the focus. Instead, the eye is drawn to the blurry sky, rock and mountain ranges that surround the dark water and comparatively small boats that rest in it. The color scheme consists of mainly blues, greens and grays creating a soft, blurry appearance.

-Maddie Taylor