Simpler is better, except when complicated looks really cool.
Beautiful painting- the artist must have a very steady hand to get all those lines so straight!
That is a great piece. Too bad about the brown spots.
"Why, sometimes I've believed as many as six impossible things before breakfast." - Alice
The spreaders appear square on , as if the mast were twisted.
Apart from the spreaders, the watercolour is very accurate, and must have been painted by someone who knew this sort of boat well.
The dinghy is hoisted on the port side in the Claud Worth maner
IMAGINES VEL NON FUERINT
Very nice watercolor! That is a medium that I have always appreciated, You only get one shot at getting the stroke right.
Opinions are given freely, unless there is a vote attached.
The hull looks twisted to me, particularly at the counter stern, but I do carry a high prism adjustment in my glasses these days.
Nice colours in that painting, and to all the artists here that show their stuff, Tks! / Jim
There's a transparent man aft by the tiller.
William Lionel Wyllie
And, I might add, the rigging is to scale too- very hard to do with watercolor. Kudos to the artiste.
RESIST. FIGHT THE POWER.
I believe the dolphin striker is at the wrong angle too....
A very good representation remembering the artist is not a camera.
'' You ain't gonna learn what you don't want to know. ''
How often do you see a jib in stops?
(one of my favorites)
Wyllie was a very interesting guy. He was a leader in light displacement racing boats and dinghies, and obviously a feminist in the days when that was rare. He and Linton Hope designed Maid of Kent, an ultralight centreboard Rater-style boat built to meet the challenge from the "skiff style"* Australian boat Irex in the 1890s. To the horror of the Aussies, the boat was skippered by Mrs Maud Wyllie to three straight victories. The Wylies also created the high-performance "punts", which look incredibly advanced for their time; scroll down a bit for some info on the Wyllies. He was also at (IIRC) the battle of Jutland in his capacity as a war artist. Maud Wyllie's biography/autobiography "We were one" is a great and touching read about a fabulous pair of people who were miles ahead of their time in many ways.
Given that he was not just a painter but also a designer and builder, perhaps Wylie may well have been faithfully recording the way the stern and spreaders actually caught the light? I seem to recall reading that he was one of those artists who was always carrying the tools of his trade around, and many of his studies are on the National Maritime Museum website. Wouldn't any lack of accuracy be related to the fact that it was just a study?
PS - it is a 19 Metre? Could even be Mariquita, although it's probably impossible to tell.
Last edited by Chris249; 03-08-2017 at 04:14 PM.
Raffee topsail? This was the Claud Worth era, was it not? I had a book by him with a boat a lot like that in it.
It also may have a sail in stops on it...
19 Metres, 15 Metres and similar boats of the era had spreaders like that.
The helmsman isn't filled in so it never was finished. I do like most of it but wouldn't have it on my wall with that rig disaster going on. My first thought was it was a non sailor copying a photo but if you guys say he knew what he was doing then perhaps it was just a bad evening when he got to those spreaders.
Well, the artist has a good eye for hull shape, anyway. I like it.
It's an unfinished study. Wyllie knew how to design and build a rig that stayed up and won races.
As an analogy, if you do a study during a life drawing class and don't draw toenails, it's not because you aren't aware of their existence and their details; it's cause it's an artistic study. EDIT - he also did "trial proofs", which is another example of the fact that he knew there was a big difference between first drafts and finished work.
Last edited by Chris249; 03-08-2017 at 06:15 PM.
The link shows the same spreaders as in Wyllie's painting. Possibly the same boat. We know from the spoon bow that the boat post-dated Britannia and Valkyrie II, and the cutters had stopped using square sails years before that time.
Many painters were practitioners of the Plein Air school. Literally 'paint outside' where studies and sketches were don to get the colour and the light and finished work was done in the studio.
Many adherents of the French Impressionist school had a summer camp in the south where a common subject and a common palette were used in quick colour sketches.