DOI issue:
Nr. 204 (February, 1914)
DOI article:Schmidt, A. Seaton: An American marine painter: Frederick J. Waugh
DOI Page / Citation link:https://doi.org/10.11588/diglit.43454#0410
An American Marine Painter: F. J. VFaugh
assistance. He constructed an iron easel that he
could clamp to the rocks and an immense iron box
that could not be blown away and in which he kept
his canvases, pigments, and other needful materials.
Thus equipped, he spent long months patiently
studying every mood of the changing waters;
watching, painting, day by day and hour by hour,
until he knew them all by heart; knew just how
the sea would lie smooth and still to the far
horizon, with opalescent sunset clouds mirrored on
its shining surface, the quiet waves breaking gently
against the rocky cliffs, until a faint wind would stir
the glistening waters ; then the turquoise tints would
tremble and break into spray with all the hues of
the rainbow, the wind would rise, would plough
great furrows in its green depths, would howl and
shriek and pound the sea against the jagged coast,
while the artist above, intoxicated with its furious
grandeur, dashed the spray from his eyes and
painted madly on, until the darkness of night closed
out the glorious vision and only the booming of
the breaking waters told him of the storm beneath.
On this desolate island his daughter was born,
and the artist now frequently deserted the wild
coast to work nearer home. He built a studio in
the apple orchard surrounding their sheltered
cottage, from which he could see and continue to
study the power and majesty of the ocean.
From Sark he moved to Cornwall, just outside
St. Ives, the birthplace of his son. Two years
later family cares induced him to accept the position
of war artist on the London weekly illustrated
journal, “ The Graphic.” With his never-failing
enthusiasm he threw himself heart and soul into
this new work, making the most life-like and
accurate drawings of the stirring events of the Boer
War. He studied minutely the uniforms and
accoutrements of each British regiment, and these
years of careful yet rapid drawing count for much in
his development. Instead of limiting his power, this
rendering of detail greatly increased his knowledge
of the human form, while the rapidity of handling
which he acquired has proved invaluable in painting
out of doors where the lights change so quickly.
“little harbour, bailey island, maine”
276
BY FREDERICK J. WAUGH
assistance. He constructed an iron easel that he
could clamp to the rocks and an immense iron box
that could not be blown away and in which he kept
his canvases, pigments, and other needful materials.
Thus equipped, he spent long months patiently
studying every mood of the changing waters;
watching, painting, day by day and hour by hour,
until he knew them all by heart; knew just how
the sea would lie smooth and still to the far
horizon, with opalescent sunset clouds mirrored on
its shining surface, the quiet waves breaking gently
against the rocky cliffs, until a faint wind would stir
the glistening waters ; then the turquoise tints would
tremble and break into spray with all the hues of
the rainbow, the wind would rise, would plough
great furrows in its green depths, would howl and
shriek and pound the sea against the jagged coast,
while the artist above, intoxicated with its furious
grandeur, dashed the spray from his eyes and
painted madly on, until the darkness of night closed
out the glorious vision and only the booming of
the breaking waters told him of the storm beneath.
On this desolate island his daughter was born,
and the artist now frequently deserted the wild
coast to work nearer home. He built a studio in
the apple orchard surrounding their sheltered
cottage, from which he could see and continue to
study the power and majesty of the ocean.
From Sark he moved to Cornwall, just outside
St. Ives, the birthplace of his son. Two years
later family cares induced him to accept the position
of war artist on the London weekly illustrated
journal, “ The Graphic.” With his never-failing
enthusiasm he threw himself heart and soul into
this new work, making the most life-like and
accurate drawings of the stirring events of the Boer
War. He studied minutely the uniforms and
accoutrements of each British regiment, and these
years of careful yet rapid drawing count for much in
his development. Instead of limiting his power, this
rendering of detail greatly increased his knowledge
of the human form, while the rapidity of handling
which he acquired has proved invaluable in painting
out of doors where the lights change so quickly.
“little harbour, bailey island, maine”
276
BY FREDERICK J. WAUGH