Najpoznatije djelo umjetnika John Fraser je 'Defender' in the Atlantic (1910), koje se nalazi u muzeju Torre Abbey Historic House And Gardens, u gradu Torquay. Uz Low Tide, Whitstable Harbour, Kent (1885) i Chain Pier, Brighton, East Sussex (1883), to su tri djela koja svi prepoznaju. Naš katalog sadrži 60 djela umjetnika John Fraser; ovih 60 ispod su djela koja svijet najčešće posjećuje, a svako od njih navodi godinu nastanka, muzej u kojem se nalazi i razlog njegovog značaja.
Rangirano prema našoj ocjeni popularnosti, koja objedinjuje broj pretraživanja, posjeta i narudžbi za svako djelo. Ažurirano Listopad 2026. Svako remek-dielo na ovoj stranici može se naručiti kao ručno oslikana uljana reprodukcija muzejske kvalitete ili kao umjetnička štampa, u dimenzijama koje odaberete.
A large sailboat with three sails occupies the center of a vast, blue expanse. The vessel floats amidst the open ocean, isolated from any visible land or human presence. The composition focuses entirely on the boat, which remains the singular point of interest against the surrounding waters. The scene is characterized by a sense of stillness and calm, capturing a moment of quietude on the Atlantic.
John Fraser – Čudo Životopisnog Materijala Četrdesetogodišnji John Fraser, američki umjetnik rođen 1952., oslanja se na različite umjetničke discipline - crtanje, slikanje, skulpturu i fotografiju. Diplomirao je MFA…
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Četiri teme koje se najčešće pojavljuju među ovim remek-djelima, uz najbolji primjer svake od njih.
5 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora John Fraser | Slike iz ovog popisa |
|---|---|---|---|
 National Maritime Museum |
London | 24 | A Large Sloop Yacht and a Barge, A Zeppelin Raid, 8 October 1915, A Lifeboat, c.1920 |
 Torre Abbey Historic House And Gardens |
Torquay | 1 | 'Defender' in the Atlantic |
 Walker Art Gallery |
Liverpool | 1 | On the Moray Firth |
 McNay Art Museum |
San Antonio | 1 | Kvadrat unutar kvadrata II |
 Royal College of Music Museum |
London | 1 | Costume design for Miss Bentson in Lakme by Delibes |
John Fraser je radio samo 5 godina, od 1881 do 1885. Evo tog kratkog razdoblja godina po godina, kroz njegove najpoznatije slike.
'Defender' in the Atlantic (1910), Torre Abbey Historic House And Gardens, Torquay. Sljedeći su Low Tide, Whitstable Harbour, Kent (1885) i Chain Pier, Brighton, East Sussex (1883).
'Defender' in the Atlantic, Low Tide, Whitstable Harbour, Kent, Chain Pier, Brighton, East Sussex, Low Tide, Whitstable Harbour, Kent, On the Moray Firth, Hulks off Portsmouth, From the Leas, A Large Sloop Yacht and a Barge, A Large Sloop Yacht and a Barge i A Lifeboat. Gornji popis prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 60 djela umjetnika John Fraser, datiranih od 1881 do 1885.
Većina njih se nalazi u National Maritime Museum (London), Torre Abbey Historic House And Gardens (Torquay) i Walker Art Gallery (Liverpool). Gornja tablica navodi muzeje jedan po jedan.
U razdoblju 1885: 2 od ukupno 60 djela na ovoj stranici datira iz tog vremena, među kojima je i Low Tide, Whitstable Harbour, Kent.
Najstarije djelo na ovoj stranici je iz On the Moray Firth (1881), a najnovije iz Low Tide, Whitstable Harbour, Kent (1885).
Ocean (3), Tranquility (3) i Water (2), od ukupno 60 djela na ovoj stranici.
Impressionism i Realism, kao što pokazuju slike na ovoj stranici.
A Large Sloop Yacht and a Barge, A Zeppelin Raid, 8 October 1915 i A Lifeboat, c.1920 su među 24 djela na ovoj stranici koja se nalaze u muzeju National Maritime Museum, London.
Da. Svako djelo na ovoj stranici možete naručiti kao ručno oslikano ulje na platnu muzejske kvalitete ili kao umjetničku tisku, u odabranoj veličini, izravno sa stranice samog djela.
John Arthur Fraser began his days in London, England, born on January 9th, 1838. His father, a tailor from Portsoy, Scotland, carried the political weight of the Chartist movement into their home, while his maternal grandparents had settled in Stanstead, Lower Canada, years earlier. By the time Fraser reached his twenties, he moved to Montreal, finding work as a decorative painter. It was here, in 1860, that his path crossed with William Notman. He joined Notman’s firm not merely as an artist, but as a specialist in color printing. His hands worked on the edges of photography, tinting portraits and adding watercolor washes to photographic paper to create depth and life.
This period in Montreal shaped his eye for detail. Working within the art department of a major photographic studio required a disciplined way of seeing. He learned to translate the flat reality of a negative into something with atmosphere. Alongside assistants like Henry Sandham, he helped produce cartes-de-visite and cabinet photographs that carried his subtle touches of color. His work was often about what could be added to a captured moment—a soft sky or a textured landscape behind a seated subject.
As the Canadian Pacific Railway pushed its tracks toward the mountains, Fraser found himself documenting the changing terrain. He took on commissions that placed him in the heart of the wilderness, from Banff to Jasper National Park. These were not mere sketches; they were records of a landscape being opened to the world. His paintings of the Rockies, such as Fishing Camp, the Rockies, captured the heavy presence of mountains like Mt. Carroll. He used a precise brush to note the way light hit a granite face or how shadows pooled in a mountain pass.
His style grew from these observations. While his roots were in the meticulous realism required for photographic tinting, he began to use color with a lightness that suggested the influence of Impressionism. He focused on the clarity of the air and the specific hues of the Canadian woods and waterways. His landscapes often moved between the heavy textures of oil on canvas and the translucent layers of watercolor, always seeking to capture the actual light of the Eastern Townships or the New Hampshire forests.
Fraser’s presence was felt in the very structures of the Canadian art community. He did not just paint; he helped build the organizations that supported others. His name is tied to several foundational groups:
In 1868, he moved to Toronto, eventually opening the firm Notman and Fraser. This business venture combined his entrepreneurial spirit with his technical skill. Even as he moved through cities like Boston and New York, his subjects remained tied to the North American landscape. He died in New York City on January 1st, 1898, leaving behind a body of work that documented the physical and cultural expansion of a young nation through the lens of both the brush and the camera.
