John Frasers mest kjente maleri er 'Defender' in the Atlantic (1910), i Torre Abbey Historic House And Gardens, Torquay. Sammen med Low Tide, Whitstable Harbour, Kent (1885) og Chain Pier, Brighton, East Sussex (1883) utgjør de de tre verkene som alle kjenner igjen. Vår katalog inneholder 60 verk av John Fraser; de 60 nedenfor er de som verden ser mest på, hver med årstall, museet som huser verket og hvorfor det er betydningsfullt.
Rangert etter vår popularitetsscore, som kombinerer søk, besøk og bestillinger for hvert verk. Oppdatert October 2026. Hvert mesterverk på denne siden kan bestilles som en håndmalt oljereproduksjon av museumskvalitet eller som et kunsttrykk, i den størrelsen du velger.
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 og «Square within Square II»: En Minimalistisk Hymne til Natur og Tekstur «Square within Square II» av John Fraser er et fascinerende verk som avslører en…
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De fire motivene som forekommer hyppigst blant disse mesterverkene, med det fremste eksemplet på hvert av dem.
De 5 museene som innehar flest av maleriene på denne siden.
| Museum | By | Verker av John Fraser | Malerier fra denne listen |
|---|---|---|---|
 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 innen kvadrat II |
 Royal College of Music Museum |
London | 1 | Costume design for Miss Bentson in Lakme by Delibes |
John Fraser var aktiv i kun 5 år, fra 1881 til 1885. Her er det korte virket år for år, gjennom de mest kjente maleriene.
'Defender' in the Atlantic (1910), Torre Abbey Historic House And Gardens, Torquay. Deretter følger Low Tide, Whitstable Harbour, Kent (1885) og 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 og A Lifeboat. Rangeringen ovenfor viser årstallet og museet for hvert av dem.
Vår katalog inneholder 60 verk av John Fraser, datert fra 1881 til 1885.
De fleste av dem befinner seg i National Maritime Museum (London), Torre Abbey Historic House And Gardens (Torquay) og Walker Art Gallery (Liverpool). Tabellen ovenfor lister opp museene ett etter ett.
I 1885: 2 av de 60 verkene på denne siden er fra denne perioden, inkludert Low Tide, Whitstable Harbour, Kent.
Det eldste på denne siden er On the Moray Firth (1881), det nyeste Low Tide, Whitstable Harbour, Kent (1885).
Ocean (3), Tranquility (3) og Water (2), blant de 60 verkene på denne siden.
Impressionism og Realism, som maleriene på denne siden viser.
A Large Sloop Yacht and a Barge, A Zeppelin Raid, 8 October 1915 og A Lifeboat, c.1920 er blant de 24 verkene på denne siden som er i National Maritime Museum, London sin samling.
Ja. Hvert maleri på denne siden kan bestilles som en håndmalt oljereproduksjon av museumskvalitet eller som et kunsttrykk i ønsket størrelse, direkte fra maleriets egen side.
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.
