John Frasers mest kända målning är 'Defender' in the Atlantic (1910), i Torre Abbey Historic House And Gardens, Torquay. Tillsammans med Low Tide, Whitstable Harbour, Kent (1885) och Chain Pier, Brighton, East Sussex (1883) utgör de de tre verk som alla känner igen. Vår katalog listar 60 verk av John Fraser; de 60 nedan är de som världen betraktar mest, var och ett med sitt årtal, museet som förvarar det och varför det är betydelsefullt.
Rankade efter vår popularitetspoäng, som kombinerar sökningar, besök och beställningar för varje verk. Uppdaterad oktober 2026. Varje mästerverk på denna sida kan beställas som en handmålad oljereproduktion av museikvalitet eller som ett konsttryck i den storlek du väljer.
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 och ’Square Within Square II’: Ett Ögonblick av Stillhet i Väven ’Square Within Square II’, skapad av den amerikanska konstnären John Fraser år 2002, är ett…
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De fyra motiv som förekommer oftast bland dessa mästerverk, med det främsta exemplet på varje.
De 5 museer som innehar flest av målningarna på denna sida.
| Museum | Stad | Verk av John Fraser | Målningar från denna lista |
|---|---|---|---|
 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 inom kvadrat II |
 Royal College of Music Museum |
London | 1 | Costume design for Miss Bentson in Lakme by Delibes |
John Fraser var verksam i endast 5 år, från 1881 till 1885. Här är den korta karriären år för år, genom de mest kända målningarna.
'Defender' in the Atlantic (1910), Torre Abbey Historic House And Gardens, Torquay. Därefter följer Low Tide, Whitstable Harbour, Kent (1885) och 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 och A Lifeboat. Rankingen ovan visar år och museum för varje verk.
Vår katalog innehåller 60 verk av John Fraser, daterade från 1881 till 1885.
De flesta av dem finns i National Maritime Museum (London), Torre Abbey Historic House And Gardens (Torquay) och Walker Art Gallery (Liverpool). Tabellen ovan listar museerna ett efter ett.
Under 1885: 2 av de 60 verk som finns på denna sida härstammar från den tiden, däribland Low Tide, Whitstable Harbour, Kent.
Det tidigaste på denna sida är On the Moray Firth (1881), det senaste Low Tide, Whitstable Harbour, Kent (1885).
Ocean (3), Tranquility (3) och Water (2), av totalt 60 verk på denna sida.
Impressionism och Realism, som målningarna på denna sida visar.
A Large Sloop Yacht and a Barge, A Zeppelin Raid, 8 October 1915 och A Lifeboat, c.1920 är bland de 24 verk på denna sida som innehas av National Maritime Museum, London.
Ja. Varje målning på denna sida kan beställas som en handmålad oljereproduktion av museikvalitet eller som ett konsttryck i den storlek du väljer, direkt från målningens egen sida.
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.
