Sources & Resources for Dutch Pinks Returning from the Sea, Katwyke Holland by Edwin Hayes
Research by Susan Auty
Thirty-three Edwin Hayes paintings available on: http://www.bbc.co.uk/arts/yourpaintings/paintings/search/painted_by/edwin-hayes
INFLUENCES
Bonaventura Peeters I (1614-1652)
http://www.bbc.co.uk/arts/yourpaintings/paintings/search/painted_by/bonaventura-i-peeters
http://en.wikipedia.org/wiki/Abraham_Hulk_Senior
http://www.bbc.co.uk/arts/yourpaintings/paintings/shipping-off-a-dutch-coast-68935
Willem Van der Velde the Younger (1633-1707)
http://en.wikipedia.org/wiki/Willem_van_de_Velde_the_Younger http://www.bbc.co.uk/arts/yourpaintings/paintings/search/belongs_to/national-maritime-museum-1915_collections?&page=5#/search/belongs_to/national-maritime-museum-1915_collections/painted_by/willem-van-de-ii-velde_artists
George Chambers (1803-1840)
http://www.bbc.co.uk/arts/yourpaintings/paintings/a-sailing-boat-in-a-fresh-breeze-off-cowes-173201
http://en.wikipedia.org/wiki/George_Chambers_%28painter%29
Painting with Bamburgh Castle in background (1886), Henry Redmore (1820-1887) http://www.bbc.co.uk/arts/yourpaintings/paintings/bamburgh-castle-northumberland-78855
Similarities of composition with blue sky in centre and mast in blue sky to Hayes’ painting in same year. http://www.bbc.co.uk/arts/yourpaintings/paintings/wreck-off-bamburgh-castle-in-1886-223337
Hayes’ much darker earlier version (1875).
http://www.bbc.co.uk/arts/youaintings/paintings/brig-drifting-ashore-off-bamborough-northumberland-bamboro47176
Redmore painting (1878), showing similarity of composition and treatment of sea and sky. http://www.bbc.co.uk/arts/yourpaintings/paintings/a-coastal-scene-with-a-cliff-a-fishing-boat-and-a-merchant46364
Contemporaneous shipping scene (1857), William Henry Williamson (1820-1883), with less emphasis on the ships’ details. http://www.bbc.co.uk/arts/yourpaintings/paintings/a-shipping-scene-14761
Contemporaneous seascape (1875), Henry Dawson (1811-1878), showing difference in sea and sky treatment, Dawson’s brushstrokes being smaller and much less free.
http://www.bbc.co.uk/arts/yourpaintings/paintings/a-stormy-sunset-the-guardship-22329
Much more impressionistic and colourful than Hayes’ treatments (1845), George Wilson Carmichael (1799–1868). http://www.bbc.co.uk/arts/yourpaintings/paintings/shipping-offshore-in-a-stormy-sea-9856
James Edwin Meadows (1828-1888), The Storm, painted in 1885 - influenced by Hayes? http://www.bbc.co.uk/arts/yourpaintings/paintings/the-storm-19207
Turner probably not an influence. An example of similar composition (1832):
http://www.bbc.co.uk/arts/yourpaintings/paintings/the-prince-of-orange-william-iii-embarked-from-holland-an202508
Earlier work (1803-04) shows more similarity: http://www.bbc.co.uk/arts/yourpaintings/paintings/a-coast-scene-with-fishermen-hauling-a-boat-ashore-191845. Turner painting more vivid than Hayes.
Royal Museums Greenwich: The collection is especially rich in the Dutch and English schools. These demonstrate how marine art in England developed from the example set by 17th century Dutch artists in celebrating the ships, battles and people that make up a "maritime nation". http://collections.rmg.co.uk/collections.html#!csearch;authority=subject-90248;collectionReference=subject-90248;start=50;dateMadeCentury=19
http://collections.rmg.co.uk/collections/objects/12340.html An earlier fishing pink with information that, 'A pink was a small Dutch fishing vessel rigged with a square mainsail and sometimes with a small foresail on a smaller mast in the eyes of the boat, as in this image. There are two men in the pink, one at the stern with his hand on the tiller and the other bending over in the bow. The starboard leeboard of the vessel is also visible. These were fitted on traditional Dutch vessels to reduce leeway'.
http://collections.rmg.co.uk/collections/objects/12737.html 'A pink was a small but substantial Dutch fishing vessel rigged with a square mainsail and sometimes with a square foresail on a small mast in the eyes of the boat. They were broad and flat-bottomed to assist stability and beaching'. This 1855 painting is by Edward William Cooke - exhibited at the Royal Academy 1835-79 and was made ARA in 1851 and RA in 1863.
http://collections.rmg.co.uk/collections/objects/12426.html 'In this painting Abraham Storck depicts the North Sea and the Dutch coast under a threatening sky. Sun and shadow alternate on the turbulent billows. Seagulls are swept along by the strong wind. The extensive sea wall is striking: rows of wooden posts jutting out of the sea and linked by a wooden barrier, known as groynes, protect the beach from the destructive waves. In the right background, behind the sand dunes, a few houses are visible at the edge of a village. In the foreground to the right Storck has painted a fishing pink which has been brought onto the beach on two round tree-trunk rollers. Her sails are furled and two figures are on board with several fishing pots. Three figures stand to the right; one man gestures to the shipping anchored offshore and looks towards the well-dressed couple standing to the right. Another man walking up the beach, in the foreground on the left, carries a fishing basket on his back and is accompanied by a dog. At sea a variety of shipping is shown riding out stormy conditions. Two small ships, one with red sails and one with white, are visible left of centre with the stern of a Dutch States yacht, flying the Dutch flag, just discernible to their right. A small rowing boat heads for the shore from the direction of the yacht. In the distance, on the left, is a larger vessel, probably a merchantman. She flies the Dutch flag from an ornately decorated stern and is shown at anchor with other shipping nearby.
The circumstances surrounding the painting are unknown. It is possible that the affluent man looking out to sea from the beach has a financial interest in the large merchantman anchored in the bay and may have commissioned the painting. Abraham Storck probably created this painting shortly after 1670. The Dutch transport vessel, with reddish-brown sails near the shore, also appears on two drawings by Abraham’s brother, Jacob Storck, which are dated 1671. Storck not only alludes to the Dutch coast in this painting he also, quite accurately, depicts the specific surroundings of the coastal village of Den Helder in the far north of the province of Holland which was known for its strong sea wall. The same view was painted by Storck’s fellow townsmen, Hendrik Dubbels and Ludolf Backhuysen. Probably the most renowned example is A fleet at Den Helder by Dubbels which is currently kept at the Amsterdam Historical Museum. The bluish-grey and rust-red tints which alternate with white accents are reminiscent of the large work of Dubbels. Moreover, an affinity with the work of Dubbels is also visible in the rolling white crests on the water and the style of the staffage. A drawing, after this painting, attributed to Wigerus Vitringa, is preserved in the Royal Collection at Windsor Castle. Whether the drawing was indeed made by this Frisian artist can be called into question on stylistic grounds. It originates from the collection of King George III and it was supposedly created after the painting found its way from the Dutch Republic into an English collection. The artist, Abraham Storck, trained and worked with his father and became a member of the Guild of St Luke in Amsterdam. His river and coastal scenes were influenced by Ludolf Backhuysen and Willem van de Velde the Younger. He showed considerable accuracy in depicting ships' rigging and technical details. Often his Dutch harbour and river views depict the recreational and ceremonial aspects of shipping. In particular, he concentrated on showing pleasure yachts and ceremonial gatherings of ships. He also focused on depictions of both spectators and passengers. In such work he showed great skill representing the human figure through characterisation as well as attention to costume and detail. The painting is signed 'A Storck' on the beach in the foreground. Around 1670-75 Thomas Bush Hardy (1842-1897) painted Dutch pinks arriving with fishing, Katwijk, but no image is shown on rmg website, http://collections.rmg.co.uk/collections/objects/148367.html.
INFLUENCES
Bonaventura Peeters I (1614-1652)
http://www.bbc.co.uk/arts/yourpaintings/paintings/search/painted_by/bonaventura-i-peeters
http://en.wikipedia.org/wiki/Abraham_Hulk_Senior
http://www.bbc.co.uk/arts/yourpaintings/paintings/shipping-off-a-dutch-coast-68935
Willem Van der Velde the Younger (1633-1707)
http://en.wikipedia.org/wiki/Willem_van_de_Velde_the_Younger http://www.bbc.co.uk/arts/yourpaintings/paintings/search/belongs_to/national-maritime-museum-1915_collections?&page=5#/search/belongs_to/national-maritime-museum-1915_collections/painted_by/willem-van-de-ii-velde_artists
George Chambers (1803-1840)
http://www.bbc.co.uk/arts/yourpaintings/paintings/a-sailing-boat-in-a-fresh-breeze-off-cowes-173201
http://en.wikipedia.org/wiki/George_Chambers_%28painter%29
Painting with Bamburgh Castle in background (1886), Henry Redmore (1820-1887) http://www.bbc.co.uk/arts/yourpaintings/paintings/bamburgh-castle-northumberland-78855
Similarities of composition with blue sky in centre and mast in blue sky to Hayes’ painting in same year. http://www.bbc.co.uk/arts/yourpaintings/paintings/wreck-off-bamburgh-castle-in-1886-223337
Hayes’ much darker earlier version (1875).
http://www.bbc.co.uk/arts/youaintings/paintings/brig-drifting-ashore-off-bamborough-northumberland-bamboro47176
Redmore painting (1878), showing similarity of composition and treatment of sea and sky. http://www.bbc.co.uk/arts/yourpaintings/paintings/a-coastal-scene-with-a-cliff-a-fishing-boat-and-a-merchant46364
Contemporaneous shipping scene (1857), William Henry Williamson (1820-1883), with less emphasis on the ships’ details. http://www.bbc.co.uk/arts/yourpaintings/paintings/a-shipping-scene-14761
Contemporaneous seascape (1875), Henry Dawson (1811-1878), showing difference in sea and sky treatment, Dawson’s brushstrokes being smaller and much less free.
http://www.bbc.co.uk/arts/yourpaintings/paintings/a-stormy-sunset-the-guardship-22329
Much more impressionistic and colourful than Hayes’ treatments (1845), George Wilson Carmichael (1799–1868). http://www.bbc.co.uk/arts/yourpaintings/paintings/shipping-offshore-in-a-stormy-sea-9856
James Edwin Meadows (1828-1888), The Storm, painted in 1885 - influenced by Hayes? http://www.bbc.co.uk/arts/yourpaintings/paintings/the-storm-19207
Turner probably not an influence. An example of similar composition (1832):
http://www.bbc.co.uk/arts/yourpaintings/paintings/the-prince-of-orange-william-iii-embarked-from-holland-an202508
Earlier work (1803-04) shows more similarity: http://www.bbc.co.uk/arts/yourpaintings/paintings/a-coast-scene-with-fishermen-hauling-a-boat-ashore-191845. Turner painting more vivid than Hayes.
Royal Museums Greenwich: The collection is especially rich in the Dutch and English schools. These demonstrate how marine art in England developed from the example set by 17th century Dutch artists in celebrating the ships, battles and people that make up a "maritime nation". http://collections.rmg.co.uk/collections.html#!csearch;authority=subject-90248;collectionReference=subject-90248;start=50;dateMadeCentury=19
http://collections.rmg.co.uk/collections/objects/12340.html An earlier fishing pink with information that, 'A pink was a small Dutch fishing vessel rigged with a square mainsail and sometimes with a small foresail on a smaller mast in the eyes of the boat, as in this image. There are two men in the pink, one at the stern with his hand on the tiller and the other bending over in the bow. The starboard leeboard of the vessel is also visible. These were fitted on traditional Dutch vessels to reduce leeway'.
http://collections.rmg.co.uk/collections/objects/12737.html 'A pink was a small but substantial Dutch fishing vessel rigged with a square mainsail and sometimes with a square foresail on a small mast in the eyes of the boat. They were broad and flat-bottomed to assist stability and beaching'. This 1855 painting is by Edward William Cooke - exhibited at the Royal Academy 1835-79 and was made ARA in 1851 and RA in 1863.
http://collections.rmg.co.uk/collections/objects/12426.html 'In this painting Abraham Storck depicts the North Sea and the Dutch coast under a threatening sky. Sun and shadow alternate on the turbulent billows. Seagulls are swept along by the strong wind. The extensive sea wall is striking: rows of wooden posts jutting out of the sea and linked by a wooden barrier, known as groynes, protect the beach from the destructive waves. In the right background, behind the sand dunes, a few houses are visible at the edge of a village. In the foreground to the right Storck has painted a fishing pink which has been brought onto the beach on two round tree-trunk rollers. Her sails are furled and two figures are on board with several fishing pots. Three figures stand to the right; one man gestures to the shipping anchored offshore and looks towards the well-dressed couple standing to the right. Another man walking up the beach, in the foreground on the left, carries a fishing basket on his back and is accompanied by a dog. At sea a variety of shipping is shown riding out stormy conditions. Two small ships, one with red sails and one with white, are visible left of centre with the stern of a Dutch States yacht, flying the Dutch flag, just discernible to their right. A small rowing boat heads for the shore from the direction of the yacht. In the distance, on the left, is a larger vessel, probably a merchantman. She flies the Dutch flag from an ornately decorated stern and is shown at anchor with other shipping nearby.
The circumstances surrounding the painting are unknown. It is possible that the affluent man looking out to sea from the beach has a financial interest in the large merchantman anchored in the bay and may have commissioned the painting. Abraham Storck probably created this painting shortly after 1670. The Dutch transport vessel, with reddish-brown sails near the shore, also appears on two drawings by Abraham’s brother, Jacob Storck, which are dated 1671. Storck not only alludes to the Dutch coast in this painting he also, quite accurately, depicts the specific surroundings of the coastal village of Den Helder in the far north of the province of Holland which was known for its strong sea wall. The same view was painted by Storck’s fellow townsmen, Hendrik Dubbels and Ludolf Backhuysen. Probably the most renowned example is A fleet at Den Helder by Dubbels which is currently kept at the Amsterdam Historical Museum. The bluish-grey and rust-red tints which alternate with white accents are reminiscent of the large work of Dubbels. Moreover, an affinity with the work of Dubbels is also visible in the rolling white crests on the water and the style of the staffage. A drawing, after this painting, attributed to Wigerus Vitringa, is preserved in the Royal Collection at Windsor Castle. Whether the drawing was indeed made by this Frisian artist can be called into question on stylistic grounds. It originates from the collection of King George III and it was supposedly created after the painting found its way from the Dutch Republic into an English collection. The artist, Abraham Storck, trained and worked with his father and became a member of the Guild of St Luke in Amsterdam. His river and coastal scenes were influenced by Ludolf Backhuysen and Willem van de Velde the Younger. He showed considerable accuracy in depicting ships' rigging and technical details. Often his Dutch harbour and river views depict the recreational and ceremonial aspects of shipping. In particular, he concentrated on showing pleasure yachts and ceremonial gatherings of ships. He also focused on depictions of both spectators and passengers. In such work he showed great skill representing the human figure through characterisation as well as attention to costume and detail. The painting is signed 'A Storck' on the beach in the foreground. Around 1670-75 Thomas Bush Hardy (1842-1897) painted Dutch pinks arriving with fishing, Katwijk, but no image is shown on rmg website, http://collections.rmg.co.uk/collections/objects/148367.html.
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