difference between the object and its
reflection as there will always be a
subtle difference. Reflections always
have softer edges – there will always
be a hint of movement, like a shake in
a line. It’s all about giving little clues to
make the viewer think it is a reflection
rather than a solid object.
What are common mistakes when it
comes to marine art? And how would
you avoid repeating these?
BM: Hard horizon lines can let a
painting down. There is always vapour
which will diffuse and soften the
distance to some degree. Examine
your use of blues, the sea is rarely a
block of pure azure blue, it will have
some tonal shift and colour
modulation. Finally, skies deserve
careful study. They can be so complex.
There were a surprising number of
submissions which did not make it
through because the skies were poor.
Skies should not be an afterthought.
Aside from obvious names like
Turner, which marine artists’ work
would be instructive to look at?
DW: This is a difficult one for me
because Turner is by far the best,
particularly with his watercolours.
They are so loose and fluid in their
delivery, they’re ageless and limitless.
Another artist you might look at in
the same era is John Sell Cotman.
His paintings have a more romantic
feel to them. Turner’s were very much
about the cut and thrust of the ocean,
whereas Cotman’s were more about
the scene in the boatyard or harbour.BM: There have been so many
excellent marine painters; it is hard to
know where to start. I can’t help
mentioning the Royal Society of
Marine Artists exhibition. It is our 74th
annual exhibition and the pieces on
show are all very different. Throughout
the exhibition we have “Meet the
Artist” events. I would urge your
readers to come along to chat and see
for themselves how current, varied
and alive marine painting is today.
The Royal Society of Marine Artists
Annual Exhibition 2019 runs 10-19
October at Mall Galleries, London SW1.
http://www.rsma-web.co.uk