17th & 18th Century Marine Painters
Dutch, English, French, Italian: an expanding selection

listed chronologically by date of death: subject to correction

BRIL, Matthew1550Antwerp1584Rome
BRIL, Paul1554Antwerp1626Rome
van ANTUM, Aart------fl1610-1620---
PORCELLIS, Jan1584---1632Ghent
van SOEST, Pieter Cornelisz------ fl1640---
VROOM, Hendrik Cornelis1566---1640---
GODERIS, Hans---Haarlem? fl1620-1643Haarlem
van EERTVELT, Andries1590Antwerp 1652Antwerp
de VLIEGER, Simon1600---1653---
STOOTER, Cornelis 1620 Leiden1655 Leiden
van ANTHONISSEN, Hendrik1605Amsterdam 1656Amsterdam
van GOYEN, Jan 1596---1656?--
de BLOOT, Pieter1601Rotterdam 1658Rotterdam
van PLATTENBERG, Matthieu1608? Antwerp1660Paris
van DIEST, Willem 1610?---1663---
WILLAERTS, Adam1577Antwerp 1664Antwerp
NOOMS, Reinier (ZEEMAN)c1623Amsterdamc1667--
BLANKERHOFF, Jan1628Alkmaar1669Amsterdam
MULIER Pieter, Elder1610Haarlem1670Haarlem
SORGH, Hendrick Martensz1611 Rotterdam 1670 Rotterdam
van EVERDINGEN, Allart 1621---1675 ---
DUBBELS, Hendrick Jacobsz 1620---1676---
BELLEVOIS, Jacob Adriaensz 1621Rotterdam1676Rotterdam
van de CAPELLE, Jan1624 Amsterdam1679Amsterdam
PEETERS, Jan1624 ---1680---
KNYFF, Jacob1638Haarlem1681 London
van RUISDAEL, Jacob 1628 Haarlem1682Haarlem
van de VELDE, Pieter1634Anversafter 1687---
FLESSHIER, B --- Holland 1690?---
van BEYEREN, Abraham 1620The Hague1690Overschie
CUYP, Albert1620 Dordrecht 1691 Dordrecht
STORCK , Jan (Johannes) 1620?---1693---
van de VELDE, Willem, Elder 1611 Leiden1693 London
MULIER Pieter, Younger1637Haarlem1701Milan
van der CROOS, Pieter1620---1701---
van ANTHONISSEN, Aernout 1630?Leiden 1703Zierikzee
van DIEST, Adrian1655---1704---
van de VELDE , Willem, Younger1633Leiden1707London
BACKHUYSEN, Ludolf 1631Emden1708Amsterdam
[some years in Berlin from 1698]
STORCK, Abraham 1644---1710---
SMIT, Aernout1641Amsterdam1710Amsterdam
VALE, Robert (Richard?)1692London1716?Mitcham?
GRIFFIER, Jan1651 Holland1718England?
RIETSCHOOF, Jan Claesz1652? Holland1719Holland
SAILMAKER, Isaac 1633 Scheveningen1721London
van BEECQ, Jan
[1672, in England; 1681, in France]
1638 Amsterdam 1722 Amsterdam
MAN, L d------fl 1725?---
PLACE, Francis1647Durham1728York
WOODCOCK, Robert1692London?1728London
van de VELDE , Cornelius c1673?Holland?1730? Holland?
van der MEULEN, Sieuwert c1670?Holland1730?Holland
LEEMANS, T.------fl 1730????---
VALE, Humphrey1690London 1730+?London?
TILLEMANS, Peter1684---1734---
van der HAGEN, Willem------c 1740?---
BASTON, Thomas1670?London?1740?---
COOK, J1700?---1745?---
van der HAGEN, Johann1675The Hague1745Dublin?
RIETSCHOOF, Hendrik1687 Holland1746Holland
MONAMY, Peter1681 London1749Westminster
van HAECKEN, Joseph1699Antwerp1749London
BROOKING, Charles1723London 1759London
MANGLARD, Adrien 1695Lyon 1760 Rome
CANALETTO, Antonio 1697Italy 1768 Italy
SILO, Adam 1674Holland 1766 Holland
ALLEN, Thomas1735?---1772?---
SCOTT, Samuel 1702?London?1772Bath
WRIGHT, Richard1735Liverpool1775---
CLEVELEY, John, Elder1712London1777London
MELLISH, Thomas1720?---1780?---
SWAINE, Francis1725?---1782London
CLEVELEY, John, Younger 1747Deptford1786Pimlico
VERNET, Claude Joseph1714Avignon 1789Paris
HOLMAN, Francis------1790---
PATON, Richard1717London1791London
SWAINE, Monamy1754 London1795?---
de LOUTHERBOURG, Philippe J.1740Strasbourg1812London
DODD, Robert1748---1815---
POCOCK, Nicholas1740---1821---
WHITCOMBE. Thomas1752?----1824---
ANDERSON, William1757Scotland1837---
TURNER, J.M.W.1775---1851---

This list is initially based on the list given in Seventeenth Century Painters of the Netherlands, Col.Rupert Preston, 1974 & 1980. Contemplation of the 91 reproductions in his book induces a sense of despair at ever being able to trace clear, direct influences on the paintings of any one artist. Any of the painters listed above may have used any or all of their predecessors as models. Monamy and his English contemporaries and successors drew on a very wide, long, deep and continuous tradition.

A list compiled by the anonymous author of an essay entitled The Art of Painting, published in, I believe, The Universal Magazine, November 1748, mentions 57 "of those painters of our nation, now living, many of whom have distinguished themselves and are justly esteemed eminent masters". This list is given in Whitley, Artists and their Friends, Vol I, p.104, and among recognisable or presumed marine painters are: Monamie (sic), and Scot (sic).

A similar list today would probably contain no marine artists at all, and it is interesting to find Monamy and Scott in the company of Gainsborough, Hogarth, Reynolds and Wilson. Even in 1748 there is a sense in which Monamy and Scott were not to be regarded as exclusively marine specialists. Scott was turning to riverscapes after about 1736, and the end of his marine period was probably in sight by this time (to himself, if not to others), but there is also an indication that Monamy's range was thought to exceed the purely maritime, or that his earlier fame entitled him to be distinguished as a justly esteemed master, in spite of being infirm and decayed by 1748.

Understanding Paintings: themes in art explored and explained, edited by Alexander Sturgis and Hollis Clayton, was published in 2000. The book's contents page can be read as an indication of the steady decline in esteem of marine painting, down to its present status in the 21st century. There are nine main sections, divided into sub-sections, here in descending order, as follows: Religious Painting (25 sub-sections); Myth and Allegory (16); Portraiture (14); Landscape (13); Genre (12); History Painting (8); Still Life (8); Abstract Painting (8); The Nude (5). Some sort of conclusion has to be drawn from the great preponderance of attention given to religion, myth and allegory, even if it is only a reflection of the predilections of the editors. "Seascapes" are despatched in two pages, one of the thirteen sub-sections under "Landscapes".

A comment made in this sub-section is true enough: "That the genre originated in the Netherlands and enjoyed immense and long-lasting popularity in Britain is not entirely surprising. Besides depending on the sea for food, these nations relied, for their wealth and power, on their command of the oceans, and much Dutch and British seascape painting may be linked to the promotion of national interests and identities."

The national identity of the British, currently on the point of disintegration, but as it was known to the world for the last three centuries, was finally confirmed in the years 1715-1730. These were the years of Monamy's greatest prominence, and it is relevant to note what Horace Walpole has to say about Painters in the Reign of King George I, ie 1714-1727, as expressed in his Anecdotes, the bible of the English art historian and connoisseur:

"We are now arrived at the period in which the arts were sunk to their lowest ebb in Britain." After a passage in which Walpole addresses himself exclusively to portrait-painting, only pausing to dismiss architecture and statuary in a couple of sentences, he goes on: "The new monarch was devoid of taste ..... had he been better known, he must have grown the delight of [his country], possessing all that plain good-humoured simplicity and social integrity, which peculiarly distinguishes the honest English private gentleman. Like those patriots, it was more natural to George I to be content with, or even partial to whatever he found established, than to seek for improvement and foreign ornament."

Our elegant author trembles with supercilious disgust as he contemplates the good-humoured simplicity and social integrity of the object of his bile. He proceeds: "But the arts, when neglected, always degenerate. Encouragement must keep them up, or a genius revivify them. ..... I cannot help again advertising my readers, that no reign, since the arts have been in any esteem, produced fewer works that will deserve the attention of posterity."

monamy's rise and fall
"other famous masters in this manner"
other alternatives
monamy website index
title page


© Charles Harrison Wallace 2003
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