Fidel Gudin. 19th century orientalist painter. Couldn’t find any further info….
Gogh 1853-1890, Vincent van, Netherlands
Fishing Boats on the Beach at Saintes-Maries
Albert Lynch (1851-1912)
The Jolly Boat
Oil on canvas
Collection of M.S.Rau Antiques (United States)
Ships
[82]
The ‘Royal Prince’ and other Vessels at the Four Days Battle, 1–4 June 1666.
very nice site for a rich naval collection…. check it out if interested
Miniature depicting Seleucus being shipwrecked
MS Hunter 371 (vol. 1): fol. 147r [Book 5]
University of Glasgow
image: The Battle of Sluys, 1340, from Jean Froissart’sChronicles
In the Mediterranean, naval warfare in the medieval period resembled that of the ancient period: fleets of galleys would exchange missile fire come alongside for marines to fight on deck. This mode of naval warfare continued even into the early modern period, as, for example, at the Battle of Lepanto. Famous admirals included Andrea Doria, Hayreddin Barbarossa, and Don John of Austria.
However, galleys were fragile and difficult to use in the cold and turbulent North Sea and northern Atlantic, although they saw occasional use. Bulkier ships were developed which were primarily sail-driven, although the long lowboard Viking-style rowed longship saw use well into the 15th century. Ramming was impractical with these sailing ships, but the main purpose of these warships remained the transportation of soldiers to fight on the decks of the opposing ship (as, for example, at the Battle of Svolder or the Battle of Sluys).
Warships resembled floating fortresses, with towers in the bows and at the stern (respectively, the forecastle and aftcastle). The large superstructure made these warships quite unstable, but the decisive defeats the more mobile but considerably lower boarded longships suffered at the hands of high-boarded cogs in the 15th century ended the issue of which ship type would dominate northern European warfare.
In the medieval period, it had proved difficult to mount cannons on board a warship, although some were placed in the fore- and aftcastles. Small hand-held anti-personnel cannons were used, but large cannons mounted on deck further compromised the stability of warships, and cannons at that time had a slow rate of fire and were inaccurate.
All this was about to change at the end of the medieval period. The insertion of an opening in the side of a ship, with a hinged cover, allowed the creation of a gundeck below the main deck. The weight of cannon distributed to lower decks of the ship increased its stability immensely, effectively providing ballast, and a row of cannon on a lower deck produced thebroadside, where the weight of shot overcame the inherent inaccuracy of firing cannons from a ship at sea. An example is the Mary Rose, the flagship of King Henry VIII’s fleet, which had around eleven heavy guns per side, all of which were capable of firing shot nine pounds or more.
(via cassandra879)
I’ve just completed the painting “The Battle of Lepanto” the high quality prints (both paper and canvas) of which are now available for viewing and purchasing on my store site:
tonystafki.imagekind.com
This great naval battle took place on October 7, 1571 and was won by Our Lady’s intercession. The victory saved Catholic Europe from being overrun by the Muslim Turks.
Details of this painting include:
- The battle formation of the ships just before the main clash. The Catholic ships form a cross and the Muslim ships form a cresent.
- The standard of the Holy Cross which was blessed by Pope Pius V can be seen on Don Juan of Austria’s ship which is leading the charge
- Papal ships (St. Peter’s keys)
- The miracle of the wind: just before the armies met the wind completely switched in favor of the Catholic ships.
- Devils can be seen amongst the Muslim ships (they were summoned from hell by the Muslim leader). The devils have peacock feathers as swords, a manifestation of their pride.
- Our Lady of Victory with a sword in one hand ready to crush the devils and the other hand outstretched to the Muslim souls.
- St. Michael leading the Angels
- There are small white lights by the oars on the Muslim ships representing the souls of the Catholic prisoners.
All CARLEVARIS, Luca’s Paintings. (1701-1750)
Seascape
147,5 x 179 cm Private collection Artist: CARLEVARIS,
When does a landscape become really a seascape? Not, I’d say, in this case….
In the Woods at Giverny, Blanche Hoschedé at Her Easel with Suzanne Hoschedé Reading, 1887, Claude Monet.
Félix Edouard Vallotton, Femme assise dans un fauteuil
GPOY I’M GLAD MONDAY IS ALMOST OVER
Julia Gukova. Illustration from The Legendary Unicorn, 2004
Wingate Paine
6in:
Ushio Amagatsu
Eleanor Fortescue Brickdale, The Uninvited Guest