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Open a larger version of the following image in a popup: Evening shipping across Carbis Bay
Open a larger version of the following image in a popup: Julius Olsson, Evening shipping across Carbis Bay, c. 1910
Open a larger version of the following image in a popup: Julius Olsson, Evening shipping across Carbis Bay, c. 1910
Open a larger version of the following image in a popup: Julius Olsson, Evening shipping across Carbis Bay, c. 1910
Open a larger version of the following image in a popup: Julius Olsson, Evening shipping across Carbis Bay, c. 1910
Open a larger version of the following image in a popup: Julius Olsson, Evening shipping across Carbis Bay, c. 1910

Julius Olsson 1864-1942

Evening shipping across Carbis Bay, c. 1910
Oil on canvas
60.9 x 76.2 cm (24 x 30 ins.)
Framed: 83.8 x 99.0 cm (33 x 39 ins.)
Available to buy
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View on a Wall
Evening shipping across Carbis Bay depicts the evening view from Carbis Bay near St Ives. Two sailing vessels are captured on the horizon; a pool of water and light is masterfully executed by Olsson in the foreground. A consummate work by the master of the early impressionist St Ives school, so justly renowned for capturing the colour and light in a transitory moment of crashing wave and surf.
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Provenance

Christie's, South Kensington, Victorian, Pre Raphaelite & British Impressionist Art, July 2015.

Private UK collection

Evening shipping across Carbis Bay is a mature work by Julius Olsson. In this piece the artist once again leaves us marvelling at his ability to capture in oil paint a millisecond’s drama and kaleidoscope of light and shadow in crashing waves and explosive surf. The qualities required to paint such a work are probably best expressed by the man himself: ‘… for one whose heart draws him to the sea must, in the first place, have an exceptionally retentive memory, and be able to grasp in a few moments the effect of the ever-changing movements of the sea and sky; he must have a delicate and subtle sense of colour, and have the ability to place the main features of his impression of the subject on the canvas with a few strokes of the brush, and, besides this, he must be prepared to fight the brave fight with the elements, which will be frequently against him.’ (Olsson’s forward to ‘The Technique of Seascape Painting’ by, Borlase Smart).

 

The Clouded Moon in the Glasgow Museums collection, presents a similar handling of the approaching and retreating waves.

 

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