At many times in our lives, things are very rarely what they seem to be. We tend to look around, quickly form an opinion, and move on. But all that truly gives us is an often inaccurate version of reality. But if we stop and take the time to observe and learn, we can see the bigger picture. I have to admit, when I was first introduced to the world of maritime art, I was quick to judge.

A square painting filled to bursting with spectacular color and energy hangs on a rack in painting storage. Every time I pass this rack, it catches my eye and I say to myself “I need to wait on this one”. But these pieces have a special way of working themselves into my head and so on a gloomy late winter day I decided it was time.

This episode is a pretty big departure from the normal “structure” of Beyond the Frame. This is for a few reasons, and I want to share those with you. I like to try to give extra context with these blogs when I can and this is an episode that I think deserves a little extra context.

Have you ever had a moment that feels almost like Deja-vu? It feels like it’s a memory, but you know it isn’t? Experiencing “Full Tide” by Frederick Judd Waugh is a moment like this – a memory or possibly something deeper in our subconscious.

The Story of the Ship is a story of life cycles. In this circa 1924 series by Harry Neyland, the artist uses 5 small oil on panel paintings to illustrate the creation, life, and demise of this vessel. But there are two life cycles directly associated with this series.

“Unidentified Coast Guard Vessel” by Hunter Wood is a 1943 oil on canvas. It was exciting – crisp, and idyllic in an adventurous way, showing the Coast Guard in action. Their clean, well kept boat breaking heroically through the daunting wave, the guardsman on the bow.

This 1884 oil on canvas simply titled “Coast of Cornwall” by William Trost Richards, captures this complex moment where sea meets shore. In this seascape, there are no people, no ships, no record of time to detract from this moment. Richards

In the International Small Craft Center at the Mariners’, there’s a Portuguese Moliceiro, or Kelp Boat. This boat was one of the first 5 in our collection, accessioned in 1934. This moliceiro had a life on the water, felt the sun’s rays and was used and loved by the kelp gatherers.

While I was looking for information on a different painting, I saw this one of Anna Vaughn Hyatt (later to be Huntington). I was enamored with it and when I discovered the artist behind this painting, Marion Boyd Allen, is female, I might have done a little happy dance.