Willem van de Velde the Younger was a Dutch marine painter, the son of Willem van de Velde the Elder, who also specialised in maritime art. His brother, Adriaen van de Velde, was a landscape painter.
Ludolf Bakhuizen was a German-born Dutch painter, draughtsman, calligrapher and printmaker. He was the leading Dutch painter of maritime subjects after Willem van de Velde the Elder and Younger left for England in 1672. He also painted portraits of his family and circle of friends.
Adriaen van de Velde, was a Dutch painter, draughtsman and print artist. His favorite subjects were landscapes with animals and genre scenes. He also painted beaches, dunes, forests, winter scenes, portraits in landscapes, as well as mythological and biblical scenes. He belongs to a group of painters referred to as the Dutch Italianate painters, who combined Dutch agricultural landscapes with mythological or Arcadian scenes in Italian settings. His paintings are characterised by their delicate, careful composition and his mastery of lighting effects as well as the human figure.
Willem van de Velde the Elder was a Dutch Golden Age seascape painter, who produced many precise drawings of ships and ink paintings of fleets, but later learned to use oil paints like his son.
Simon de Vlieger was a Dutch painter, draughtsman and designer of tapestries, etchings, stained glass windows. While he is mainly known for his marine paintings he also painted beach scenes, landscapes and genre scenes.
Dutch Golden Age painting is the painting of the Dutch Golden Age, a period in Dutch history roughly spanning the 17th century, during and after the later part of the Eighty Years' War (1568–1648) for Dutch independence.
Michael Strang Robinson (1910–1999) was Keeper of Pictures at the National Maritime Museum, London, England. He was an expert on the paintings of Willem van de Velde, the elder and Willem van de Velde, the younger.
Peter Monamy was an English marine painter who lived between 1681 and 1749.
Marine art or maritime art is a form of figurative art that portrays or draws its main inspiration from the sea. Maritime painting is a genre that depicts ships and the sea—a genre particularly strong from the 17th to 19th centuries. In practice the term often covers art showing shipping on rivers and estuaries, beach scenes and all art showing boats, without any rigid distinction - for practical reasons subjects that can be drawn or painted from dry land in fact feature strongly in the genre. Strictly speaking "maritime art" should always include some element of human seafaring, whereas "marine art" would also include pure seascapes with no human element, though this distinction may not be observed in practice.
Kingfisher was a 46-gun fourth-rate ship of the line of the Royal Navy, built by Phineas Pett III at Woolwich Dockyard and launched in 1675. She was specially designed to counter the attacks of Algerine corsairs, or pirates, in the Mediterranean by masquerading as a merchantman, which she achieved by hiding her armament behind false bulkheads. She also was provided with various means of changing her appearance.
Robert Peake the Elder was an English painter active in the later part of Elizabeth I's reign and for most of the reign of James I. In 1604, he was appointed picture maker to the heir to the throne, Prince Henry; and in 1607, serjeant-painter to King James I – a post he shared with John De Critz.
Samuel Scott was a British landscape painter known for his riverside scenes and seascapes.
Charles Brooking (c.1723–59) was an English painter of marine scenes.
Marine art was especially popular in Britain during the Romantic Era, and taken up readily by British artists in part because of Great Britain's geographical form. This article deals with marine art as a specialized genre practised by artists who did little or nothing else, and does not cover the marine works of the leading painters of the period, such as, and above all, J. M. W. Turner. The tradition of British marine art as a specialized genre with a strong emphasis on the shipping depicted began in large part with the artists Willem Van de Velde the Elder and his son, called the Younger in the early 18th century. The Van Veldes, originally from Holland, moved to England to work for King Charles II). By the 17th century, marine art was commissioned mostly by merchant seamen and naval officers and created by marine art specialists. In part, marine art served as a visual portrayal of Britain's power on the sea and as a way of historically documenting battles and the like. As British sea captains began to recognize the ability of marine artists to bring Britain's success on the sea to the public on land, some took on an active role in supporting this type of artwork. For example, marine artist Robert Cleveley was hired by Captain William Locker to work in HMS Thames as a clerk, and Captain Locker, interested in employing artists, is believed to have played a significant role in encouraging Cleveley to work as a marine painter. Captains would act as marine artists' patrons, commissioning them to paint portraits of themselves and pictures depicting important battles. A few significant marine artists who were supported in this way by naval officers are Nicholas Pocock, Thomas Luny, and George Chambers. William Hodges, for example, who was trained to draw at William Shipley's Academy, was hired by the Admiralty to finish his pictures from Cook's 1772 voyage for publication upon reaching home in 1775. Captains also commissioned artists to paint portraits of their ships.
Jan van de Cappelle was a Dutch Golden Age painter of seascapes and winter landscapes, also notable as an industrialist and art collector. He is "now considered the outstanding marine painter of 17th century Holland".
Josef van Aken, known in England as Joseph van Aken and Joseph Van Aken of Heacken was a Flemish-British genre, portrait and drapery painter who spent most of his career in England. Initially successful in England with his fashionable conversation pieces and other genre scenes, he gradually specialised as a drapery painter. Drapery painters were specialist painters who completed the dress, costumes and other accessories worn by the subjects of portrait paintings. They worked for portrait painters with a large clientele. He was recognised as one of the foremost drapery painters active in mid-18th-century England and was employed in that capacity by many leading and lesser known portrait painters of his time.
Robert Woodcock was an English marine painter, musician, and composer who lived during the Baroque period. He is notable for having published the earliest known flute concertos, and the earliest known English oboe concertos.
John Smith was an English mezzotint engraver and print seller. Closely associated with the portrait painter Godfrey Kneller, Smith was one of leading exponents of the mezzotint medium during the late 17th and early 18th centuries, and was regarded among first English-born artists to receive international recognition, along the younger painter William Hogarth.
The brothers John Cantiloe Joy, and William Joy, were English marine artists, who lived and worked together. They belonged to the Norwich School of painters, considered to be a unique phenomenon in the history of British art and the most important school of painting of 19th century England.
Dutch Ships in a Calm Sea is a 1665 oil-on-canvas painting by Dutch marine artist Willem van de Velde the Younger (1633–1707). The son of Willem van de Velde the Elder, who also specialized in marine art, he was first instructed by his father and later by Simon de Vlieger.
