To great acclaim, Mystic Seaport Museum opened its newest exhibition J.M.W. Turner: Watercolors from Tate on Saturday, October 5, 2019. More than 140 members had gathered early in the morning to get a preview of the show before the doors opened to the general public. During Saturday morning, Museum visitors could also follow a discussion about J.M.W. Turner between the exhibition’s curator, David Blayney Brown, Tate’s Manton Senior Curator of British Art 1790-1850, and Nicholas R. Bell, senior vice president for Curatorial Affairs at Mystic Seaport Museum, in the River Room at Latitude 41° Restaurant & Tavern.

This major exhibition is organized in cooperation with Tate and will run through February 23, 2020. The show is drawn from the renowned Turner Bequest of 1856, the vast legacy of art donated to Great Britain by J.M.W. Turner (1775-1851), which resides today at Tate. Mystic Seaport Museum is the only North American venue for unique exhibition.

The exhibition spans the entirety of Turner’s long career and, by focusing on the artist’s watercolors, provides insight into the private visionary behind the public figure. The viewer will see Turner’s watercolor practice evolve from aide to memory to a way of thinking with his brush–“for his own pleasure,” to borrow a phrase from a contemporary admirer, the critic John Ruskin.

“Joseph Mallord William Turner is one of the great artists of the Western Canon,” notes Stephen C. White, president of Mystic Seaport Museum, the preeminent maritime museum in the United States. “In building our new exhibition center, the Thompson Exhibition Building, which opened in 2016, we prepared for loans of this caliber. Now we are thrilled to have Turner’s watercolors here for visitors throughout the region and country.”

Tate rations display of Turner’s watercolors, given the fugitive quality of the medium. But Tate balances conservation considerations with the mission to serve new audiences. “We are exceptionally pleased to have this intimate and powerful selection of works at Mystic Seaport Museum – the result of an ambitious and rewarding collaboration between the two organizations,” says Dr. Maria Balshaw, CBE Director, Tate.

Watercolors from Tate brings together 92 watercolors, four oil paintings, and one of the artist’s last sketchbooks. “Not one of these watercolors or the sketchbook would have survived had Turner had anything to do with it,” notes Curator David Blayney Brown. Before his death, Turner sought to cement his place in history by bequeathing the contents of his studio to the British nation. He envisioned that the finished oil pictures would hang in rotation in a Turner Gallery inside the National Gallery at Trafalgar Square. But that dream never came to pass and, in 1856, the Chancery Court overruled the artist’s wishes, saving the entire contents of the studio, including more than 30,000 watercolors and sketches stashed haphazardly in cupboards, crammed in drawers, and rolled between canvases.

Nicholas Bell says, “Watercolor has always been central to Turner’s art and its inspiration to others. Perhaps surprisingly for a North American audience, which has always had greater access to his oils, the watercolors have long competed in Britain with their weightier oil counterparts for museum-goers’ affections. What’s so marvelous about this gathering of loan works is that its very size makes it possible to follow Turner’s career trajectory in all its complexity.”

“Here we see not the public Turner, whose large oil paintings hung prominently in the Royal Academy, but the private artist who continually tested compositions, color, and tactile effect,” says David Blayney Brown.

Watercolors from Tate brings together luminous landscapes and atmospheric seascapes, architectural and topographical sketches, travel drawings, and even a number of intimate interior views. Some watercolors were completed in the studio; others, sketched en plein air. A number appear to have been dashed off on tiny slips of paper; others are finished works, conceived for display, incorporating ink, pencil and gouache. The earliest work on view is a romantic scene of a gorge painted in 1791 when Turner was 17 years old; the latest, painted 55 years later and exhibited at the Royal Academy five years before the artist’s death, is Whalers (Boiling Blubber) Entangled in Flaw Ice, Endeavoring to Extricate Themselves (1846).

The exhibition is organized into seven sections: “From Architecture to Landscape: Early Work,” “Nature and the Ideal: England c. 1805-15,” “Home and Abroad: 1815-30,” “Light and Color,” “The Annual Tourist: 1830-40,” and “Master and Magician: Late Work.”

The final section, “Turner and the Sea,” was curated especially for Mystic Seaport Museum. It is a selection of 17 watercolors, oils, and a sketchbook of scenes of the sea–shipwrecks, a beached boat, coastal views, and purely atmospheric images. Highlights include a graphite and watercolor drawing evoking with stark economy a vessel or whale stranded on a mountainous coast and Stormy Sea with Dolphins (c.1835-4), a major painting that last traveled to the U.S. in 1966 as part of a notable monographic exhibition at the Museum of Modern Art.

Publication

Conversations with Turner: The Watercolors accompanies Watercolors from Tate and is edited by Nicholas Bell.

The book’s format is inspired by this introduction of Britain’s seminal visual artist to new audiences. Following an introductory essay on Turner’s lifelong pursuit of excellence in watercolor by David Blayney Brown, an international cadre of established and rising scholars and artists meet in dialogue in a series of thematic “conversations” in print.

Addressing such areas as the evolution of Turner’s art in watercolor, evidence of rapid changes to England’s industry and culture in the early 19th century, his treatment of time and memory, and the question of how his works influence contemporary artists working today, these conversations are intended to offer the reader accessible entry points into the medium central to Turner’s development as an artist.

The book is co-published by Mystic Seaport Museum and Skira Editore.

Order your copy by calling the Museum’s Bookstore at 860.572.5386, or by clicking on the red arrow below:

Order the Book

There are two things we can say about our schooner Brilliant: the boat is fast and the boat is beautiful. This past weekend, at the annual Eggemoggin Reach Regatta in Maine, Brilliant proved once again the truth to those statements.

Captain Dan McKenzie and his crew brought Brilliant across the line for first place in her class (schooner and gaff). The Eggemoggin Reach Regatta is the premier classic yacht race on the East Coast. There were reportedly 113 vessels in Saturday’s race.

Brilliant also brought home the trophy for Most Photogenic Boat as judged by the Calendar of Wooden Boats®.

The schooner is the work of legendary naval architect Olin Stephens II, whose ability to combine speed and beauty in his designs is renowned. Brilliant was built in 1932 at the yard of Henry B. Nevins at City Island, NY. After a number of years as a yacht and a stint in the U.S. Coast Guard during World War II, the boat was donated to the Museum in 1952 to become a sail training vessel, starting in 1953. More than 11,000 teenagers and adults have sailed in programs since that time. Brilliant’s excellent condition is a testament to the designers and skilled craftsmen who built her to the highest standards, and to the careful maintenance she has received ever since. Originally built for offshore cruising, Brilliant has proven herself in many races.

Congratulations to the crew and everyone who supports Brilliant over the course of the year.

Mystic Seaport Museum is proud to announce it is accepting pre-sale orders for its new book, Conversations with Turner: The Watercolors, published jointly with Skira. Edited by Senior Vice President for Curatorial Affairs Nicholas Bell, the book accompanies the major exhibition at the Museum opening October 5.

Joseph Mallord William Turner (1775-1851) is widely considered the greatest artist in the history of Britain. Central to this claim is Turner’s mastery of watercolor, a medium he tackled in childhood and returned to throughout his life as he challenged, then surpassed all expectations of what could be achieved with the simple ingredients of paper, water, and pigment.

In this book 16 scholars, historians, and artists come together for a series of thematic conversations centered on this medium. Topics include the role watercolor played in Turner’s practice, its relationship to oil painting, what these works reveal about Britain in the grips of the Industrial Revolution, Turner’s relationship to the sea, and his impact today on contemporary art.

Contributors include Glenn Adamson, John Akomfrah CBE, Timothy Barringer, David Blayney Brown, Amy Concannon, Susan Grace Galassi, Ellen Harvey, Elizabeth Helsinger, Olivier Meslay, Mariana Marchesi, Alexander Nemerov, Katie Paterson, Victoria Pomery OBE, William S. Rodner, Sam Smiles, and Scott Wilcox.

This book illustrates more than 100 watercolors from the Turner Bequest at Tate, tracking the artist’s progress as he rivaled peers in the 1790s through to the 1840s, when Turner’s annual travels to Italy, Germany, and Switzerland fed an increasingly radical approach to color and technique. Many of these works were never intended to be seen by others, and were instead painted, in contemporary art critic John Ruskin’s words, “for his own pleasure.”

Mystic Seaport Museum announces it honored the Dark Harbor 20 class owners with the William A. Baker Award. The award is given to promote the awareness and appreciation of fine examples of one-design classes or boats of like kind, and to foster faithful preservation and restoration, and encourage their continued use.

The owners are being recognized for their effort to preserve and maintain a significant class of American sailing craft.

Antique and classic boat organizations throughout the country typically present awards for the preservation of wooden boats. As a rule, these awards are presented to individual owners or vessels, recognizing some superlative aspect of the work that has been done to keep them up, maintain original status, or examples of fine craftsmanship.

The William Avery Baker Award is unusual in that it is presented to a class association or group of owners. The purpose is to recognize the people and communities that do the bold, arduous, and often expensive work of keeping a large group or class of vessels actively sailing.

The Dark Harbor 20 was designed in 1934 by yacht designers Olin Stephens II and his partner, Drake Sparkman, in response to a request from members of the Tarratine Club of Dark Harbor in Isleboro, ME, for a new sloop for club racing. The resulting boat is a narrow, fin-keel hull with long overhangs and a Bermudan rig. The first batch of 16 boats was built by George Lawley in Neponset, MA, during 1934-5. The design proved to be a success, both on and off the racecourse. The boats are fast, easily driven with particularly good windward performance, and easy to handle.

A second batch of five boats joined the fleet after World War II. All but one of the original Dark Harbor 20s are still sailing, and in 2006 a fiberglass version was added to the class. The new boats were designed and engineered by Sparkman & Stephens to be identical in all relevant aspects to the wooden boats to ensure fair competition.

“The owners of the Dark Harbor 20s are to be commended for their dedication to authenticity and active use of the class. That so many of the inaugural fleet are still sailing is a remarkable accomplishment and yet there is room for a next generation to continue the class for the future,” said Steve White, president of Mystic Seaport Museum. “We are proud to honor the Dark Harbor 20 owners for their continued effort to allow future generations to sail and enjoy these fine boats. As Camden was my childhood home, I had the opportunity to sail the DH20s, loving them all”

The award was presented at a ceremony at the Tarratine Club July 30.

Mystic Seaport is pleased to announce the latest recipient of the William P. Stephens Award is maritime photographer Benjamin Mendlowitz.

Established in 1988, and named after William P. Stephens, long known as the “Dean of American Yachtsmen” and “the grand old man of American yachting,” the award is given periodically in recognition of a significant and enduring contribution to the history, preservation, progress, understanding, or appreciation of American yachting and boating.

“We are deeply honored to present this award to Benjamin Mendlowitz to recognize his life’s work capturing the beauty and craftsmanship of wooden boats,” said Mystic Seaport Museum President Steve White. “Much as the Rosenfeld family chronicled the early and middle of the 20th century of American yachting with their iconic black-and-white photographs, Mendlowitz applies his talented eye and intuitive sense of light and curve to portray the classic boats that remain from the past and to document the important vessels from our generation. His work helped drive the renaissance of wooden boats in America over the last 40 years.”

Mendlowitz was born and raised in New York City and drew his passion for boats and the sea from summers on the New Jersey Shore, where he was influenced by the local traditional boat builders. After graduating from Brandeis University, he embarked on a career in photography with his work appearing in WoodenBoat Magazine and other nautical publications. Through his company NOAH Publications, Mendlowitz publishes the Calendar of Wooden Boats, which has been a staple on the walls of wooden boat enthusiasts for more than 30 years.

Mendlowitz photographs have appeared regularly on the covers of many trade and educational books, and in feature articles and on the covers of the most respected boating magazines including WoodenBoat, Nautical Quarterly, Sail, Yachting, Cruising World, Maine Boats, Homes & Harbors, Soundings, Chasse-Maree and L’annee Bateau (France), Classic Boat, (Britain), Yacht (Germany), and Arte Navale (Italy). His work has also appeared in magazines such as Time, Esquire, Money, People, Atlantic Monthly, Connoisseur, Historic Preservation, Field & Stream, Down East, Yankee, Sports Illustrated, The London Times Magazine, The Boston Globe Magazine, The New York Times Magazine, among many others.

Mendlowitz’s newest book, Herreshoff: American Masterpieces, created in collaboration with Maynard Bray and Claas van der Linde, was published in November 2016 by W.W. Norton & Company of New York. In 1998, Norton published Wood, Water & Light, a large-format, full-color book featuring more than 180 of Mendlowitz’s finest early images with accompanying text by Joel White. In addition to seven other book published by Norton, two books published by NOAH Publications feature his photography: Joel White: Boatbuilder, Designer (2002), with text by Bill Mayher and Maynard Bray and Aida (2012) by Maynard Bray.

The award was presented as part of the Castine Classic Race Symposium at the Maine Maritime Academy, in Castine, Maine, on July 31.

Previous recipients include Olin J. Stephens II, Jon Wilson, Elizabeth Meyer, Briggs Cunningham, John Gardner, Carleton Mitchell, Maynard Bray, John Rousmaniere, and Louie Howland.