Art
The Rise of the Pierhead Painters and the Far-Reaching Infl uence of the Roux Dynasty from
18 1750 – 1850 By Julia Korner 70 cywinter 2011
T
he conventions of ship portraiture developed slowly and, at fi rst, the ‘pierhead’ painters worked in relatively isolated groups, by
following traditions which had a special place in the Mediterranean and Portuguese ports, and which shaped the style of ship paintings. Churches in French, Italian, Adriatic and Aegean ports and harbours were fi lled with votive paintings so that, by the end of the th Century, the pictures unwittingly provided an historic record of the ships in the area.
These early pierhead painters worked mainly in pencil, ink, watercolours and bodycolour. It was, and is, a medium ideal for its immediacy and simplicity, thanks to the portable nature of the materials used. Inks and washes dried rapidly and fi nished sketches could be carried home without fear of damage, whereas oil paint remained ‘sticky’ for several days, which posed problems when travelling. It was a medium that had always been considered inferior to oil paintings but it began to be taken seriously in the mid-18th Century. As trade expanded and vessels sought a berth in the busy ports of Europe, the painters would board the ship, carrying samples of their work, as soon as the pierhead was passed. It was in this environment that the Roux family, based in Marseilles, a lively port perfectly positioned for vessels heading both eastwards and westwards towards the Mediterranean and the Atlantic, came to dominate, for almost 150 years, their stylistic fi eld by providing charming and accurate portraits of vessels during the ‘Golden Age of Sail’.
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