BOOK REVIEW: ‘ A Marine Artist’s Portfolio: The Marine Paintings Of Susanne Fournais’

80. Marine artist's portfolio

Reviewer:  Michael Keith

Title: A Marine Artist’s Portfolio: The Marine Paintings Of Susanne Fournais

Author: Susanne Fournais Grube

No. of Pages: 103

Rating Scale (1: very poor, 10: excellent): 8

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In this volume’s Introduction, and when explaining the reasons for this volume, the author states ‘I’ve been very fortunate in being able to demonstrate [my] love of and fascination in the sea through art’ and that she has been ‘Lucky enough to be able to devote time to painting those subjects that I find of interest as well. These paintings form the basis of this book’. It is an accurate precis of a beautifully-illustrated volume.

This volume contains no Contents page; the first section being an Introduction where-in the author provides a historical and personal background to her nautical interest, while also acknowledging the assistance she received in the book’s creation. A small, single-column section titled My Painting Techniques appears on the extreme left hand edge of the following page (page six) ; the title being self-explanatory. The six ‘Sections’ forming the main part of the work then follow. These are analogous to Chapters. They are however un-numbered and cover a wide variety of subjects from Liberty ships to Lighthouses, to Crustacea and to Shells. Although nominally on a single subject (for example Tugboats, ferries and pilots in ‘Section’ Two), the section ‘titles’ are frequently ‘catchalls’ for the artist’s work; the previously-mentioned section containing images of both naval vessels and maritime paraphernalia; subjects falling outside the nominal range implied by that section’s ‘title’. Each Section is prefaced by an introductory essay. These provide background to the types of vessel likely to be found within the section (Wooden boats and yachts in ‘Section’ 6 being one such example), and set the scene for the images that are to follow. That the images within the section might include subjects that are neither ships nor boats is not however mentioned. The images, when they appear, are spectacular, and portray their subjects (whether on land, in the sea or from below it) in all sorts of settings and situations. The majority of images are single-paged in format. However, for unexplained reasons, several pages contain groups of smaller images, provided perhaps to display as many of the artist’s works as possible within a constrained environment. The image colours are beautiful, sharp and very evocative. They display the artist’s talent and distinctive style to full advantage. Such Captions as are provided are the titles of the individual pieces. The volume contains no ‘technical’ information about the subjects being portrayed. An Epilogue placed after the last image (Marie) provides information about the artist’s travels, whereabouts and her future intentions. The volume contains no list of the images that appear within it. There is no Index.

As previously-noted, the images within this volume are beautiful and a credit to their creator. They are equally however, the source of a major criticism concerning this work; namely that there is simply no way to find a specific vessel or image. Should a reader to whom ‘A ship is a ship, is a ship’, merely want a ‘Pretty picture book’ of marine things, they will have no problems with this aspect of the volume. However, should said reader (perhaps a ship modeller or a crew-member of one of the vessels portrayed), wish to find an image of (for example) Mineral Zulu (page 51), they will have to spend time trying to find if the vessel is even actually within the work, with no guarantee of success for their efforts. In this reviewer’s opinion such searching for a possibly-disappointing end-result should not be necessary; things could have been done better.  An Index, or (at the very least), a page containing a List of Plates / Images and the appropriate page numbers, would have been extremely helpful. A Contents page showing the titles and locations of the various ‘Sections’ (while also numbering them), when combined with the previously-suggested list of plates, would have also contributed to reduced searching times.

There is no doubt that this is a beautiful book and a pleasure to view. Followers of the artist will, of course, be delighted with its content. Lovers of ships and ‘Things Nautical’ may well find it worthy of their attention, while ship modellers and other marine artists may find the colours and details useful. On the presumption that the vessels portrayed actually exist, it is also likely that the crews of such craft will find the images and the artist’s interpretations to be of interest. It is also likely to appeal to those who simply like beautiful images of ships and the sea and who would purchase a volume of images for just that reason. It is indeed a ‘Work of Art’.

On a Rating Scale where 1: very poor, 10: excellent, I have given this volume an 8.

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BOOK REVIEW: ‘ A Marine Artist’s Portfolio: The Marine Paintings Of Susanne Fournais’