Oil Painting 60 X 60 Dinghy

Michel Brosseau was born in Nantes and has lived in Bordeaux for many years. Both cities are on the Atlantic coast of France and have rich maritime histories, highlighted by prosperous trade with the West Indies in the 18th century. “The scent of cocoa, vanilla, and cinnamon still vaguely hangs in these ports today,” says Brosseau.

The French artist is known for his nautical paintings and draws inspiration from his childhood memories. “I strolled the docks between the sugar and rum warehouses,” he says. “And I think it’s this nostalgia for a traditional sea lifestyle that used to fascinate me and still does.”

Brosseau’s education is atypical for a painter — he studied political science as an undergraduate and received a master’s degree in law. Although he painted during and after his years at school, he worked as a journalist and a political activist upon graduating. He could not stay away from his true passion for long, however, and eventually returned to painting full time. From a young age, the sea captivated Brousseau.

“My first paintings were devoted to maritime themes mixed with Surrealism,” he says. Paintings from his teenage years depict flying boats or parting waters, like the iconic scene from Cecil B. DeMille’s 1956 film The Ten Commandments. As Brosseau developed, his style moved closer to realism. His oil paintings have a distinct look — graphic and contemporary — that he uses to explore the philosophical implications of marine life.

“The fascinating part of the sea is that it’s a total and paradoxical universe,” Brosseau says. “There is always the fascination with going out to sea and the anticipation of returning to port.” While his style is consistent, Brosseau experiments with different techniques and themes. He rarely paints open seascapes and his canvases frequently include animate and inanimate symbols of the nautical world — toiling sailors, faded buoys with chipped paint, weather-battered rowboats.

“Maybe I prefer the maritime places, objects, and artifacts of the sea culture to the sea itself because I can tame and control them,” Brosseau says. At the heart of his work is an awareness of the austerity of life — at sea and ashore — and the different ways humanity reacts to nature. “I found this a bit in Martha’s Vineyard,” he says, “this opposition between the Palladian refinement of 18th-century New England architecture and the odds and ends of Menemsha Harbor.”

When Brosseau first visited the Vineyard he was struck by the diverse wealth of scenery the island presents to a painter. “Whatever the topic, there is always an atmosphere to be captured,” he says. Inspired by the Vineyard’s majestic sailboats, tranquil harbors, and quaint landscapes, Brosseau began a series of paintings dedicated to the island’s nostalgic charm. His work has been featured at the Eisenhauer Gallery in Edgartown since the summer of 2006.

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(Biography provided by Eisenhauer Gallery)

Realist art attempts to portray its subject matter without artifice. Similar to naturalism, authentic realist paintings and prints see an integration of true-to-life colors, meticulous detail and linear perspectives for accurate portrayals of the world. 

Work that involves illusionistic techniques of realism dates back to the classical world, such as the deceptive trompe l’oeil used since ancient Greece. Art like this became especially popular in the 17th century when Dutch artists like Evert Collier painted objects that appeared real enough to touch. Realism as an artistic movement, however, usually refers to 19th-century French realist artists such as Honoré Daumier exploring social and political issues in biting lithographic prints, while the likes of Gustave Courbet and Jean-François Millet painting people — particularly the working class — with all their imperfections, navigating everyday urban life. This was a response to the dominant academic art tradition that favored grand paintings of myth and history. 

By the turn of the 20th century, European artists, such as the Pre-Raphaelites, were experimenting with nearly photographic realism in their work, as seen in the attention to every botanical attribute of the flowers surrounding the drowned Ophelia painted by English artist John Everett Millais.

Although abstraction was the guiding style of 20th-century art, the realism trend in American modern art endured in Edward Hopper, Andrew Wyeth and other artists’ depictions of the complexities of the human experience. In the late 1960s, Photorealism emerged with artists like Chuck Close and Richard Estes giving their paintings the precision of a frame of film.

Contemporary artists such as Jordan Casteel, LaToya Ruby Frazier and Aliza Nisenbaum are now using the unvarnished realist approach for honest representations of people and their worlds. Alongside traditional mediums, technology such as virtual reality, artificial intelligence and immersive installations are helping artists create new sensations of realism in art.

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Decorating with fine art prints — whether they’re figurative prints, abstract prints or another variety — has always been a practical way of bringing a space to life as well as bringing works by an artist you love into your home.

Pursued in the 1960s and ’70s, largely by Pop artists drawn to its associations with mass production, advertising, packaging and seriality, as well as those challenging the primacy of the Abstract Expressionist brushstroke, printmaking was embraced in the 1980s by painters and conceptual artists ranging from David Salle and Elizabeth Murray to Adrian Piper and Sherrie Levine.

Printmaking is the transfer of an image from one surface to another. An artist takes a material like stone, metal, wood or wax, carves, incises, draws or otherwise marks it with an image, inks or paints it and then transfers the image to a piece of paper or other material.

Fine art prints are frequently confused with their more commercial counterparts. After all, our closest connection to the printed image is through mass-produced newspapers, magazines and books, and many people don’t realize that even though prints are editions, they start with an original image created by an artist with the intent of reproducing it in a small batch. Fine art prints are created in strictly limited editions — 20 or 30 or maybe 50 — and are always based on an image created specifically to be made into an edition.

Many people think of revered Dutch artist Rembrandt as a painter but may not know that he was a printmaker as well. His prints have been preserved in time along with the work of other celebrated printmakers such as Pablo Picasso, Salvador Dalí and Andy Warhol. These fine art prints are still highly sought after by collectors.

“It’s another tool in the artist’s toolbox, just like painting or sculpture or anything else that an artist uses in the service of mark making or expressing him- or herself,” says International Fine Print Dealers Association (IFPDA) vice president Betsy Senior, of New York’s Betsy Senior Fine Art, Inc.

Because artist’s editions tend to be more affordable and available than his or her unique works, they’re more accessible and can be a great opportunity to bring a variety of colors, textures and shapes into a space.

For tight corners, select small fine art prints as opposed to the oversized bold piece you’ll hang as a focal point in the dining area. But be careful not to choose something that is too big for your space. And feel free to lean into it if need be — not every work needs picture-hanging hooks. Leaning a larger fine art print against the wall behind a bookcase can add a stylish installation-type dynamic to your living room. (Read more about how to arrange wall art here.)

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