WASHINGTON, DC.- The National Gallery of Art has acquired A Fleet at Sea (c. 1614), a major painting by the Haarlem artist Hendrick Cornelisz Vroom (d. 1640). The first Dutch painter to specialize in seascapes and detailed portraits of specific ships, Vroom paved the way for later 17th-century marine painters with his lively, colorful, and harmonious compositions. A Fleet at Sea was featured in the 2018 exhibition Water, Wind, and Waves: Marine Paintings from the Dutch Golden Age. The National Gallery is grateful to Albert Beveridge and his late wife, Madzy, for their generous gift that has brought this important painting into the nation’s collection.
A Fleet at Sea portrays a historic event that took place many years before Vroom painted its likeness. A stiff breeze propels the billowing sails of a Dutch fluyt ship from the mouth of the Maas River onto the choppy waves of the North Sea. On the right side of the painting, the skyline of Den Briel, with its squat church tower, identifies the exact location of the scene. Vroom has also included several details that suggest that the heavily armed cargo ship in the foreground may be the Roode Leeuw (Red Lion), which left its home port of Rotterdam in 1597 for a well-documented voyage to the distant shores of South America and the Caribbean. The vessel’s figurehead is a bright red lion, and the flag of the province Holland (also with a red lion) appears atop the main mast. The inclusion of the municipal arms of Rotterdam on the red, white, and blue Dutch flag on the stern pole may be a nod to the Roode Leeuw’s home port. Research continues into a possible alternative identification of the ship as the Rotterdam-based Leeuwinne (Lioness), which rammed and destroyed Spanish galleys in 1602, an event that Vroom depicted in a 1617 painting.
Vroom’s extensive output in paintings and prints had a direct impact on the enormous popularity of marine painting in the Netherlands throughout the 17th century. His own sea voyages during the 1580s gave him a profound understanding of the architecture and rigging of ships, and of their interaction with wind and water in a wide range of conditions. Vroom’s career coincided with the dawn of Dutch global commercial expansion, and he received numerous lucrative commissions from shipowners, captains, and shareholders of the Dutch East and West India Companies.
Acquisition: William Christenberry
William Christenberry (1936–2016) is best known for his artistic exploration of place, in particular the Black Belt region of Alabama, where he spent his childhood in Hale County. Working in a wide variety of media, including painting, drawing, photography, sculpture, and assemblage, Christenberry focused on architecture, abandoned structures, and nature, and he studied the psychology and effects of place and memory. The National Gallery of Art has acquired the sculpture Memory Form II (1997–1998), a gift from Stephen Bennett Phillips in honor of Sandra Deane Christenberry, the artist’s widow.
In 1968 Christenberry moved to Washington, DC, where he quickly became a revered teacher and mentor at the Corcoran School of Art. However, his art remained focused on the landscape and built environment of Alabama, where he would return each summer to photograph shacks and stores and to collect signs and other artifacts that reflected the spirit of the place. His efforts were not simply nostalgic. Christenberry had an eye for decay and was deeply aware of the dark history of the region, with depictions of Ku Klux Klan hoods occasionally appearing in his work. Memory Form II is somewhat unusual in the artist’s oeuvre. Rather than a detailed, realistic model of a particular building, it is a poetic evocation of a general type of structure common in the South—the so-called dogtrot house with a central breezeway, which –Christenberry has reduced in this sculpture to a mysterious opening. As a result of the artist’s patient application of encaustic and paint to wood, the sculpture appears almost tomb-like, encased in time and memory.
