Category Archives: Beach Art

South Texas Artist Makes Plastic Pollution Her Medium

Plastic pollution. Photograph: © SAF


“I used to go to the beach to meditate and listen to the waves,” Rogers said. “Now they bring in a plague of plastic, and people need to be aware of the wide range toxic effect of it on our environment.”

Sheila Rogers’ 3-dimensional wall art boxes, and her “Tossed and Found” and “Shoreline Abstraction” photos of plastic debris on beaches, will be part of a 2013 showcase that focuses on proper litter disposal…”One centerpiece of our education program is trying to reduce marine debris.”

Texas State Aquarium is planning an exhibition of Rogers’ plastic trash art to share the message to its 550,000 visitors annually, officials said…

Read Full Article, AP / San Antonio Express

Me and you three; 2 years, 4 artists, 8 beaches, four island of Wight artists: Judes Crow, Annik Cullinane, Mary Flynn & Gerry Price
For two years, four artists have been making site visits together to coastal locations and visits to eight island beaches, around the Isle of Wight, UK. The result is an eclectic exhibition made cohesive by linking the marine environment to humanity. The work communicates experiences of loss and bereavement, conflict between the undeniable beauty of the coast and evidence of decay, thoughts about permanence and transience, and the rythm and inevitability of change.

Me and you three; 2 Years, 4 Artists, 8 Beaches: Part Two
Groups of young people from three Isle of Wight’s schools visited the “Me and You: 2 years, 4 artists, 8 beaches” exhibition, and showed their responses in the form of their own artwork.

The Cold Edge

Image source: © Dave Walsh Photography


“The Copper House Gallery presents The Cold Edge an exhibition of stunning polar images by photographer, writer and environmentalist Dave Walsh. Walsh’s ethereal photographs of the unforgiving wilderness, wild animals and blue icebergs question our romantic relationship with remote, harsh and pristine environments. The images resonate with a quiet tension; all may not be right in the Garden of Eden…”The Copper House Gallery.

Dave Walsh’s photographs, at the Copper House Gallery in Dublin, show what it is like to be truly on the edge. The images taken during Greenpeace expeditions to the Arctic and Antarctica, between 2007 and 2010, question our romantic relationship with remote, harsh and pristine environments of the polar regions…

The Cold Edge exhibition runs from September 13th to September 29th, 2012.

View Images Gallery and Learn More, The Copper House Gallery

The Cold Edge: Exhibition, 16 Images; Dave Walsh Photography

The Cold Edge: the Book, Dave Walsh Photography

Read Full Article, Guardian UK

Going to the Arctic to witness history, Greenpeace

Indian sand artist wins prize in Denmark

Copenhagen International Sand Sculpture Festival 2012. Photo source: ©© Aeter


A sand sculpture on marine conservation created by Indian sand artist Sudarsan Pattnaik has won the prestigious audience prize at an international sand art competition held in Copenhagen, the artist said Wednesday.

Pattnaik’s 20-feet high sculpture ‘Save the Ocean‘ got as many as 23,000 votes from a total of 80,000 cast by visitors at the Copenhagen International sand sculpture championship and festival, which began May 31 in Denmark…

Read Full Article, IANS

Copenhagen International Sand Sculpture Festival, 2012

Peace Camp and Nowhere Island

“Something extraordinary is happening this weekend as part of the London 2012 Festival. Inspired by the Olympic Truce, renowned director Deborah Warner, in collaboration with Fiona Shaw, has been commissioned to create Peace Camp, a coastal installation encircling the UK. Watch the short film of Peace Camp at Dunstanburgh Castle for a flavour of the live events happening all over the UK this weekend.” Photo source Paul Lindsay/Peace Camp, Captions—Peace Camp


On the shore below the jagged-toothed ruins of Dunstanburgh Castle on the Northumberland coast, 420 domed tents have sprung up. White and dead-looking by day, they begin to blush as the unwilling northern dusk gathers, then they start to glow, pulsating with a pinkish light. If you walk among them, you begin to hear, above the batter of waves on rock, a fragmentary soundscape of poems about love, and Shakespeare.

Peace Camp, from director Deborah Warner and actor Fiona Shaw, and Nowhereisland, by artist Alex Hartley, are, in their different ways, about tracing and animating the British coastline. They aim to bring art to the extremes of the land, where it rarely reaches, just as that great gathering of nations, the Olympics, begins…

Read Full Article, Guardian UK

Peace Camp
“Something extraordinary is happening this weekend as part of the London 2012 Festival. Inspired by the Olympic Truce, renowned director Deborah Warner, in collaboration with Fiona Shaw, has been commissioned to create Peace Camp, a coastal installation encircling the UK. Watch the short film of Peace Camp at Dunstanburgh Castle for a flavour of the live events happening all over the UK this weekend.”

Nowhereisland is an artwork by Alex Hartley which has caught the imagination of thousands of people across the world. Over 6400 people from just under 100 countries have already signed up to be citizens, contributing to the online constitution and responding to the year-long Resident Thinkers programme. More than 20 schools and community groups across the South West are helping to plan how they will welcome Nowhereisland to their local port.

Featured Photograph: Paul Lindsay/Peace Camp, Captions—Peace Camp

Picasso and Beach Culture: a Cocktail of Sand and Sensuality

Bathers on the beach, Pablo Picasso, Musée Picasso, Paris, France. Photo source: WikiPaintings.© This artwork maybe protected by copyright, and it is posted on the site in accordance with fair use principles.


Amid the new freedoms of the 1920s, Picasso mythologised the beach in works that go far beyond impressionist marine painting.

Picasso invented the beach.

Well, maybe not single-handedly. But if French 19th-century artists such as Degas defined the traditional seaside, it was Picasso in the 1920s who gave a visual form to the modern hedonism of sand and sensuality sur la plage

Read Full Article, Guardian, UK

From Rocks and Reefs


Inspired by the seminal work of one of the pioneers of photography, Anna Atkins, British photographer Nick Veasey has created an intriguing body of work with his cyanotypes of x-rays of seaweed.

In researching the project, Veasey, who hails from Kent, the same county where Anna Atkins lived and worked, visited her former home and limited himself to the same environmental constraint of using seaweed from only Britain. Anna Atkins’ father was a close personal friend of Sir John Hershel and William Henry Fox Talbot, both of whom were instrumental in the invention of photography. Mrs. Atkins was a keen botanist and combined this passion with Herschel’s new discovery the blueprint or cyanotype.

The result of Anna Atkins’ endeavors was ‘Photographs of British Algae,’ acclaimed as the world’s first illustrated book. Regarded as one of photography’s most important achievements this masterpiece is held (in varying degrees of completeness) in several of the world’s pre-eminent museums.

Nick Veasey has built his career using the x-ray, but this is the first project where he makes the finished prints himself. The process starts with Veasey hunting the seashore for suitable specimens. Returning to his studio, he then prepares the collection for exposure to x-rays. These x-rays are then captured on film, then contact printed onto handmade paper using the historic Cyanotype process, in much the same way that Anna Atkins did over 150 years ago.

This body of work explores the relationship between the visible and invisible. The x-rays expose what lays beneath the surface by using a spectrum of light called radiographic photons that are invisible to the human eye. Indeed, because they are invisible, these potentially harmful rays of light compound the danger inherent in radiography. This hazardous stage creates elegantly detailed images of the structure of the seaweed.

The next stage uses the light of the sun. The ultraviolet light that makes all things on earth grow, that allows us to see the world around us by reflected light. This natural sunlight passes through the x-ray to make an ethereal cyan blue print.

By introducing x-ray to the photographic process, Veasey creates a even more complex form. They are recognizable as seaweed, but are elevated from their fairly unremarkable natural state to multi-layered, intricately detailed pictures that reveal nuances of nature normally hidden from the human eye.

Just as Anna Atkins brought together a technically inquisitive mind and a passion for experimentation in the 1840’s, Veasey captures that pioneering spirit. The new works are deferential in their source of inspiration and printing process, but also excitingly fresh and beautiful.

Creating art that borrows from the past is a path well trodden, as is the fusion between science and art. By using different spectrums of light and new and old imaging techniques, Nick Veasey’s cyanotypes of x-rays of seaweed raise many issues when contemplating the results. One of the most vivid messages to come from this body of work is how fascinating and exquisite our world is. As with many of the best things in life, when delving deeper than the superficial, one tends to find true beauty.

When questioned about the work Veasey states: “Anna Atkins was a true innovator. At a time when women were not encouraged to be artistically active, she had the vision and tenacity to create a fascinating body of work. Work that still holds immense beauty and interest today. She lived during the height of the Industrial Revolution; the world was changing fast. Yet she had the purity of thought during all that turmoil to concentrate on creating a beguiling set of pictures utilizing a brand new process. I am privileged to remind the visual world about Anna Atkins work, and believe that Mrs. Atkins’ spirit is behind my introduction of a new level of experimentation. As with all my work, my intention is to help the viewer appreciate the internal beauty in life, rather than concentrate on the superficial.”

Learn More, Joseph Bellows Gallery

From Washed Up Rubbish to Gallery Art

Tasmania Marine Debris Clean Up. Photo courtesy of: © Johnny Abegg


Piles of rubbish collected from the Abrolhos Islands on Clean up Australia Day, 2012 have been transformed into remarkable works of art.

The Flotsam and Jetsam exhibition featuring art work made from Clean Up Australia day 2012 is currently on display at Geraldton’s Latitude Gallery, until April 30th.

WATCH: From Washed Up Rubbish to Gallery Art, a ABC Video

The Flotsam and Jetsam exhibition, Geraldton’s Latitude Gallery, Featuring art work made from Clean Up Australia day 2012, at the Abrolhos Islands, Western Australia. Image source: From Washed Up Rubbish to Gallery Art, a ABC Video

22nd Clean Up Australia Day: 2012


An estimated 591 400 volunteers removed a staggering 16 199 tonnes of rubbish from 7363 Clean Up Sites across the country, streets, parks, beaches and bushland.

It all started in 1989, when an average Australian bloke had a simple idea to make a difference in his own backyard, Clean Up Sydney Harbour.

The event received an enormous public response with more than 40,000 Sydneysiders donating their time and energy to clean up the harbor.

The next year Clean Up Australia Day was born.

Ian and his committee believed that if a capital city could be mobilised into action, then so could the whole nation. Almost 300,000 volunteers turned out on the first Clean Up Australia Day in 1990 and that involvement has steadily increased ever since.

This simple idea has now become the nation’s largest community-based environmental event…

Read More About: Clean Up Australia Day

The Flotsam and Jetsam exhibition, Geraldton’s Latitude Gallery, Featuring art work made from Clean Up Australia day 2012, at the Abrolhos Islands,western Australia.Image source: From Washed Up Rubbish to Gallery Art, a ABC Video

The South West Marine Debris Cleanup: Tasmania

Johnny Abegg Tasmania Marine Debris
Tasmania Marine Debris Clean Up. Photo courtesy of: ©Johnny Abegg

The South West Marine Debris Cleanup is an annual trip orchestrated by Environmental Scientist Matt Dell to the remote wilderness of Tasmania, where tonnes of rubbish can be found on the beaches of this pristine and isolated environment.

This is his story.


Filmed and Edited by Johnny Abegg
Music by Any Noise

Thanks to Patagonia for their ongoing support of environmental issues.

For more about the cleanup, or to make a donation visit: marinedebris.blogspot

South West Marine Debris Clean Up, 2012 Edition

South West National Park, Tasmania, Beach of the Month, in Coastal Care

Light Art At The Beach

Light Art installation on Kijkduin Beach.
Uploaded by jopokus2

Sea and dunes form the natural backdrop for the monumental works of glass and light art at this international seaside exhibition, where artists explore new possibilities to reach the spectator by the medium of light.

In the dunes of The Hague’s southern beach resort of Kijkduin, on the North Sea coast, more than 100 Round white glass lights of different sizes (from 0,5m to 1m in diameter) are given to the artists to turn into art pieces, to be placed along the beach boulevard and spread among the sand dunes. Some globes are hand painted, some plain white, yet all glow and constantly change colours in the evening hours, offering an illuminated and surreal landscape of glowing glass orbs.

The Kijkduin seaside installation is reinterpreted by a different group of artists each year, ranging from children to graffiti artists.

In 2008, the installation was organised by Right to Play, an international organization that helps children to practice sport and promote peace: 24 light balls have been painted mainly by ex-top skaters and soccer players from The Hague and were auctioned. They managed to give 15.000 euro to Unicef.

The 2011 Kijkduin seaside exhibition, Sixth Edition, was connected to the UN Program “Our life, our future.

light art
Light Art Kijkduin: van december tot februari. Photo source: ©© Haags Uitburo

Biennal 2011

The Artistic Seashore in Kijkduin, Netherlands

Light Art Kijkduin

The Great Painters And The Beach

The Great Painters And The Beach (Part 1: The European Masters
By Claire Le Guern

Beach scenery has guided and inspired the strokes on canvas of painting masters of all horizons, translating in colors, shapes and movement, the very emotions emanating in presence of the natural beauties of the seashore.

Dark clouds and bright days, winds and peaceful calm, storms and silences, pain and happiness, austerity and sensuality, hardship and hedonism, warmth and cold, fantasy and anguish, have all drawn painters to the shores. The beach is subject, object, central piece or decor… indubitably celebrated.

Through the eyes of the European Great Masters, the ocean and seashore become radiant palettes of colors, natural and unquenchable sources of art. The beach becomes the very paint of their magnificent inspiration shaped in visual forms through awe-inspiring masterpieces, acclaimed, recognized, appreciated now and for generations to come.

The artful encounter of the great painters and the beach is a love story, celebration of life, a communion with eternity…

We’ll now set sail on a non-exhaustive travel in art history and view some of the most famous European seashore paintings from the mid 17th century to 20th century.

In northern Europe, the mid-17th century flemish painters, reproduce the atmosphere of northern beaches and harsh coastal life, with paintings from Willem van de Velde, Simon de Viegler or Jan Van Goyen.

Inspired by the english seascape, London-born Joseph Mallord William Turner‘s personal and romantic response to the violence of the sea, is beautifully translated in paintings such as, “Wreckers, Coast of Northumberland, Oil on Canvas” or Waves Breaking on the Beach”, watercolor. Turner is commonly known as “the painter of light” and his work is regarded as a Romantic preface to Impressionism.

In France, in 1833, Eugène Isabey, offers Plage a marée basse depicting seascape and coastal life, while traveling in Normandy and Britain.

Great painter of the marines, born in coastal Honfleur, Eugène-Louis Boudin, the son of a sailor, painted the world he knew so well: the beaches, ships and changeable skies of the Normandy coast. Expert in the rendering of all that goes upon the sea and along its shores. His pastels, summary and economic, garnered the splendid eulogy of Baudelaire, and Corot who, gazing at his pictures, said to him, “You are the master of the sky.” (Wikipedia- Eugène Boudin). He also took as his subjects the elegant society crowd which flocked to fashionable beach resorts such as Trouville during the Second Empire. The sense of a scene snatched from life, reinforced by vibrant light effects, makes Eugène Boudin a forerunner of Impressionism, and indeed, it was he who introduced the great Claude Monet to open air painting when the latter was only seventeen. ( Musée D’orsay / Commentaires, Eugène Boudin).

In 1874, a group of artists called the Anonymous Society of Painters, Sculptors, Printmakers, etc. organized an exhibition in Paris that launched the movement called Impressionism. Its founding members included Claude Monet, Edgar Degas, and Camille Pissarro, Auguste Renoir.

Claude Monet’s Impression, Sunrise (Musée Marmottan Monet, Paris) exhibited in 1874, gave the Impressionist movement its name when the critic Louis Leroy accused it of being a sketch or “impression,” not a finished painting. It demonstrates the techniques many of the independent artists adopted: short, broken brushstrokes that barely convey forms, pure unblended colors, and an emphasis on the effects of light. Rather than neutral white, grays, and blacks, Impressionists often rendered shadows and highlights in color.

Since the early nineteenth century, Normandy’s beaches have attracted many artists, Édouard Manet and Claude Monet, gloriously painted the western coastal France, the beaches of Berck and Etretat. The clarity of the air, the quality of the light and amazing cliffs embracing the bay of Etretat, greatly inspired Monet. A little earlier Gustave Courbet, scandalous leader of a Realist movement, was also impressed by these coastal scenery, and immortalized the cliffs, in a 1870 painting. Courbet sent to the Salon of 1870, The Etretat Cliffs after the Storm and La vague, an intense vision of the stormy sea, with all the savage power of natural forces at work.

In Gil Blas on 28th September 1886, Guy de Maupassant, a famous artist who contoured the same Normandy seascape, but with his written words, recounts a visit he made to Courbet during his stay at Etretat: “In a huge, empty room, a fat, dirty, greasy man was slapping white paint on a blank canvas with a kitchen knife. From time to time he would press his face against the window and look out at the storm. The sea came so close that it seemed to batter the house and completely envelope it in its foam and roar. The salty water beat against the windowpanes like hail, and ran down the walls. On his mantelpiece was a bottle of cider next to a half-filled glass. Now and then, Courbet would take a few swigs, and then return to his work. This work became “La Vague”, and caused quite a sensation around the world”. (Musée d’Orsay / Commentaires).

The two canvases, consolidated Courbet’s reputation and made him one of the leading figures in the art scene of his time. “His tide comes from the depth of ages,” Paul Cézanne would later comment.

Met with considerable public and critical success at both Salon of 1870 and 1874, young Dutch Frederick Hendrik Kaemmerer, student of Academic art leader Jean Leon Gerôme, was awarded a medal at the Salon of 1874. His brilliantly painted and often provocative pictures, reminding of the pure tradition of the Romantic Delacroix and Alexandre Cabanel, is beautifully depicted in an almost photographic precision in At The Seashore. As his style evolves, Kaemmerer’s technique becomes more free, where emotion as an authentic source of aesthetic experience surpasses the purity of lines, at times approaching an almost impressionist brushstroke, as in Elegant Women On The Beach.

The artful encounter of the Great Painters and the Beach is a love story, a celebration of life, a communion with eternity…

Described by Gustave Geffroy in 1894 as one of “les trois grandes dames” of Impressionism alongside Marie Bracquemond and Berthe Morisot, Mary Cassat known as a “painter of mothers and children,” was the only American born painter, to exhibit with the Impressionists in Paris, where she lived and painted most of her life. Cassatt’s popular reputation is based on an extensive series of rigorously drawn, tenderly observed, paintings and prints on the theme of the mother and child. In 1884, she painted Children Playing on a Beach, capturing with magnificence the natural attitudes of children playing in the sand.

On the southern coast of France, post impressionist Paul Cézanne‘s work laid the foundations of the transition from the 19th century conception of artistic endeavour to a new and radically different world of art in the 20th century. Cézanne can be said to form the bridge between late 19th century Impressionism and the early 20th century’s new line of artistic enquiry, Cubism. The line attributed to both Matisse and Picasso that Cézanne “is the father of us all” cannot be easily dismissed.(Wikipedia).

Towards the end of the 19th, Pierre-Auguste Renoir, a celebrator of beauty, and especially feminine sensuality, offers “Personnes sur la plage, ” a theme inspiring english painter Philip Wilson Steer in an airy and rose petal depiction of feminine elegance “Young woman on the Beach.”

Two years later, Vincent Van Gogh, took a trip to Saintes-Maries-de-la-Mer on the Mediterranean sea, where he made several paintings of the seascape and town. Seascape at Saintes-Maries (Fishing Boats at Sea) was painted six years after Van Gogh wrote that he wished to paint a seaside painting of sand, sea and sky. In this painting the combination of a high horizon and boats close to the top edge of the frame, draw the audience in to the choppy sea in the foreground and center of the picture. He also made three drawings of this composition.

In the second half of the 1880s, after Georges Seurat and other Neo-Impressionists had exhibited their paintings at the Salon des XX in Brussels, several Belgian artists were converted to pointillism and the optical mixture of colors.

The painter George Lemmen, then scarcely twenty, was among these enthusiasts. For about a decade, gradually loosening Seurat’s theories, he developed an original technique, applied more particularly to portraits and landscapes. After 1891, under the influence of his fellow countryman Henri Van de Velde, his paintings showed an “Art Nouveau” and Plage à Heist is a remarkable example.

At the same time period, Paul Gaugin embark in 1891 for his decisive journey to Polynesian waters, sailing towards a new life, hoped to be primitive and paradisiac. Anchoring in Tahiti, paul Gaugin wishes “to live there in ecstasy, calm and art”. In 1891, Gauguin produces the masterpiece Femmes de Tahiti, ou Sur la plage (Women of Tahiti, also known as On the Beach), a composition typical of his paintings during the early part of his first stay in the Pacific. While choosing somewhat rigid poses, Gaugin introduces a rhythm into the painting through a mysterious, harmonious geometry…( Musée D’orsay / Commentaires, Paul Gaugin).

In the same era, back on the Normandy coast, Raoul Duffy, who was born in Le Havre, painted the coastal vicinity, particularly the beach at Sainte-Adresse, « La Plage de Sainte-Adresse » made famous by Eugène Boudin and Claude Monet. Dufy travels away from his native Normandy with Georges Braque, who adopted the Fauvist style as well, using brilliant colors to represent emotional response, and also developed the art style known as Cubism, along with Pablo Picasso.

Henri Matisse, remarkable artist often considered as the most important French painter of the 20th century, leader of the Fauvist movement around 1900, pursued the expressiveness of colour throughout his career. Matisse is regarded, along with Picasso and Marcel Duchamp, as one of the three artists who helped to define the revolutionary developments in the plastic arts in the opening decades of the 20th century, responsible for significant developments in painting and sculpture. His mastery of the expressive language of colour and drawing, displayed in a body of work spanning over a half-century, won him recognition as a leading figure in modern art. In 1905, Le Bonheur de Vivre, is set with the beach and ocean in the background.

Branching from impressionism, Paul Signac, a French neo-impressionist painter who, working with Georges Seurat, helped develop the pointillist style, a technique that relies on the ability of the eye and mind of the viewer to blend distinct dots of pure color applied in patterns to form an image, and a fuller range of tones. In 1901, Le Port de Saint Tropez, is painted using this technique.

Then, attracted by the southern coast of France, Pablo Picasso, in the 1920’s, gave an untraditional, sultry, far beyond the elegance of impressionist marine painting, and modern visual form, to hedonism and sensuality.

Two Women Running On the Beach painted in the summer of 1922, is a monument to the new freedoms that swept the world after the first world war. Picasso’s awe-inspiring Figures on the beach (1931)
depicts beach-coloured lovers, emerging from the sand itself, or just in surrealism style, exquisitely intricated in its apparent simplicity yet profound relevance: Homme et Femme sur la plage, 1956

The beach is celebrated by all these great painters, in its light and in its darkness… always morphing and oscillating with the rhythm of the artist’s emotions and perception of the magnificent spectacle that is the Beach.

Note : All of the above artist paintings’ images are in the public domain in the United States Of America, because their copyright terms is longer than 70 years, thus have expired. As per the images of Pablo Picasso’s and Magritte paintings, these artworks may be protected by copyright. It is posted on the site, and wikipedia site with a fair use principles disclosure.

View: Shorelines and Beaches, An Extensive Artwork Gallery