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Artist Information

Name: John Stobart

[/vc_column_text][/vc_column][/vc_row][vc_row content_placement=“middle” width=“full”][vc_column width=“1/6”][/vc_column][vc_column width=“2/3”][vc_tta_tabs layout=“trendy” stretch=“1” title_font=“body”][vc_tta_section title=“Biography” tab_id=“1556904212576-a00267d3-de6ecfc7-1e2fbf04-4ffa89a3-53847b12-fd6f”][vc_column_text]Born in Leices­ter, Eng­land, John Sto­bart was the sec­ond son of a phar­ma­cist and a moth­er who died giv­ing birth to him. He was raised by his mater­nal grand­moth­er and var­i­ous house­keep­ers, and he showed an ear­ly apti­tude for cre­ativ­i­ty but a lack of inter­est in aca­d­e­m­ic learn­ing. His low grades but appar­ent flair for draw­ing per­suad­ed his father to enroll him in Der­by Col­lege of Art in Sep­tem­ber, 1946.

John Sto­bart Sud­den­ly fas­ci­nat­ed by a new and more relaxed envi­ron­ment, Sto­bart took to the change like a duck to water, achiev­ing high hon­ors and a coun­ty schol­ar­ship to London’s pres­ti­gious Roy­al Acad­e­my Schools, being one of only four stu­dents accept­ed that year. John Con­sta­ble, J.W.M. Turn­er and many oth­er British painters had stud­ied in those same hal­lowed halls.

Although inter­rupt­ed by the oblig­a­tory nation­al ser­vice (in Stobart’s case the R.A.E), he enjoyed the wealth of inspi­ra­tion offered by near­by muse­ums and gal­leries. Sto­bart used his five years at the Acad­e­my – as Hen­ry Rush­bury, then Keep­er at the R.A. wrote in a tes­ti­mo­ni­al, to “work with tire­less enthu­si­asm to devel­op his powers.”

Real­iz­ing fair­ly ear­ly in his stu­dent days that an essen­tial part of becom­ing a pro­fes­sion­al artist would be to achieve sales of his work, he began to exhib­it small land­scapes paint­ed in the coun­try­side out­side Lon­don and along the riv­er Thames. He found com­fort in the fact that each sold fair­ly readily.

Upon grad­u­a­tion from the R.A. Schools, Sto­bart embarked on a voy­age to South Africa to vis­it his father who, in 1950, had pur­chased a phar­ma­cy in Bul­awayo, – South­ern Rhode­sia (lat­er Zim­bab­we) – start­ing out on a new adven­ture at age 59. It was dur­ing this voy­age, that the young artist came up with a nov­el idea. Gath­er­ing mate­r­i­al, mak­ing sketch­es in each of the twelve exot­ic ports the pas­sen­ger-car­go ves­sel put into, John Sto­bart real­ized new hori­zons. If he could bor­row plans for new ves­sels being built, he could best take advan­tage of all that he had care­ful­ly observed in these exot­ic ports. Using his vol­ume of sketch­es as back­ground set­tings, and know­ing these ves­sels could not be pho­tographed, Sto­bart sur­mised that there would be a strong chance that paint­ings of the new ships would be attrac­tive to the own­ers. The orig­i­nal paint­ings would be suit­able for board room dis­plays, and the prints could be used on cal­en­dars that each ship­ping com­pa­ny sent out annu­al­ly. The idea worked well. With­in two years his paint­ings of ships in for­eign ports were dec­o­rat­ing some fif­teen ship­ping com­pa­ny board rooms in London.

Unhap­py with the class prej­u­dice he was expe­ri­enc­ing in Lon­don, Sto­bart emi­grat­ed to Cana­da in 1957 at the sug­ges­tion of a Cana­di­an lawyer who had been buy­ing some of his Thames river­scapes. For the fol­low­ing ten years, he devel­oped the inter­est of ship­ping com­pa­nies along the St. Lawrence Riv­er, return­ing to Eng­land each year where Sto­bart kept a home in Farn­ham, Sur­rey, in order to meet the demands of the cus­tomer base he had estab­lished pre­vi­ous­ly. Always hop­ing to paint the era of mer­chant sail, the oppor­tu­ni­ty arose in 1965. By that time he had a fam­i­ly with three chil­dren. Rent­ing a house out­side Toron­to, home city of the lawyer who had inspired Stobart’s move West, he ran into a ded­i­cat­ed admir­er who had been col­lect­ing repro­duc­tions of his work for years. This gen­tle­man, cura­tor of the Mar­itime Muse­um of Upper Cana­da, gave his every effort to assist the young artist to become knowl­edge­able in the his­to­ry of sail.

It was lat­er in 1965, that John Sto­bart first vis­it­ed the Unit­ed States with four paint­ings of sail­ing ships, care­ful­ly wrapped up in brown paper and tied with string, under his arm. His idea was to see New York and find out what reac­tion there might be to his new paint­ings among four care­ful­ly cho­sen gal­leries. The same day he arrived in New York he was offered a one-man show by the Wun­der­lich fam­i­ly who had found­ed, and then owned, Kennedy Gal­leries. The Wun­der­lichs encour­aged Sto­bart to pur­sue his notion to recre­ate the Amer­i­can har­bor scene in the days of the great clip­per era. This was a sub­ject Sto­bart had dis­cov­ered had hard­ly been attempt­ed by con­tem­po­rary artists of that time. Over the sub­se­quent fif­teen years, the Wun­der­lichs gave him sev­en one man shows, all vir­tu­al sell-outs.

See­ing his large new orig­i­nals dis­ap­pear into pri­vate col­lec­tions through­out the Unit­ed States, Sto­bart ini­ti­at­ed the idea of pub­lish­ing lim­it­ed edi­tion prints of his more impor­tant works. He did this so that many more peo­ple than the orig­i­nals’ own­ers could appre­ci­ate these doc­u­ments of scenes that no longer exist­ed. Sto­bart estab­lished Mar­itime Her­itage Prints, Inc. in 1976 feel­ing that the high­est qual­i­ty of pro­duc­tion could only be assured if he him­self remained in con­trol. Believ­ing in the impor­tance of reg­u­lar com­mu­ni­ca­tion with col­lec­tors of his prints, he also pub­lish­es a semi­an­nu­al newslet­ter titled “Palette Scrap­ings.” This news bul­letin advis­es his clien­tele about forth­com­ing print edi­tions, new orig­i­nals in progress, books in the works and gallery open­ings. In 1986 a large for­mat book on his work titled, “STOBART, The Redis­cov­ery of America’s Mar­itime Her­itage” was pub­lished by E. P. Dut­ton, New York, dis­play­ing some sev­en­ty-five major paint­ings in what amounts to an exhi­bi­tion in port­fo­lio form.

Per­pet­u­al­ly con­cerned about the aspir­ing art stu­dent in Amer­i­ca in today’s world, with the art establishment’s heavy influ­ence remain­ing biased against the tra­di­tion­al teach­ing of the fun­da­men­tals in draw­ing and paint­ing, the artist, in 1989, cre­at­ed “The Sto­bart Foun­da­tion.” This was fund­ed by the prof­its of his pub­lish­ing busi­ness for the pur­pose of award­ing schol­ar­ships to qual­i­fied stu­dents who excel in out­door on-site paint­ing in oil on can­vas. While con­tin­u­ing his pop­u­lar series of paint­ings of the his­toric ports of Amer­i­ca, Sto­bart has, since 1987, returned to the prac­tice of paint­ing con­tem­po­rary out­door sub­jects when­ev­er pos­si­ble. It is with­in this field of effort that John Sto­bart believes every land­scape painter’s ulti­mate con­tri­bu­tion lies.[/vc_column_text][/vc_tta_section][vc_tta_section title=“CV” tab_id=“1556904212591–5cf4ad24-124fcfc7-1e2fbf04-4ffa89a3-53847b12-fd6f”][vc_column_text]Coming Soon[/vc_column_text][/vc_tta_section][/vc_tta_tabs][/vc_column][vc_column width=“1/6”][/vc_column][/vc_row][vc_row content_placement=“middle” width=“full” css=”.vc_custom_1556905803913{padding-right: 5% !important;padding-left: 5% !important;}”][vc_column][us_grid post_type=“attachment” images=“889,890” items_quantity=“15” pagination=“ajax” items_layout=“gallery_default” type=“masonry” columns=“3” overriding_link=“popup_post_image”][/vc_column][/vc_row]