Skip to main content

Brant Point Light

Oil Painting by  David Bareford

Nantucket Harbor, Massachusetts. We’re looking across the main channel toward Brant Point Light; the Coatue Wildlife Refuge is behind and to the right of this iconic island symbol, with Wauwinet in the distance.

“This is a great spot to sit and watch a parade of vessels heading into or out of the inner harbor, as they all must pass very close to the light itself,” says the artist, David Bareford. “In this painting, it’s late afternoon, and long shadows spread across the beach, focusing our attention on the lighthouse. Often, a subject which has little interest for the artist at one time of day becomes a thing of beauty as the sun begins to set.”

The scene is done in oils, although the 71-year-old artist worked in watercolors early in his distinguished career. (He’s an International Marine Exhibition Award of Excellence winner). “The difference between oils and watercolors are these,” Bareford says. “Watercolor is more like a live performance, and oils are a building process. Watercolor requires a very careful process if one is to arrive at the desired result, whereas oils seem more direct.”

The scene is a natural for Bareford. “I’ve always liked painting lighthouses,” he says. “Perhaps because as a kid on the Jersey Shore in the summer, we loved to go over to Long Beach Island and visit Barnegat Light. Imagine how exciting it was for us as children to climb the 217 steps up to the observation deck.”

Those childhood experiences still have a direct influence on Bareford’s work as a marine artist. His father taught him to sail at an early age, and he’s been drawn to the water ever since. “My family spent our summers on the Jersey Shore, on Lake Champlain and Southold, Long Island,” he says. “There’s no question that this was a great influence on me and what I paint. [We were] always fishing, swimming or sailing, and those experiences were always positive.”

To view this and other works by David Bareford, visit the J. Russell Jinishian Gallery website at or visit the gallery at 1899 Bronson Road in Fairfield, Connecticut.

This article originally appeared in the March 2018 issue.


H.M. Krentz, Sunrise Rendezvous at Baltimore Light Painting

H.M. Krentz Sunrise Rendezvous At Baltimore Light

It’s early morning on Chesapeake Bay. A skipjack with its mainsail up ghosts past Baltimore Light, heading out for a day’s oystering. The rest of the fleet shows dimly through the diffused morning sun.


Neck and Neck

They were known to the British as the “Big Class.” The America’s Cup boats of the late 19th and early 20th centuries were unruly — sometimes downright perilous — racing machines.

Photo of painting by William R Davis

Last Sail Of The Season

“It’s like a vessel that needs a couple of coats of paint for the true color to come out,” William Davis says. He’s describing the way he layered the oils to convey nature’s subtle shades in Last Sail of the Season. “You work in stages. The sky — it might take several coats to get it right.”


Watch Hill Harbor from the Lawn

Anyone who’s driven down into the town of Watch Hill, Rhode Island, and along the stretch of harborfront knows the scene.



The 52-foot racing yacht Dorade careens in a very stiff following wind on her way to a record performance in the 1931 Transatlantic Race, with the spinnaker sheet led to windward of the forestay and eased out.


Racing on Long Island Sound

For Andrew Walton, becoming an artist was in the cards. “The art chooses you, not the other way round,” says Walton, who is known for his detailed renderings of ships and boats and those who handle them.