Off The Palette With Don Stoltenberg
“Art is a corner of nature as seen through a temperment.” Oscar Wilde
When I am at home, I take a moment out of each day to stop and gaze upon one of my favorite, most cherished oil paintings. The depiction of Elder Dempster Line’s majestic little 1951-built AUREOL is magnificent for what it is as much as for what it is not. Instead of a fussily-rendered photographic study with every porthole and guy wire “just so” and each hull plate and rivet slavishly recreated in a painter’s medium, it evocatively captures the essence and spirit of a hard-working colonial liner in her oceanic element. Of course, all of the underrated AUREOL’s balanced proportions and curvaceous features are true to form but a fine, salty mist diffused in prisms of light stings the eyes; faint whiffs of diesel hover over her stout, buff funnel and a stylized sea threatens to swallow the observer into a thickly-textured turquoise trough off the ship’s starboard bow.
The gifted mind and skilled hands behind this and countless other maritime masterpieces belong to Don Stoltenberg, a man who has dedicated his life to capturing the often unsung art and beauty of ships and other man-made structures.
His works grace the permanent collections of museums and galleries as well as the covers of many books, including the recently released tome by Clive Harvey, “RMS QUEEN ELIZABETH: The Ultimate Ship”.
The sleepy Cape Cod community of Brewster, Massachusetts has been home to Stoltenberg and his partner, Ken Swallow, for nearly 42 years. They bought their 1860 Greek Revival style house, which sports a loft and a studio, initially as a summer and weekend getaway in 1959.
No stranger to the creative process, Ken fashions exquisite lead and stained glass medallions, many of which dangle in front of the home’s myriad of windows.
Don was born in Milwaukee, Wisconsin on October 16, 1927. His mother died in childbirth and his father, a CPA, remarried when Don was three years old. In 1933, at the height of the Great Depression, the family lost their home and moved to Chicago to be closer to Don’s maternal grandmother.
Don recently reflected that the family’s residence, a stylish Arts and Crafts villa, was among the finest in their Northwest Chicago neighborhood. It was around this time that he first became interested in clipper ships, having read about them in grade school. He had also grown fond of building ship models. Favorite books that piqued his curiosity further were Henry B. Culver’s ”Forty Famous Ships” and “Book Of Old Ships”, both illustrated by Gordon Grant, whose drawings of MAURETANIA (i) and the brand new QUEEN MARY, had a big effect on him.
In the 5th or 6th grade, he took to drawing subjects of interest, such as ships and architecture (Frank Lloyd Wright was an early favorite). His kindly Uncle Herman, who happened to be an established Chicago art director, bought the young prodigy a set of watercolors and showed him still life painting techniques. From this point onward, the pursuit of art would be Don’s calling.
A fond grade school pastime was to take the excursion steamer THEODORE ROOSEVELT from Chicago to the Michigan ports of Benton Harbor and South Haven and every summer, Don would head to a farm near Manitowoc, Wisconsin to spend a couple months with his maternal grandparents.
The nearby Manitowoc shipyards had formed a lasting impression, although he admits being somewhat frustrated about having missed the demolition of the unique 1893-built whaleback steamer CHRISTOPHER COLUMBUS there.
”What do you think of this boat?”
Ultimately one of Don’s most passionate and oft-painted subjects, French Line’s NORMANDIE, was far less renowned to him at this developmental time than the QUEEN MARY, although a prescient uncle had sent him and his cousins a French Line brochure with “What do you boys think of this boat?” handwritten across the cover.
Don recalled finding the NORMANDIE a bit too severe in all the black and white images he had initially seen and that she looked so much richer in color.
It was not until the ship caught fire and capsized in 1942 that he really began to understand and appreciate all that was the NORMANDIE.
A radio broadcast by Gabriel Heater gave the ship’s destruction (one year after the fall of France, itself) particular gravitas.
And the series of images in Coronet Magazine showing the before and after fire images of various public spaces drove it home for the budding artist.
Grand, Rapid Growth
In 1941, Don’s father was transfered to Grand Rapids, Michigan. He recalls his high school art class: “It was terrible. All we did was draw posters for basketball and football, so I switched to a typing class, which was far more useful.”
At the time, George Sharp’s ultra streamlined MILWAUKEE CLIPPER had debuted in cross lake service from Muskegon, Michigan to Milwaukee, Wisconsin. Stoltenberg was stricken by her streamlined profile, which was billed as “Moderne” or “Modernistic” in the years before the term “Art Deco” was born.
Don also recalled crossing from Luddington, Michigan to Manitowoc, Wisconsin several times on the rakish, coal-fired CITY OF MIDLAND 41, which was the world’s largest train ferry when built in 1941.
In junior college, Don’s art teacher, Freida Wordelman, introduced him to the works of Cezanne. There was no turning back.
Art School
“Art was not a job but a way of life. I learned to see things for their form, to analyze their shape, volume and structure and get away from their function — familiarity makes you half blind.”
At the urging of an aunt, Don headed to the Ray-Vogue School in Chicago and studied fashion and advertising art. One professor provided a useful tip in encouraging Don to look to the masters for inspiration in lieu of following the current illustration trends. He attended classes at the Institute of Design, where a New Bauhaus movement was led by teachers who had fled Hitler’s Germany. He ultimately obtained his bachelor’s degree in visual design from the Illinois Institute of Technology.
While studying, Don was able to support himself with scholarships and part time graphic and illustration work for Marshall Field, the Ditto Corporation (where he learned gelatin print skills) and Raymond Loewy (where he was involved in catalogue design).
In 1953, Don’s grandfather died, leaving him a small inheritance that helped fund a trip to Europe on the LIBERTE. “Everyone who was interested in art had to go to Europe. I spent four months there sketching and taking photos.” He recalls his first transatlantic voyage: “It wasn’t the happiest cr
ossing. It was the end of March, a real tourist class adventure. I was in a very spartan cabin with four bunks and a wash basin, very communal. I remember the exposed pipes and wires coated in cream colored paint on the ceiling.”
When he returned to the states, Don took up residence in the Wharf along the Boston waterfront. It was at this time that he met Ken, who was in bank management. While pursuing his freelance art, Don was employed three to four days a week at the Container Corporation, designing cartons and packages. For many years, he taught oil painting, watercolor and printmaking a day or two per week at the DeCordova Museum School in nearby Lincoln, Massachusetts. More teaching gigs, gallery and museum exhibitions followed, leading to numerous awards (click here for a comprehensive list of credits as well as Don’s contact information).
In 1959, they bought their Brewster house, first as a weekend and summer getaway. Don recalled crossing frequently on the steamer NOBSKA, “a wonderful, classic steamer and a real work horse. She sailed year-round between Cape Cod and Nantucket except on the rare occasions when the harbor froze over. Years later, when she was in drydock awaiting restoration, I sketched her.” {Sadly, the funding never came through and NOBSKA was demolished on the spot.}
In the mid-1960s, on a return trip from Europe with Don, Ken decided to give up banking and pursue his interest in glass-making. Largely inspired by the Victoria and Albert glass collection, the self-taught Ken began making colorful glass medallions that often incorporated patterns Don designed. In return, Ken helped Don with the arduous task of producing thousands of maritime prints. Don recalled, “It was very labor intensive. The ink had to be repeatedly applied and wiped in a certain way.”
The 1970s were particularly busy and successful for both artists, whose works were represented by agents and sold throughout New England at the time.
Although his art has been featured in many volumes, Don penned two of his own instructional books during this prolific time. The first, “Collagraph Print Making”, a skill he taught at DeCordova, involved a then experimental technique of applying layers to a printing plate in lieu of the more traditional etching. “We sort of invented it as we went along.”
The second was “The Artist and the Built Environment”.
The Artist And The Built Environment
In 1980, Davis Publications of Worcester, MA published “The Artist and the Built Environment”. It utilizes a number of works from VanGogh, Canaletto and Mondrian to Stoltenberg and his peers, to illustrate different painting techniques and architecture.
Particularly nice are the pages demonstrating how some of the works were rendered. Here, Don begins with an application of acrylic gesso to a blank 36 by 48 inch canvas.
The acrylic “under painting” is completed before switching to an oil medium. The use of stencils and other tools to achieve various shapes and effects is also detailed.
The end result is breathtaking. This is but one of many works whose secrets unfold in “The Artist and the Built Environment”.
“It is the artist’s function to examine, digest and interpret our surroundings, to give us ways in which to react to them, evaluate them and, in various ways, to come to terms with them.”
In their free time, Don and Ken enjoy traveling and have taken numerous cruises on a roster of ships from P&O;’s SS CANBERRA, Chandris’ SS BRITANIS, NCL’s SS NORWAY, Orient Lines’ MV MARCO POLO and Holland America’s SS ROTTERDAM to Royal Caribbean’s MV SPLENDOR OF THE SEAS and Cunard’s MV QUEEN MARY 2. Don always brings his sketchbook along, often resulting in a pastel and charcoal-fueled documenting frenzy.
Snippets From The Stoltenberg Sketchbook:
SS LEONARDO DA VINCI — May 12 through 15, 1998
“I got so carried away with drawing the LEONARDO DA VINCI upon our arrival at Port Everglades, that we were too late to secure good dining arrangements. Ken was not happy about that….”
“It was a very short cruise. I remember we had a very nice Boat Deck cabin with a tiled bathroom.”
“Well, I have to admit that I liked the (LEONARDO’s predecessors) ANDREA DORIA and CRISTOFORO COLUMBO’s exteriors a bit better — they were so well balanced — but I’m so happy we got to experience the LEONARDO DA VINCI.”
“Even though it was really at the end of the ship’s career, the food and service were quite good although the crowd wasn’t so great. It was really our last chance to sail in a ship built for Italian Line, a fantasy I had held since looking at the glamorous ads depicting the REX’s Lido Deck in “Fortune” magazine as a child. When I was sun tanning in Grand Rapids, that is where I imagined myself.”
“Maybe because I am still emotionally attached to them, I find that my most recent paintings are my favorites. In retrospect, I think the QUEEN ELIZABETH I did for Clive’s book works well. As time passes, I can look back and re evaluate my work with a more critical eye.”
“Right now, I’m particularly interested in details. On ships like MONARCH OF THE SEAS, the detailing is especially good. Functioning things like davits, life boats and pulleys have been recent subjects. Mechanical things, machinery.”
Gallery of Grandeur:
A Selection Of Paintings
With Musings
By Don Stoltenberg
AMERICA
“If any ship should have been saved, it is the AMERICA. From Eleanor Roosevelt’s christening (which was sadly overshadowed by the start of World War Two the following day), her war service and wonderful careers. She was so warm and beautiful, both inside and out. It is so sad about her fate, first losing the forward funnel, then what followed…”
COSTA RIVIERA
“We enjoyed a nice cruise in COSTA RIVIERA from Savona to Egypt and Israel. Of course, she looked better as GUGLIEMO MARCONI but she definitely held her own against the other Italian ships at that time (2002).”
EMPRESS OF BRITAIN
“I’m a big fan of the EMPRESS OF BRITAIN (1931). You know, when people ask what my ultimate fantasy cruise would be, I tell them it’s simple: the 1933 world cruise on the EMPRESS OF BRITAIN.”
FRANCE
“One of the most beautiful ships ever constructed. Even better than the NORMANDIE. Perfection. Every line matched and every feature went together.”
“When she came to New York on her maiden voyage, I was so impressed with her exteriors. Less so with the interiors, which were a bit too angular and, I thought, at the time, anyway, lacking grace.”
ILE DE FRANCE
“Admittedly, I thought she looked her best with two funnels but the (three funneled) ILE is what I believe inspired LeCorbusier to comment just how splendid a steamship’s architecture can be. She had wonderful detailing, although I never liked the big box aft of her funnels.”
“The Quincy, MA-built INDEPENDENCE and CONSTITUTION were so beautiful in their original form. I loved their counter sterns but must admit their interiors were not my favorite. Not at that time, anyway.”
LEVIATHAN
“Of the three Ballin-designed ships, I most prefer the IMPERATOR/BERENGARIA because she had a much nicer bridge. The VATERLAND/LEVIATHAN and BISMARCK/MAJESTIC were a bit too blank in front, so I tend to paint them in stern views. I remember when Frank Braynard began his series of books on LEVIATHAN (Don was one of the many sponsors who helped get it published). I don’t think a more detailed account of any ship’s career has ever been written.”
Modern Cruise Ships
“With modern ships, it’s often the details I enjoy so much more than the overall shape but if the lighting and setting are right, I find them beautiful, too.”
“The lighting and tug were wonderful. Certain parts of the ship have an appeal and the funnels are distinctive.”
NAUSHON
“The NAUSHON (originally NANTUCKET) replaced the NOBSKA as the major ferry running between Cape Cod and the islands of Martha’s Vineyard and Nantucket year around. She was a lovely vessel, a sort of miniature liner and in steam. She was replaced by the current diesel boats some years ago. And she had such a nicely sculpted funnel — it was definitely not an afterthought.”
PRINCIPE PERFEITO
“I like these somewhat smaller, lesser known ships. Their features weren’t lost or diluted by great dimensions.”
QE2
“I’ve had a long relationship with the QE2, from first gazing at various renderings of the ‘QUEENs’ (MARY and ELIZABETH) replacement’ in the Illustrated London News to seeing her on the stocks from a passing train in Scotland. I followed her progress through engine troubles and various breakdowns, then crossed on her in September of 1969 when she still had all of her original features intact, including that wonderful forward lounge. It was such a thrill to experience her at that time — she was truly cutting edge. Her various superstructure additions just
ified the larger, thicker funnel. I missed the notorious Magrodome phase but did experience most of her changes and took her last crossing. It is wonderful that she did so well over so many years after such a troubled start.”
SAVARONA
“She is very graceful and somewhat unusual for her yacht-like lines. I loved seeing her in the backdrop of Malta underneath that great arch.”
UNITED STATES
“So sleek! I spent a few hours on the UNITED STATES on one of her rare calls at Boston toward the end of her career. It seemed as though they were desperate for passengers and the crew members were urging people to support the ship in what must have been a trying time. She was particularly beautiful from the outside.”
VISTAFJORD
“Those two NAL ships, the VISTAFJORD and SAGAFJORD, were such classics, although they were unfortunately altered over the years. The extra deck installed above SAGAFJORD’s wheelhouse bothered me, although VISTAFJORD’s bridge was already a deck higher than her sister’s. Externally, I also liked the row of dining room windows underneath VISTAFJORD’s promenade deck. We sailed on VISTAFJORD in her Cunard era and she was still in very good form.”
“I later saw VISTAFJORD as CARONIA and might have even preferred her in the black hull. I was sorry to see her afterdecks expanded (when she became SAGA RUBY) but at least they kept the curve.”
“It is my hope that one day more people will appreciate marine art from a wide variety of approaches beyond just the illustrational. I am always concerned with light, structure, abstract qualities — those are what I hope to describe with my art.”
Don Stoltenberg, Brewster, MA, May 30, 2009.
Don Stoltenberg Ocean Liner Paintings at Simplon Postcards
Donald Stoltenberg Wikipedia Biography
Special thanks: Martin Cox, Ken Swallow
March 26, 2016 UPDATE: We received the sad news today that Don Stoltenberg passed away.
Peter Knego
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The only art I like is ocean liner art and every wall is covered in framed ship art. I wish my house was twice as big to have ur art. Simply fantastic!
What a delight – my fathers mother’s mother was a Stoltenberg, and I just returned from St Louis visiting my aunt, who gave me an oil painting done by Fred Stoltenberg signed 1925. Her home was filled with Hans John and Fred’s paintings. I was searching the intranet for more info and came accross this. I see you were born in Milwaukee, so you must be family to me. When Anna immigrated in 1885 she had I think five children, Wilhelm, Fed, Hans John, ?? I enjoy creating landscape oil, your passion is ships, wonderful to see this talent runs in the family bloodline. I see the Milwaukee history speaks often of Hans John Stoltenberg, not so much about Frederick. Seems they both worked for Brown and Harper. My uncle Lester is still alive, and he tells stories of these two, and also painting houses with them. Said Fred and John came by often with new paintings and would take each others off of a wall and replace it with one of theirs, stating their painting was better than the one that was hanging there! It is really kind of interesting to hear the stories. Wondering if ever you had experienced or were influenced by either Fred or John? would love to hear about it.
Hello, Just wondering if the image of ‘Empress of Britain’ at Southampton Docks is available to buy as a print. Regards. JS
I must admit that I prefer VISTAFJORD painted black…I wish the AMERICA was saved as well. Thank God we have the QUEEN MARY, ROTTERDAM, GREAT BRITAIN, and HIKAWA MARU…I am also glad we have classic ships besides liners like HMY BRITANNIA.
Dear Don,
I think that perhaps you are the Don Stoltenberg who was a friend of my parents Jens and Amalie Thuesen beginning in the 1940’s or 50’s. I remember meeting you as a child. I believe I have a Christmas Card, a beautiful star, and a Litho, abstract forms in black and mustard hues, by you. I spent a lot of time looking at the litho composition while growing up. Anyway, last week I took it to a frame shop to be reframed. Your name is not on the print but I’ve always had the impression that it was your work. Do you remember the work? I would be glad to photograph it for you to see. In any case if you are the Don Stoltenburg who was an early family friend, you should know that your work has been and is very much appreciated.
Regards,
Karen Thuesen Massaro
Wonderfull art and Don and Ken were great friends and supportive of my mother Alison whom they met in the 1950s while sailing to new York and remained friends until she died. They then kept in touch with us and we miss them very much.
Fionagh and Robert Hollingbourne Kent England