Australia’s new ‘banana mast’, which gave her mail sail area on top, had been copied from the British entry Lionheart under the American’s noses. Freedom protested in the late finishing second race that Australia, the winner, was not showing lights, and almost had her disqualified.
Timothy Thompson was born in Hull in 1951 and spent much of his childhood on the Island of Herm in the Channel Islands where, intrigued by the changing moods of the sea, he taught himself to paint. After gaining a diploma in Horticulture in Guernsey, he returned to England in 1975 to take up a horticultural position in Plymouth. He was however forced to resign following an accident in 1979 and decided to turn his painting hobby into a full-time career.
He married in 1973 and moved to Saltash in Cornwall, where he lives with his wife and two daughters. He began painting at the age of 27 and specialises in Marine Art from Drake’s period through to the latest high tech yachts. In just a few years he has become a leading marine artist with his paintings sought by collectors around the world.
The Government commissioned Thompson to produce an issue of stamps for Guernsey Island.
Thompson has recently completed a three year commission to paint scenes from all 26 Challenges for the America’s Cup and throughout he has tried to mix drama with tranquillity and to ring the changes between light and shade and sea, sky and wind conditions. This collection has been published as an exciting and informative account of America’s Cup History.
Thompson has also co-authored “The Story of Yachting” and “R.N.L.I. Gold Medal Races“.
He has exhibited in London, Paris, Washington DC, Mystic Connecticut, Monaco, Vancouver, Guernsey, Italy, Belgium, Germany and Australia and at Royal Society of Marine Artists exhibitions.
The rare luminosity in Thompson’s work is primarily the result of a painstaking technique practiced by the Van de Veldes and later by the Nineteenth Century masters of marine art. Applying layers of thin translucent washes, the colours are carefully blended and the detail laid on so cleverly it is hard to find a break in the smooth finished surface of the canvas.