In “When Christian Burned the Bounty,” famed illustrator William Henry Dethlef Koerner tells the story of Master's Mate Fletcher Christian’s last-ditch effort to escape the British for his mutinous act.
This work is based on the famous novel, but it’s born of Koerner’s imagination.
It’s what you do not see in the picture that creates the drama.
All of the destructive action of burning and sinking the HMS Bounty takes place outside of the frame.
The artist shows us a “reaction shot” to the HMS Bounty being burned. Witnessing this consequential act are two members of the Bounty, along with three Polynesian friends.

The composition centers around a pyramidal structure, where a standing Christian is at the pinnacle.
To his immediate left, honorary midshipman Edward "Ned" Young reaches and points.
Christian, with his hands grasping his hips, leans in and, with an apprehensive stare, looks left.
The three Polynesians look left. They are depicted as seated since their destiny does not lie with the ship. Their body positions and postures are highly focused but to a lesser extent.
Yet, all five of Koerner’s subjects are “ looking out.”
They are looking out at the Bounty but also looking out to their future.
By burning the HMS Bounty, Christian surrenders the group to live on the very rock they are standing on, Pitcairn Island. ( Tahiti )
Koerner places them atop a rocky outcrop surrounded by a turbulent sea and whipping wind to emphasize their isolation and reinforce the precariousness of their situation.
The two Englishmen stand perilously close to the edge. Whereas the Polynesians sit safely grounded in the land, they come from.
To the Englishmen, the island takes on a dual nature.... it represents freedom and imprisonment.
Triumph and tragedy of the moment are expressed with subtle graphic techniques.
A push-pull compositional tension is created.
The group looks left. The wind and waves blow right.
Hair and garments fly in the wind.
Koerner’s palette and energetic bravura brush strokes help build drama.
The group has fire in their faces.
The burnt ochre / burnt sienna color of a burning HMS Bounty is reflected in the subjects' faces which emphasizes the gravity of the moment.
Adding to the overall duality of the work.... the painting has a tight and loose nature. The composition is tightly composed, while the paint application is quick and loose.
This is a heroic epic illustration in the technical and narrative style of N.C. Wyeth, with whom Koerner was personally acquainted. They both studied with Howard Pyle, that later became known as the Brandywine School.

When Christian Burned the Bounty", oil on canvas, 1934, signed and dated lower left. An illustration depicting the stranded crew for "Pitcairn's Island", by James Norman Hall & Charles Nordhoff. Appeared in "The Saturday Evening Post", September 29, 1934. Caption: "Young took Christian's arm and pointed out to where the blackened hulk of the ship had lain". Housed in a replica gold cove frame with dusty pink velvet liner, OS: 43 1/2" x 38", SS: 35 3/4" x 30". fine condition.