Tuke favoured rough, visible brush strokes, at a time when a smooth, polished finish was favoured by fashionable painters and critics.
He had a strong sense of colour and excelled in the depiction of natural light, particularly the soft, fragile sunlight of the English summer.
Although Tuke often finished paintings in the studio, photographic evidence shows that he worked mainly in the open air, which accounts for their freshness of colour and the realistic effects of sunlight reflected by the sea and on the naked flesh of his models.

In his early paintings, Tuke placed his male nudes in  mythological contexts, but the critics found these works to be rather formal, lifeless and flaccid.
 From the 1890s, Tuke abandoned mythological themes and began to paint local boys fishing, sailing, swimming and diving, and also began to paint in a more naturalistic style.
His handling of paint became freer, and he began using bold, fresh colour.
One of his best-known paintings from this period is August Blue (1893–94; Tate, London), a study of four mostly nude youths bathing from a boat.
The Looe artist, Lindsay Symington (1872–1942), modelled for the blonde boy holding onto the boat in the water; though not a regular model, Symington was a good friend of Tuke, the latter often visiting the Symington family home, Pixies' Holt, at Dartmeet.
 Tuke painted some female nudes but these were not as successful as his male nude paintings.

Tuke's paintings of nude youths are never explicitly sexual.
The models' genitals are almost never shown, they are almost never in physical contact with each other, and there is never any suggestion of overt sexuality.
 Most of the paintings have the nude models standing or crouching on the beach facing out to sea, so only the back view is displayed.

Tuke is also regarded as an important maritime artist.
Over the years, he painted many pictures of the majestic sailing ships, mainly in watercolour, that were common until the 1930s.
Tuke was often fascinated with the beauty of a fully rigged ship, and since his childhood could draw them from memory.
His decision to move to Falmouth in 1885 was, in part, influenced by the constant presence of the ships there.

Tuke enjoyed a considerable reputation, and he earned enough money from his paintings to enable him to travel abroad and he painted in France, Italy and the West Indies.
In 1900 a banquet was held in his honour at the Royal Cornwall Polytechnic Society.
He was elected to the Royal Academy of Arts in 1914.

Major examples of his male nudes were purchased by major art galleries including The Bathers at Leeds Art Gallery in 1890 and August Blue at the Tate, London in 1894.
But he was also well known as a portraitist, and maintained a London studio to work on his commissions.
Among his best known portraits is that of soldier and writer T. E. Lawrence ("Lawrence of Arabia").
Tuke favoured rough, visible brush strokes, at a time when a smooth, polished finish was favoured by fashionable painters and critics. He had a strong sense of colour and excelled in the depiction of natural light, particularly the soft, fragile sunlight of the English summer. Although Tuke often finished paintings in the studio, photographic evidence shows that he worked mainly in the open air, which accounts for their freshness of colour and the realistic effects of sunlight reflected by the sea and on the naked flesh of his models.
In his early paintings, Tuke placed his male nudes in  mythological contexts, but the critics found these works to be rather formal, lifeless and flaccid.  From the 1890s, Tuke abandoned mythological themes and began to paint local boys fishing, sailing, swimming and diving, and also began to paint in a more naturalistic style. His handling of paint became freer, and he began using bold, fresh colour. One of his best-known paintings from this period is August Blue (1893–94; Tate, London), a study of four mostly nude youths bathing from a boat. The Looe artist, Lindsay Symington (1872–1942), modelled for the blonde boy holding onto the boat in the water; though not a regular model, Symington was a good friend of Tuke, the latter often visiting the Symington family home, Pixies' Holt, at Dartmeet.  Tuke painted some female nudes but these were not as successful as his male nude paintings.
Tuke's paintings of nude youths are never explicitly sexual. The models' genitals are almost never shown, they are almost never in physical contact with each other, and there is never any suggestion of overt sexuality.  Most of the paintings have the nude models standing or crouching on the beach facing out to sea, so only the back view is displayed.
Tuke is also regarded as an important maritime artist. Over the years, he painted many pictures of the majestic sailing ships, mainly in watercolour, that were common until the 1930s. Tuke was often fascinated with the beauty of a fully rigged ship, and since his childhood could draw them from memory. His decision to move to Falmouth in 1885 was, in part, influenced by the constant presence of the ships there.
Tuke enjoyed a considerable reputation, and he earned enough money from his paintings to enable him to travel abroad and he painted in France, Italy and the West Indies. In 1900 a banquet was held in his honour at the Royal Cornwall Polytechnic Society. He was elected to the Royal Academy of Arts in 1914.
Major examples of his male nudes were purchased by major art galleries including The Bathers at Leeds Art Gallery in 1890 and August Blue at the Tate, London in 1894. But he was also well known as a portraitist, and maintained a London studio to work on his commissions. Among his best known portraits is that of soldier and writer T. E. Lawrence ("Lawrence of Arabia").
Henry Scott Tuke