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A Veteran in a New Field, c.1865. Winslow Homer 1836 - 1910. Winslow Homer c. 1890. Winslow Homer (February 24, 1836 – September 29, 1910). an American landscape painter and printmaker , best known for his marine subjects.
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A Veteran in a New Field, c.1865 Winslow Homer 1836 - 1910
Winslow Homer (February 24, 1836 – September 29, 1910) • an Americanlandscape painter and printmaker, best known for his marine subjects. • He is considered one of the foremost painters in 19th century America and a preeminent figure in American art.
Born in Boston, Massachusetts in 1836, Homer was the second of three sons of Charles Savage Homer and Henrietta Benson Homer, both from long lines of New Englanders. • His mother was a gifted amateur watercolorist and Homer’s first teacher, and she and her son had a close relationship throughout their lives. Homer took on many of her traits, including her quiet, strong-willed, terse, sociable nature; her dry sense of humor; and her artistic talent.
Largely self-taught, Homer began his career working as a commercial illustrator.
He took up oil painting and produced major studio works characterized by the weight and density he exploited from the medium. • He also worked extensively in watercolor, creating a fluid and prolific oeuvre, primarily chronicling his working vacations.
Homer had a happy childhood, growing up mostly in then rural Cambridge, Massachusetts. • He was an average student, but his art talent was on display early.
Homer’s father was a volatile, restless businessman who was always looking to “make a killing”. • When Homer was thirteen, Charles gave up the hardware store business to seek a fortune in the California gold rush. • When that failed, Charles left his family and went to Europe to raise capital for other get-rich-quick schemes that didn’t materialize.
After Homer’s high school graduation, his father saw an ad in the newspaper and arranged for an apprenticeship. • Homer’s apprenticeship to a Boston commercial lithographer at the age of 19, was a formative but “treadmill experience”.
He worked repetitively on sheet music covers and other commercial work for two years. • By 1857, his freelance career was underway after he turned down an offer to join the staff of Harper's Weekly. “From the time I took my nose off that lithographic stone”, Homer later stated, “I have had no master, and never shall have any.”
Homer’s career as an illustrator lasted nearly twenty years. • He contributed to magazines such as Ballou's Pictorial and Harper's Weekly
The market for illustrations was growing rapidly, and when fads and fashions were changing quickly. • His early works, mostly commercial engravings of urban and country social scenes, are characterized by clean outlines, simplified forms, dramatic contrast of light and dark, and lively figure groupings — qualities that remained important throughout his career. • His quick success was mostly due to this strong understanding of graphic design and also to the adaptability of his designs to wood engraving.
Homer's studio • In 1859, he opened a studio in the Tenth Street Studio Building in New York City, the artistic and publishing capital of the United States. • Until 1863 he attended classes at the National Academy of Design, and studied briefly with Frédéric Rondel, who taught him the basics of painting.
In only about a year of self-training, Homer was producing excellent oil work. • His mother tried to raise family funds to send him to Europe for further study but instead Harper's sent Homer to the front lines of the American Civil War (1861–1865), where he sketched battle scenes and camp life, the quiet moments as well as the murderous ones.
His initial sketches were of the camp, commanders, and army of the famous Union officer, Major General George B. McClellan, at the banks of the Potomac River in October, 1861.
Although the drawings did not get much attention at the time, they mark Homer's expanding skills from illustrator to painter. • Like with his urban scenes, Homer also illustrated women during war time, and showed the effects of the war on the home front.
The war work was dangerous and exhausting. • Back at his studio, however, Homer would regain his strength and re-focus his artistic vision. • He set to work on a series of war-related paintings based on his sketches, among them Sharpshooter on Picket Duty (1862), Home, Sweet Home (1863), and Prisoners from the Front (1866)
He exhibited Home, Sweet Home at the National Academy and its remarkable critical reception resulted in its quick sale. • Homer was elected into the National Academy as an Associate Academician, then a full Academician in 1865.
After the war, Homer turned his attention primarily to scenes of childhood and young women, reflecting nostalgia for simpler times, both his own and the nation as a whole. • His Crossing the Pasture (1871–1872) depicts two boys who idealize brotherhood with the hope of a united future after the war that pitted brother against brother.
At nearly the beginning of his painting career, the twenty-seven year old Homer demonstrated a maturity of feeling, depth of perception, and mastery of technique which was immediately recognized. • His realism was objective, true to nature, and emotionally controlled.
One critic wrote, … “Winslow Homer is one of those few young artists who make a decided impression of their power with their very first contributions to the Academy...He at this moment wields a better pencil, models better, colors better, than many whom, were it not improper, we could mention as regular contributors to the Academy.”
Critics wrote of Home, Sweet Home specifically, “There is no clap-trap about it. The delicacy and strength of emotion which reign throughout this little picture are not surpassed in the whole exhibition.” “It is a work of real feeling, soldiers in camp listening to the evening band, and thinking of the wives and darlings far away. There is no strained effect in it, no sentimentality, but a hearty, homely actuality, broadly, freely, and simply worked out.”
Early landscapes and watercolors • After exhibiting at the National Academy of Design, Homer finally traveled to Paris, France in 1867 where he remained for a year. • His most praised early painting, Prisoners from the Front, was on exhibit at the Exposition Universelle in Paris at the same time. • He did not study formally but he practiced landscape painting while continuing to work for Harper's, depicting scenes of Parisian life.
Homer painted about a dozen small paintings during the stay. Although he arrived in France at a time of new fashions in art, Homer's main subject for his paintings was peasant life, showing more of an alignment with the established French Barbizon school and the artist Millet than with newer artists Manet and Courbet.
Though his interest in depicting natural light parallels that of the early impressionists, there is no evidence of direct influence as he was already a plein-air painter in America and had already evolved a personal style which was much closer to Manet than Monet.
Unfortunately, Homer was very private about his personal life and his methods (even denying his first biographer any personal information or commentary), but his stance was clearly one of independence of style and a devotion to American subjects. • As his fellow artist Eugene Benson wrote, Homer believed that artists “should never look at pictures” but should “stutter in a language of their own.”
Throughout the 1870s Homer continued painting mostly rural or idyllic scenes of farm life, children playing, and young adults courting, including Country School (1871) and The Morning Bell (1872). • In 1875, Homer quit working as a commercial illustrator and vowed to survive on his paintings and watercolors alone. • Despite his excellent critical reputation, his finances continued to remain precarious.
His popular 1872 painting, Snap-the-Whip, was exhibited at the 1876 Centennial Exposition in Philadelphia, Pennsylvania, as was one of his finest and most famous paintings Breezing Up (1876). Of his work at this time, Henry James wrote: • "We frankly confess that we detest his subjects...he has chosen the least pictorial range of scenery and civilization; he has resolutely treated them as if they were pictorial...and, to reward his audacity, he has incontestably succeeded."
Many disagreed with James. Breezing Up, Homer’s iconic painting of a father and three boys out for a spirited sail, received wide praise. • The New York Tribune wrote, “There is no picture in this exhibition, nor can we remember when there has been a picture in any exhibition, that can be named alongside this.”
Visits to Petersburg, Virginia around 1876 resulted in paintings of rural African American life. • The same straightforward sensibility which allowed Homer to distill art from these potentially sentimental subjects also yielded the most unaffected views of African American life at the time, as illustrated in Dressing for the Carnival (1877) and A Visit from the Old Mistress (1876)
Homer started painting with watercolors on a regular basis in 1873 during a summer stay in Gloucester, Massachusetts. • From the beginning, his technique was natural, fluid and confident, demonstrating his innate talent for a difficult medium. • His impact would be revolutionary.
