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Snap the Whip

Artist: Created: 1872 Dimensions (cm): 91.4 x 55.9 Format: Oil on canvas Location: Butler Institute of American Art, Youngstown, , USA

Perhaps Winslow Homer’s most beloved and popular painting was ‘’, created with oil on canvas in 1872. The historic painting depicts nine young boys playing the age-old game entitled ‘Snap the Whip’. The children are pulling and tugging each other back and forth, while the two at the end of the line have fallen over. The soft, glow of sunlight that peaks through the clouds illuminates their faces. Their clothing, more specifically their caps, suspenders, and short pants, reflects true late 1800 American attire. Featured in the background is the familiar little red school house; the school teachers in the distance are most likely meant to be supervising the usual recess activity. The scenic of trees and wildflowers bordering a small field is so realistic that the viewer can almost hear the chirping of the birds and the buzzing of the insects. Winslow Homer created a second, much smaller version of this painting, replacing the mountain range in the background with a wide, blue sky. ‘Snap the Whip’ was a huge success for the artist, and the painting was frequently reproduced. It was displayed at the 1876 in .

Analysis and Reviews Robert Hughes (Nothing If Not Critical: Selected Essays on Art and Artists) once said, “Some major artists create popular stereotypes that last for decades; others never reach into popular culture at all. Winslow Homer was a painter of the first kind. Even today, 150 years after his birth, one sees his echoes on half the magazine racks of America.”

Henry James once stated of Winslow Homer’s work, “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".

What is the value of a Winslow Homer painting? In 1998, one of Homer’s paintings entitled “Lost on the Grand Banks” sold for approximately 30 million dollars! It is estimated that Homer created 600 works of art, but very few are owned privately; most are safely kept in museums. ‘Snap the Whip’ is currently located at the Butler Institute of American Art, Youngstown, Ohio.

Winslow Homer (1836 - 1910)

19th- and 20th-century American Painting and Works on Paper

Girl Picking Clover (Houghton Farm)

Winslow Homer was born in , , and grew up in Cambridge, Mass. At age 19, Homer was apprenticed to Boston commercial lithographer, John H. Bufford. Soon after, in 1857, he began free-lancing as an illustrator for Harper's Weekly magazine. He moved to New York in 1859 and worked for Harper's while taking evening life-drawing classes at the National Academy of Design, and taking a few painting lessons from a genre and landscape painter. He was sent by Harper's to Washington, D. C. to cover the inauguration of , and, after the Civil War erupted, to record the activities of the Army of the Potomac. During the war, Homer traveled between New York, where he continued his drawing classes at the National Academy, and Virginia where he illustrated various campaigns for Harper's.

Homer made his artistic debut with two paintings at the National Academy annual exhibition in 1863, to considerable critical acclaim. In 1864, Homer was elected an Associate Academician, and in 1865, a full Academician. He sailed for in 1866, spending a year in the artists' colony in Cernay-la-ville. His now famous paintings, Prisoners from the Front, and The Bright Side were exhibited at the Exposition Universelle.

The 1870s was a significant decade in Homer's development. He made his first of many trips to the Adirondack Mountains in upper New York State in 1870; in 1871, he moved to the Tenth Street Studio Building, a center of artistic activity where other important American artists had their studios at that time, including Frederic E. Church, John La Farge, Sanford R. Gifford and John Ferguson Weir. In 1873, Homer summered at Gloucester, Massachusetts, and began his first serious watercolors, some of which were exhibited the following year at the annual exhibition of the American Society of Painters in Watercolor. In 1875, he first visited Prout's Neck, Maine (where he settled in 1883), and ended his career as a commercial illustrator. The following year, he first spent time at friend Lawson Valentine's Houghton's Farm in Mountainsville, New York, where he began a series of delightful watercolors of children and young people in the outdoors, enjoying various summertime pleasures.

Between 1881 and 1882, he spent nearly two years at Cullercoats, near Newcastle, England, and produced a striking series of watercolors and oils depicting the life of the sea-faring culture along that rugged coast. After his return to New York, he settled in Prout's Neck Maine, and began his annual wintertime trips to , , , and , a habit he continued until 1909. Between 1884 and 1887, he produced the series of oils which firmly established his reputation: The Life Line, The Herring Net, , Lost in the Grand Banks, Breezing Up, Undertow, and . In 1889, Homer began regular trips to the Adirondacks, and in 1890, he produced his first seascapes.

Homer was a regular participant in annual exhibitions, showing his oils and watercolors in New York, Boston, Pittsburgh, and Philadelphia. His paintings were often awarded gold medals. Homer exhibited fifteen paintings in 1893 at the Chicago World's Fair. Beginning in 1900, museums, such as the Metropolitan Museum of Art, began to purchase his oils. His reputation as one of America's most significant artists has never waned. He was recognized early on as a realist who was consistently devoted to revealing truth. His subjects ranged from children at work and play, to men and women and the harsh realities they faced in their everyday lives, to the inner quiet of woods shattered by greedy huntsmen and woodsmen, to the glorious color of Caribbean light, to the sea restlessly and relentlessly pounding the rocky and inhospitable shores of Maine.

Selected Permanent Collections:

Addison Gallery of American Art, , Andover, Massachusetts The Fine Arts Museum of San Francisco Metropolitan Museum of Art Museum of Fine Arts, Boston , Washington, D. C. Pennsylvania Academy of the Fine Arts, Philadelphia Philadelphia Museum of Art The Sterling and Francine , Williamstown, Massachusetts Yale University Art Gallery, New Haven, Connecticut

Winslow Homer - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Winslow_Homer

From Wikipedia, the free encyclopedia

Winslow Homer (February 24, 1836 – September 29, 1910) Winslow Homer was an American landscape painter and printmaker, best known for his marine subjects. He is considered one of the foremost painters in America and a preeminent figure in American art.

Largely self-taught, Homer began his career working as a commercial illustrator.[1] He subsequently took up 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.[2][3]

1 Early life Winslow Homer, at the National Gallery of Art, 2 Gallery , 1880, 3 Homer's studio photo by (1821–1896) 4 Early and watercolors 5 England Birth Winslow Homer 6 Maine and maturity name 7 Influence Born February 24, 1836 8 Homer honored on US Postage Boston, Massachusetts 9 References Died September 29, 1910 10 Further reading (aged 74) 11 External links , Maine Nationality American Field Drawing Oil painting 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 Tra ining apprenticeship, 1855-56 National Academy of Design mother was a gifted amateur watercolorist and Homer's first (painting), 1863 teacher, and she and her son had a close relationship Paris, France (informal), 1867 throughout their lives. Homer took on many of her traits, including her quiet, strong-willed, terse, sociable nature; her Movement dry sense of humor; and her artistic talent.[4] Homer had a Works Harper's Weekly Magazine happy childhood, growing up mostly in then rural Cambridge, Ballou's Pictorial Magazine Massachusetts. He was an average student, but his art talent Influenced was evident in his early years. Homer's father was a volatile, restless businessman who was N. C. Wyeth always looking to "make a killing". When Homer was thirteen,

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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.[5]

After Homer's high school graduation, his father saw a newspaper advertisement and arranged for an apprenticeship. Homer's apprenticeship at the age of 19 to J. H. Bufford, a Boston commercial lithographer, was a formative but "treadmill experience".[6] 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."[7]

Homer's career as an illustrator lasted nearly twenty years. He contributed illustrations of Boston life and rural New England life to magazines such as Ballou's Pictorial and Harper's Weekly,[8] at a time when 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 The Bathers, wood engraving, career.[9] His quick success was mostly due to this strong understanding Harper's Weekly, 1873 of graphic design and also to the adaptability of his designs to wood engraving.

Unlike many artists who were well-known for working in only one art medium, Winslow Homer was prominent in a variety of art media, as in the following examples:

The War for the Union, The Bridle Path, 1868, oil A Rainy Day in Camp, 1862, wood engraving painting (Clark Art 1871, oil on canvas. (multiple museum Institute) Private collection collections)

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Gloucester Harbor, 1873, Song of the Lark, 1876, oil Camp Fire, 1877–1878, oil oil on canvas. Nelson- on canvas. Chrysler on canvas. Metropolitan Atkins Museum of Art Museum of Art Museum of Art

Perils of the Sea, 1881, Santiago de Cuba: Street Improve the Present Hour, watercolor. Sterling and Scene, 1885. watercolor c. 1889, etching (multiple Francine Clark Art and graphite. Yale museum collections) Institute University Art Gallery

After the Hurricane, The Red Canoe, 1889, The new novel, 1877, Bahamas, 1899, watercolor, Peabody Museum of Fine arts, watercolor (Art Institute of Collection Springfield, Massachusetts Chicago)[10]

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

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briefly with Frédéric Rondel, who taught him the basics of painting.[11] 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 (1861–1865), where he sketched battle scenes and camp life, the quiet moments as well as the murderous ones.[12] 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 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 Thanksgiving in Camp, wood Two Are Company, Three Are None dangerous and exhausting. Back , engraving, Harper's Weekly, 1862 Harper's Weekly at his studio, however, Homer wood engraving, , would regain his strength and 1872 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).[13] He exhibited paintings of these subjects every year at the National Academy of Design from 1863 to 1866.[8] Home, Sweet Home was shown at the National Academy to particular critical acclaim; it was quickly sold and the artist was consequently elected an Associate Academician, then a full Academician in 1865.[11] During this time, he also continued to sell his illustrations to periodicals such as Our Young Folks and Frank Leslie's Chimney Corner.[8]

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.[14]

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." And 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."[13]

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.[13] He did not study formally but he practiced while

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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 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 Artists Sketching in the White America and had already evolved a personal style which was much Mountains, 1868, oil on panel closer to Manet than Monet. Unfortunately, Homer was very private (, Portland, about his personal life and his methods (even denying his first biographer Maine)[15] 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."[16]

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.[17] 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, 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."[19]

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 Breezing Up (A Fair Wind), we remember when there has been a picture in any exhibition, that can 1873–76, oil on canvas be named alongside this." Visits to Petersburg, Virginia around 1876 (National Gallery of Art, Washington, resulted in paintings of rural African American life. The same straightforward sensibility which allowed Homer to distill art from these D.C.)[18] 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).[20]

In 1877, Homer exhibited for the first time at the Boston Art Club with the oil painting, An Afternoon Sun, (owned by the Artist). From 1877 through 1909 Homer exhibited often at the Boston Art Club. Works on paper, both drawings and watercolors, were frequently exhibited by Homer beginning in 1882. A most unusual sculpture by the Artist, Hunter with Dog - Northwoods, was exhibited in 1902. By that year, Homer had switched his primary Gallery from the Boston based Doll and Richards to the New York City based Knoedler & Co.

Homer became a member of The Tile Club, a group of artists and writers who met frequently to exchange ideas and organize outings for painting, as well as foster the creation of decorative tiles. For a short time, he designed tiles for fireplaces.[21] Homer's nickname in The Tile Club was "The Obtuse Bard". Other well known Tilers

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were painters , , and the sculptor Augustus Saint Gaudens.

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. Here, again, the critics were puzzled at first, "A child with an ink bottle could not have done worse."[23] Another critic said that Homer "made a sudden and desperate plunge into water color painting". But his watercolors proved popular and enduring, and sold more readily, improving his financial condition considerably. They varied from highly detailed (Blackboard – 1877) to broadly impressionistic (Schooner at Sunset – 1880). Some watercolors were made as preparatory sketches for oil paintings (as for "Breezing Up") and some as finished works in themselves. Thereafter, he seldom Cloud Shadows, 1890, oil on canvas (Spencer traveled without paper, brushes and water based paints.[24] Museum of Art, University of Kansas, Lawrence)[22] As a result of disappointments with women or from some other emotional turmoil, Homer became reclusive in the late 1870s, no longer enjoying urban social life and living instead in Gloucester. For a while, he even lived in secluded Eastern Point Lighthouse (with the keeper's family). In re-establishing his love of the sea, Homer found a rich source of themes while closely observing the fishermen, the sea, and the marine weather. After 1880, he rarely featured genteel women at leisure, focusing instead on working women.[25]

Fisherwomen, Cullercoats, graphite and watercolor on paper 1881, Honolulu Academy Homer spent two years (1881 – 1882) in the English coastal of Arts village of Cullercoats, Tyne and Wear. Many of the paintings at Cullercoats took as their subjects working men and women and their daily heroism, imbued with a solidity and sobriety which was new to Homer's art, presaging the direction of his future work.[8] He wrote, "The women are the working bees. Stout hardy creatures."[26] His palette became constrained and sober; his paintings larger, more ambitious, and more deliberately conceived and executed. His subjects more universal and less nationalistic, more heroic by virtue of his unsentimental rendering. Although he moved away from the spontaneity and bright innocence of the American paintings of the 1860s and 1870s, Homer found a new style and vision which carried his talent into new realms.[27]

Back in the U.S. in November 1882, Homer showed his English watercolors in New York. Critics noticed the change in style at once, "He is a very different Homer from the one we knew in days gone by", now his pictures "touch a far higher plane...They are works of High Art."[29] Homer's women were no longer "dolls who flaunt their millinery" but "sturdy, fearless, fit wives and mothers of men" who are fully capable of enduring the forces and vagaries of nature along side their men.[30]

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In 1883, Homer moved to Prouts Neck, Maine (in Scarborough) and lived at his family's estate in the remodeled carriage house just seventy-five feet from the ocean.[31] During the rest of the mid-1880s, Homer painted his monumental sea scenes. In Undertow (1886), depicting the dramatic rescue of two female bathers by two male lifeguards, Homer's figures "have the weight and authority of classical figures".[32] In Eight Bells (1886), two sailors carefully take their bearings on deck, calmly appraising their position and by extension, their relationship with the sea; Sunlight on the Coast, 1890 they are confident in their seamanship but respectful of the (Toledo Museum of Art, Ohio)[28] forces before them. Other notable paintings among these dramatic struggle-with-nature images are Banks Fisherman, The Gulf Stream, Rum Cay, Mending the Nets, and Searchlight, Harbor Entrance, Santiago de Cuba. Some of these he repeated as etchings.[33]

At fifty years of age, Homer had become a "Yankee , cloistered on his art island" and "a hermit with a brush". These paintings established Homer, as the New York Evening Post wrote, "in a place by himself as the most original and one of the strongest of American painters."[31] But despite his critical recognition, Homer's work never achieved the popularity of traditional Salon pictures or of the flattering portraits by . Many of the sea pictures took years to sell and Undertow only earned him $400.[34]

In these years, Homer received emotional sustenance primarily from his mother, brother Charles, and sister- in-law Martha ("Mattie"). After his mother's death, Homer became a "parent" for his aging but domineering father and Mattie became his closest female intimate.[35] In the winters of 1884-5, Homer ventured to warmer locations in Florida, Cuba, and the Bahamas, and did a series of watercolors as part of a commission for Century Magazine. He replaced the turbulent green storm-tossed sea of Prouts Neck with the sparkling blue skies of the Caribbean, and the hardy New Englanders with the leisurely Black natives, further expanding his watercolor technique, subject matter, and palette.[36] During this trip he painted Children Under a Palm Tree for Lady Blake, the Governor's wife. His tropical stays inspired and refreshed him in much the same way as 's trips to Tahiti.[37] A Garden in Nassau (1885) is one of the best examples of these watercolors. Once again, his freshness and originality were praised by critics, but proved too advanced for the traditional art buyers and he "looked in vain for profits." Homer lived frugally, however, and fortunately, his affluent brother Charles provided financial help when needed.[38]

Additionally, Homer found inspiration in a number of summer trips to the North Woods Club, near the hamlet of Minerva, New York in the Adirondack Mountains. It was on these fishing vacations that he experimented freely with the watercolor medium, producing works of the utmost vigor and subtlety, hymns to solitude, nature, and to outdoor life. Homer doesn't shrink from the savagery of blood sports nor the struggle for survival. The color effects are boldly and facilely applied. In terms of quality and invention, Homer's achievements as a watercolorist are unparalleled: "Homer had used his singular , 1893. Oil on canvas, 96.5 x 174 vision and manner of painting to create a body of work that has cm. Pennsylvania Academy of the Fine Arts. not been matched."[39]

In 1893, Homer painted one of his most famous "Darwinian" works, The Fox Hunt, which depicts a flock of starving crows descending on a fox slowed by deep snow. This was Homer's largest painting and it was

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immediately purchased by the Pennsylvania Academy of the Fine Arts, his first painting in a major American museum collection.[40] In Huntsman and Dogs (1891), a lone, impassive hunter, with his yelping dogs at his side, heads home after a hunt, with deer skins slung over his right shoulder. Another late work, The Gulf Stream (1899), shows a Black sailor adrift in a damaged boat, surrounded by sharks and an impending maelstrom.[41]

By 1900, Homer finally reached financial stability, as his paintings fetched good prices from museums and he began to receive rents from real estate properties. He also became free of the responsibilities of caring for his father who had died two years earlier.[42] Homer continued producing excellent watercolors, mostly on trips to Canada and the Caribbean. Other late works include sporting scenes such as , as well as seascapes absent of human figures, mostly of waves crashing against rocks in varying light. In his last decade, he at The Gulf Stream, 1899, oil on canvas, times followed the advice he gave a student artist in 1907, [43] Metropolitan Museum of Art, New York City "Leave rocks for your old age—they're easy".

Homer died in 1910 at the age of 74 in his Prouts Neck studio and was interred in the in Cambridge, Massachusetts. His painting, Shooting the Rapids, Saguenay River, remains unfinished.

His Prouts Neck studio is now owned by the Portland Museum of Art.[44]

Homer never taught in a school or privately, as did , but his works strongly influenced succeeding generations of American painters for their direct and energetic interpretation of man's stoic relationship to an often neutral and sometimes harsh wilderness.[45] Robert Henri called Homer's work an "integrity of nature."[46]

American illustrator and teacher Howard Pyle revered Homer and encouraged his students to study him. His student and fellow illustrator, N. C. Wyeth (and through him and ), shared the influence and appreciation, even Rowing Home, 1890, watercolor [47] following Homer to Maine for inspiration. The elder Wyeth’s (Phillips Collection, Washington, D.C.) respect for his antecedent was "intense and absolute," and can be observed in his early work Mowing (1907).[48] Perhaps Homer's austere individualism is best captured in his admonition to artists:

"Look at nature, work independently, and solve your own problems."

In 1962, the U.S. Post Office released a commemorative stamp

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honoring Winslow Homer. Homer's famous oil painting Winslow Homer commemorative issue of 1962 "Breezing Up", now hanging in the National Gallery in Washington DC, was chosen as the image for the design of this issue.[49] On August 12, 2010, The Postal Service issued a 44-cent commemorative stamp featuring Homer's "Boys in a Pasture" at the APS Stamp Show in Richmond, Virginia. This stamp was the ninth to be issued in a series entitled "American Treasures". The original painting is part of the Hayden Collection at the Museum of Fine Arts in Boston.[50]

1. ^ Poole, Robert M. Hidden Depths (http://www.nga.gov/fcgi-bin/tinfo_f?object=30228) (http://www.smithsonianmag.com/arts-culture/depths- 19. ^ Quoted by Updike, John: "Epic Homer", Still homer.html) . Smithsonian Magazine. April 2008. Looking: Essays on American Art, p. 58. Alfred A. Retrieved 22 May 2008. Knopf, 2005. 2. ^ Cooper, Helen A., Winslow Homer Watercolors, p. 20. ^ Updike, John, page 69, 2005. "Among his feats 16. Yale University Press, 1986. may be listed the best, least caricatural portraits of 3. ^ Hoeber, Arthur (February 1911). "Winslow Homer, postbellum ," A Painter Of The Sea" (http://books.google.com 21. ^ Cikovsky (1990), p. 65. /books?id=Zm0AAAAAYAAJ&pg=PA14009) . The 22. ^ Cloud Shadows at the Spencer Museum of Art, World's Work: A History of Our Time XXI: University of Kansas (http://www.spencerart.ku.edu 14009–14017. http://books.google.com /collection/europeanamerican/homer.shtml) /books?id=Zm0AAAAAYAAJ&pg=PA14009. 23. ^ Rough Notes on the Exhibition of the American Retrieved 2009-07-10. Water Color Society for 1881, "Andrews' American 4. ^ Cooper, p. 16. Queen", page 110. February 12, 1881. 5. ^ Elizabeth Johns, Winslow Homer: The Nature of 24. ^ Cikovsky (1990), p. 57. Observation, University of California Press, 25. ^ Cikovsky (1990), p. 72. Berkeley, 2002, p. 9, ISBN 0-520-22725-5. 26. ^ Johns (2002), p. 98. 6. ^ Cikovsky, Jr., Nicolai (1990), Winslow Homer, 27. ^ Cikovsky (1990), pp. 75-79. New York: Harry N. Abrams, pp. 11–13, 28. ^ Sunlight on the Coast at the Toledo Museum of ISBN 0-8109-1193-0; Roberts, Norma J., ed. (1988), Art, Ohio (http://www.toledomuseum.org/Collection The American Collections, Columbus Museum of /Homer_Sunlight.htm) Art, p. 2, ISBN 0-8109-1811-0 (stating age at time of 29. ^ Cikovsky (1990), p. 81. apprenticeship as 18) 30. ^ Johns (2002), p. 105. a b 7. ^ Johns (2002), p. 13. 31. ^ Cikovsky (1990), p. 91. 8. ^ a b c d Roberts, Norma J., ed. (1988), The American 32. ^ Cikovsky (1990), p. 84. Collections, , p. 2, 33. ^ Cikovsky (1990), p. 94. ISBN 0-8109-1811-0. 34. ^ Johns (2002), p. 122. 9. ^ Cikovsky (1990), p. 12 35. ^ Johns (2002), p. 114. 10. ^ After the Hurricane at The Art Institute of Chicago 36. ^ Johns (2002), p. 124. (http://www.artic.edu/aic/collections/artwork/16776) 37. ^ Cikovsky (1990), p. 100. 11. ^ a b Cooper, p. 13. 38. ^ Johns (2002), pp. 127-128. 12. ^ Cikovsky (1990), p. 15. 39. ^ Walsh, Judith: "Innovation in Homer's Late 13. ^ a b c Cikovsky (1990), p. 16. Watercolors", Winslow Homer, page 283. National 14. ^ Exhibit at the Amon Carter Museum in Fort Worth, Gallery of Art, 1995. Texas 40. ^ Cikovsky (1990), p. 115. 15. ^ Artists Sketching the White Mountains at the 41. ^ Cikovsky (1990), p. 120. Portland Museum of Art, Maine 42. ^ Johns (2002), pp. 127-150. (http://www.portlandmuseum.org/exhibitions- 43. ^ Cikovsky (1990), p. 131. collections/search.php?searchby=Title& 44. ^ Portland Museum (http://www.portlandmuseum.org term=Artists+Sketching&Submit.x=9&Submit.y=11) /about/homerstudio.shtml) 16. ^ Cikovsky (1990), p. 32, 42. 45. ^ See Lost on the Grand Banks, collection of Bill 17. ^ Johns (2002), p. 84. Gates 18. ^ Breezing Up at the National Gallery of Art 46. ^ Robert Henri, The Art Spirit, Harper Collins, 1984

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47. ^ An American Vision: Three Generations of Wyeth 50. ^ Shops.usps.com (https://shop.usps.com/webapp Art, New York Graphic Society, 1987, p. 68, ISBN /wcs/stores/servlet 0-8212-1652-X. /ProductDisplay?catalogId=10001&storeId=10052& 48. ^ Wyeth (1987), p. 38. productId=10006988&langId=-1) 49. ^ Scott's United States stamp catalogue

Murphy, Alexandra R. Winslow Homer in the Clark Collection. Williamstown, Mass: Sterling and Francine Clark Art Institute, 1986. ISBN 0931102197

Wood, Peter H. "Winslow Homer and the American Civil War" (http://www.southernspaces.org /2011/winslow-homer-and-american-civil-war) A lecture on Homer's painting "Near Andersonville" and his relationship to the Civil War. Southern Spaces, 4 March 2011. Half thousand works by Winslow Homer at www.Winslow-Homer.com (http://www.winslow- homer.com) Winslow Homer in the National Gallery of Art (http://www.nga.gov/feature/homer/) This Web Feature traces the artist's career from the late 1850s until his death in 1910, and includes zoomable images with high resolution details. White Mountain paintings by Winslow Homer (http://whitemountainart.com/ArtistGalleries /gal_who.htm) Winslow Homer Artwork Examples on AskART. (http://www.askart.com/AskART/artists/search /Search_Repeat.aspx?searchtype=IMAGES&artist=21592) "Winslow Homer: Making Art, Making History" (http://www.clarkart.edu/exhibitions/homer /home.cfm) Exhibition held at the Sterling and Francine Clark Art Institute in 2005. The exhibition website showcases the range of Homer's work—oil paintings, watercolors, drawings and etchings, as well as approximately 120 wood engravings and other reproductions from the Clark's collections. Winslow Homer biography, Metropolitan Museum of Art. (http://www.metmuseum.org/TOAH/hd /homr/hd_homr.htm) Winslow Homer Gallery at MuseumSyndicate (http://www.museumsyndicate.com /artist.php?artist=335) Winslow Homer papers online at the Smithsonian (http://www.aaa.si.edu /collectionsonline/homewinl/) Philip C. Beam papers, c. 1946- c. 1993 (http://www.aaa.si.edu/collections/philip-c-beam- papers-6152) ; Homer historian and his related collection from the Smithsonian Archives of American Art. Retrieved from "http://en.wikipedia.org/wiki/Winslow_Homer" Categories: 1836 births | 1910 deaths | American painters | American printmakers | Landscape artists | Art Students League of New York alumni | People from Boston, Massachusetts | People from Scarborough, Maine | Realist painters | Marine artists | Watercolorists | American watercolorists

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