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Winslow Homer's "Impressionism" and Its Relation to His Trip to France Author(S): HENRY ADAMS Source: Studies in the History of Art, Vol

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Winslow Homer's National Gallery of Art Winslow Homer's "Impressionism" and Its Relation to His Trip to France Author(s): HENRY ADAMS Source: Studies in the History of Art, Vol. 26, Symposium Papers XI: Winslow Homer: A Symposium (1990), pp. 60-89 Published by: National Gallery of Art Stable URL: https://www.jstor.org/stable/42620232 Accessed: 22-05-2020 19:26 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms National Gallery of Art is collaborating with JSTOR to digitize, preserve and extend access to Studies in the History of Art This content downloaded from 23.28.138.58 on Fri, 22 May 2020 19:26:40 UTC All use subject to https://about.jstor.org/terms /';-=09 )(8* =-0/'] This content downloaded from 23.28.138.58 on Fri, 22 May 2020 19:26:40 UTC All use subject to https://about.jstor.org/terms HENRY ADAMS The Nelson-Atkins Museum of Art Winslow Homer's "Impressionism" and Its Relation to His Trip to France JLF orJL a brief period, from the mid-i86os how he could have been exposed to impres- through the early 1870s, Winslow Homer sionist ideas. The first French impression- occasionally made paintings that are re- ist exhibition was held in 1874, but by that markably close in appearance to the early time Homer, at least in his oil paintings, work of the French impressionists. Long had already begun to abandon a bright pal- Branch , New Jersey, painted in 1869, ex- ette and turn away from impressionist ef- emplifies this trend (fig. 1). As with most fects. Did Homer know about French im- French impressionist paintings, the canvas pressionism? And if so, how? shows outdoor recreation, in this case a Much of the controversy about this issue day at the beach with ladies in fashionable has centered on Homer's trip to France- dresses and parasols. The color glows with and first trip abroad- which corresponds the intensity of sunlight, and the handling roughly with the time he began to paint of the paint is free and sketchy, in keeping impressionist works. Embarking for Paris with the informal nature of the scene.1 on 5 December 1866, Homer stayed in Eu- Long Branch does not stand alone among rope almost exactly a year until his money Homer's paintings in its resemblance to had run out. He returned to New York on French impressionist works. A number of 18 December 1867, borrowing money from paintings that date from this period, for an American artist friend to pay for his example, The Bridle Path , White Moun- return voyage.4 Unfortunately, little docu- tains , and Croquet Scene , display impres- mentation survives to indicate what sionist qualities (figs. 2 and 3). Homer did Homer did in France, beyond the nineteen not consistently produce paintings in the small paintings he made there (see appen- impressionist style, however; he simulta- dix) and three illustrations he sent home neously executed works in a more conser- to Harper's Magazine , one depicting art vative style.2 This period of time, more- students and copyists in the Louvre, and over, was relatively brief, and as Homer the other two, couples kicking up their legs matured as an artist, his palette grew in the dance halls of Montmartre.5 darker and his subject matter more somber Few issues in the history of nineteenth- on the whole. century American art have given rise to Since the 1940s writers on Winslow such radically different assertions as the Homer have commented on his impres- effect of this trip on Homer's subsequent sionist qualities of this group of works.3 work. For more than half a century writers They have strongly disagreed, however, on on Homer unanimously agreed that the Detail fig. i why Homer turned to impressionism and visit did not have a decisive impact on the 61 This content downloaded from 23.28.138.58 on Fri, 22 May 2020 19:26:40 UTC All use subject to https://about.jstor.org/terms i. Winslow Homer, Long Branch , New Jersey , 1869, oil on canvas, 40.6 x 55.3 (16 x 21 3/4) Museum of Fine Arts, Boston, Charles Henry Hayden Fund 2. Winslow Homer, The Brídle Path, White Mountains, 1868, oil on canvas, 61.3x96.5 (24 1/& x 38) Sterling and Francine Clark Art Institute, Williamstown, Massachusetts 62 ADAMS This content downloaded from 23.28.138.58 on Fri, 22 May 2020 19:26:40 UTC All use subject to https://about.jstor.org/terms artist's style.6 Then in 1958 Albert Ten Eyck trip were actually executed before Homer Gardner vehemently challenged this view. went to Paris. His Croquet Scene, which Gardner maintained that Homer discov- has often been compared with such early ered both Japanese prints and French works im- by Monet as Women in a Garden , pressionism during his sojourn in Paris wasand painted just before he left for France that these two influences altered the entire (figs. 3 and 4). 11 If these works do reveal course of his artistic career. Differing French influence, Homer must have sharply from all previous writers, Gardner learned about impressionism before his maintained that "Homer's trip to Paris was trip. In fact, the paintings Homer executed the most important event in his entire ca- in France are duller in color and generally reer as an artist."7 less impressionistic than those he made in "It would seem most improbable/' the United States both before and after that Gardner declared, "that the man who was journey.12 to become 'the greatest American artist' It is apparent even from cursory study, would be able to spend such a long time in therefore, that Gardner's assertions often the very center of the art world and yet rested on shaky foundations. But despite remain completely blind and completely his failure to present solid evidence for his unaffected by the exciting new artistic cur- claims, his ideas have been widely re- rents of the day. Surely no lively, intel- peated, no doubt because they touched on ligent young man like Homer, with his a deeply emotional issue- the significance keen artist's eye and his active Yankee cu- of nineteenth-century American painting. riosity, could be so dull, so unperceptive, When Gardner was writing (and indeed, as not to be aware of what was going on these viewpoints are to some extent still around him."8 held today), American painting was judged As this quotation suggests, Gardner's to be dry, conservative, provincial, and aes- thesis consisted largely of innuendo. thetically inferior to French painting, par- Rather than locating contemporary evi- ticularly French impressionism. In associ- dence that Homer was affected by the ating Homer with Japanese prints and French impressionists, Gardner argued that French impressionist ideas, Gardner was such evidence is lacking because Homer arguing that Homer was a progressive, for- was deliberately secretive about what he ward-looking, and significant artist, wor- learned. This theme of reticence was taken thy to be considered on the same level as up by other writers, such as Yvon Bizardel, the leading French masters rather than pi- who wrote that "Homer crossed Paris with geon-holed as a provincial American genre his finger on his lips. That is why hepainter.13 used his eyes all the better, studied more Gardner's thesis raises a series of issues closely, and felt and understood all the I would like to explore. What trends in more deeply."9 modern French painting was Homer aware One would love to have a snapshot of of, and how did he know of them? What Homer crossing Paris with his finger to his was the influence of his trip to France? lips. This conjectural argument is not very Where did he discover Japanese prints, and persuasive. It was certainly possible for howa did they affect him? Why did he adopt young American to visit Paris in the 1860s an impressionist manner for a brief period without discovering French impression- and then abandon it? Did French painting ism. Thomas Eakins arrived in Paris about have a lasting significance on his achieve- the same time as Homer, staying a full four ment? I do not pretend to be able to answer years, yet never mentioned impressionism completely any of these questions, but I do in his extensive letters home and seems to hope to demonstrate that Homer was af- have looked only at the work of the old fected by French modernist ideas, although masters and such academic figures as his in ways that are rather more complex than teacher Jean-Léon Gérôme.10 In addition, has been supposed. Homer's impression- many of the paintings Gardner reproduced ism, I believe, reflected a mix of French to illustrate the impact of Homer's French and American influences. ADAMS 63 This content downloaded from 23.28.138.58 on Fri, 22 May 2020 19:26:40 UTC All use subject to https://about.jstor.org/terms American Attitudes Toward French not so much from knowledge of 3- EnglishWinslow Homer, Croquet Scene, 1866, oil on canvas, Painting in the 1860s painting as from a faithful reading 40.6 Xof 66.0 (16the X 26) criticism of John Ruskin.
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