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Catalogue of a Loan Exhibition of Paintings by Winslow Homer : New
THE METROPOLITAN MUSEUM OF ART WINSLOW HOMER MEMORIAL EXHIBITION MCMXI CATALOGUE OF A LOAN EXHIBITION OF PAINTINGS BY WINSLOW HOMER OF THIS CATALOGUE AN EDITION OF 2^00 COPIES WAS PRINTED FEBRUARY, I 9 I I Digitized by the Internet Archive in 2015 https://archive.org/details/catalogueofloaneOOhome FISHING BOATS OFF SCARBOROUGH BY WINSLOW HOMER LENT BY ALEXANDER W. DRAKE THE METROPOLITAN MUSEUM OF ART CATALOGUE OF A LOAN EXHIBITION OF PAINTINGS BY WINSLOW HOMER NEW YORK FEBRUARY THE SIXTH TO MARCH THE NINETEENTH MCMXI COPYRIGHT, FEBRUARY, I 9 I I BY THE METROPOLITAN MUSEUM OF ART LIST OF LENDERS National Gallery of Art Pennsylvania Academy of the Fine Arts The Lotos Club Edward D. Adams Alexander W. Drake Louis Ettlinger Richard H. Ewart Hamilton Field Charles L. Freer Charles W. Gould George A. Hearn Charles S. Homer Alexander C. Humphreys John G. Johnson Burton Mansfield Randall Morgan H. K. Pomroy Mrs. H. W. Rogers Lewis A. Stimson Edward T. Stotesbury Samuel Untermyer Mrs. Lawson Valentine W. A. White COMMITTEE ON ARRANGEMENTS John W. Alexander, Chairman Edwin H. Blashfield Bryson Burroughs William M. Chase Kenyon Cox Thomas W. Dewing Daniel C. French Charles W. Gould George A. Hearn Charles S. Homer Samuel Isham Roland F. Knoedler Will H. Low Francis D. Millet Edward Robinson J. Alden Weir : TABLE OF CONTENTS Page Frontispiece, Opposite Title-Page List of Lenders . Committee on Arrangements . viii Table of Contents .... ix Winslow Homer xi Paintings in Public Museums . xxi Bibliography ...... xxiii Catalogue Oil Paintings 3 Water Colors . • 2 7 Index ......... • 49 WINSLOW HOMER WINSLOW HOMER INSLOW HOMER was born in Boston, February 24, 1836. -
The Story of Prouts Neck
University of Southern Maine USM Digital Commons Maine Collection 1924 The Story of Prouts Neck Rupert Sargent Holland Follow this and additional works at: https://digitalcommons.usm.maine.edu/me_collection Part of the Genealogy Commons, Other History Commons, and the United States History Commons Recommended Citation Holland, Rupert Sargent, "The Story of Prouts Neck" (1924). Maine Collection. 101. https://digitalcommons.usm.maine.edu/me_collection/101 This Book is brought to you for free and open access by USM Digital Commons. It has been accepted for inclusion in Maine Collection by an authorized administrator of USM Digital Commons. For more information, please contact [email protected]. ·THE STORY OF PROUTS NECK· BY RUPERT SARGENT HOLLAND .. THE PROUTS NECK ASSOCIATION PROUTS NECK, MAINE DEDICATED TO THE MEMORY OF FRANK MOSS ARTIST AND DEVOTED WORKER FOR THE WELFARE OF PROUTS NECK .. Copyright 1924 by The Prouts Neck Association Prouts Neck, Me. Printed in U.S. A. THE COSMOS PRESS, INC., CAMBRIDGE, MASS. The idea of collecting and putting in book form sotrie of the interesting incidents in the history of Prouts Neck originated with Mr. Frank Moss, who some years ago printed for private distribution an account of the N~ck as it was in I886 and some of the changes that had since occurred. Copies of this pamphlet were rare, and Mr. Moss and some of his friends wished .to add other material of interest and bring it up to date, making a book that, published by the Prouts Neck Association, should interest summer residents ·in the story of this beautiful headland and in the endeavors to preserve its native charms. -
Artist Spotlight
ARTIST SPOTLIGHT Winslow Homer DAN SCOTT Illustrator,Winslow War Artist andHomer Master Painter Winslow Homer (1836 – 1910) was a remarkable American painter who mastered sev- eral mediums, including oils and watercolors. He lived a fascinating life; working as a commercial illustrator, an artist-correspondent for the Civil War, being published on commemorative stamps and achieving financial success as a fine artist. He did all this as a largely self-taught artist. In this ebook, I take a closer look at his life and art. Winslow Homer, Snap the Whip, 1872 2 Key Facts Here are some interesting facts about Winslow Homer: • He was born in Boston, Massachusetts in 1836. From a young age, he was encour- aged to paint by his mother, who was a talented watercolor artist. • He started his career as an apprentice to a commercial lithographer. He then em- barked on a career as a commercial illustrator, which lasted for around 20 years. His work in illustration explains the distinct style of his paintings. • He was mostly self-taught, learning the fundamentals from his time as an appren- tice lithographer and commercial illustrator. But he did take a few art classes here and there. • American painter and teacher, Robert Henri, referred to Homer as an “integrity of nature”. • In 1962, Homer’s Breezing Up was featured on a commemorative stamp issued by the U.S. Post Office. That painting is now hanging in the National Gallery in Wash- ington DC. Winslow Homer, Breezing Up (A Fair Wind), 1876 3 Winslow Homer, Commemorative Stamp of 1962 • Homer was sent by Harper’s Magazine to the Civil War (1861 - 1865) as an art- ist-correspondent. -
Winslow Homer
TH E %ULF STREAM TH E METROP OLITAN MUSEUM O F A RT n n d ted H 1 9 nc s h i h inc s w . Sig ed a d a ; omer , 8 9 . Can vas , i he g , he ide WINSLOW HOMER %ENYON Cox NEW YOR% PRIVATELY PRINTED MCM% IV ”MO Co r h 1 1 py ig t 9 4. by Frederic Fairchdd Sh erman TO ITS F I RST READ ER PH IL I P LITTELL W H OSE CRITIC I SM AND AD VICE ON MATTERS O E STYLE W ERE I NVALUAB LE TO M E H B % F F T I S O O I S A ECTI ONATELY INSCRIB ED . PREFACE ' For the facts and dates ofHomer s life Iam indebt ed to “The Life and Works ofWinslow Homer by ll D Mifflin : Wi iam Howe ownes , Houghton Com 1 1 1 . pany , 9 From this book . which I have accepted th e nl sub edt as o y authority on the j . I have also bor ' “ rowed a few quotations from John W . Beatty s In % ’ ro r f t ducfto y Note and rom Homer s own letters . ’ For the interpretation I have put upon the facts , ' and for the attempt at a critical estimate of Homer s . t is art , I alone am responsible Upon the validi y ofth estimate my little book must depend for its excuse for being . But whil e the opin ions expressed are my own they must Often coincide with those expressed by r s did : other w iter . -
PICTURING an INTRO– DUCTION Rachael Z
PICTURING AN INTRO– DUCTION Rachael Z. DeLue Picturing: An Introduction In the early 1880s, the American artist Winslow Homer (1836–1910) sketched a tragic scene: a capsized boat foundering near a rocky shore lined with trees. At least one figure appears to be floating in the water while others clutch at the overturned boat or take refuge on a rock. The hand of a drowning man claws the air, straining against the ocean’s relentless heave and pull (fig. 1). The graphite sketch, a study for Homer’s watercolor The Ship’s Boat (1883), is rough and summary, supplying just enough detail to communicate the bare facts of the event.1 The brusque, stuttering strokes of the pencil that delineate the swirl of the water and the broken snapping of sailcloth, along with the spiking slashes of graphite that designate the trees along the rocky ridge, broadcast the panic and chaos of the wreck. Sweeping pencil strokes in the sky that take the form of funnel clouds suggest the violence of the storm that overtook the boat; together with the wind-whipped trees, these cyclones evoke the destructive force of a hurricane. Homer’s sketch of a shipwreck reflects the sharp seaward turn his art took in the 1880s, after living nearly two years in Cullercoats, an English fishing village on the North Sea, and then settling for good in Prout’s Neck, Maine, a peninsula about ten miles north of Portland. Fishermen bravely pursuing their catch, wives stoically mending nets and tending to the day’s haul, calamitous storms, dramatic rescues, outsize waves crashing against rocky shores and exploding skyward Winslow Homer, The Fog Warning before making their retreat: Homer’s pictures during this period (detail, see fig. -
Winslow Homer Bio.Pdf
Snap the Whip Artist: Winslow Homer Created: 1872 Dimensions (cm): 91.4 x 55.9 Format: Oil on canvas Location: Butler Institute of American Art, Youngstown, Ohio, USA Perhaps Winslow Homer’s most beloved and popular painting was ‘Snap the Whip’, 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 landscape 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 Centennial Exposition in Philadelphia. 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. -
Homer, Winslow (1836-1910) by Richard G
Homer, Winslow (1836-1910) by Richard G. Mann Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com One of the most prolific and important American painters and printmakers of the second half of the nineteenth century, Winslow Homer created a distinctly American, modern classical style. For this and other reasons, his works have often been compared to the achievements of such prominent nineteenth-century American authors as Henry Thoreau, Herman Melville, and Walt Whitman. Homer dealt with many of the same themes that these writers did, including the Winslow Homer and heroism displayed by ordinary individuals, when confronted by seemingly insuperable three of his paintings: difficulties; the camaraderie and friendships enjoyed by soldiers and working men; The Herring Net, Undertow, and Rum Cay. and the isolation of the individual in the face of the "Other." Northwestern University Library Art Collection. Education and Early Career Born in Boston on February 24, 1836, Homer was initially trained as an artist by his mother, Henrietta Benson Winslow, who successfully exhibited watercolors of flowers and other still life subjects throughout her adult life. Between 1855 and 1857, he was apprenticed to John H. Bufford, a nationally prominent commercial artist, based in Boston; with this training, he began to do free-lance work for Harper's Weekly and other magazines. Aspiring to establish himself in the fine art world, he moved in 1859 to New York where he took painting lessons and began to exhibit drawings and paintings of urban scenes (for example, Skating in Central Park, 1860, shown at the National Academy of Design, April, 1860). -
Winslow Homer's "Impressionism" and Its Relation to His Trip to France Author(S): HENRY ADAMS Source: Studies in the History of Art, Vol
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. -
Gorham Munson WINSLOW HOMER of PROUT's NECK, :MAINE
Gorham Munson -' WINSLOW HOMER OF PROUT'S NECK, :MAINE THE WINSLOW HoMER retrospect exhibition at the National Gallery of Art and the Metropolitan Museum of Art in late 1958 and early 1959 was an incite ment to reappraisals of the Maine painter. The point was repeatedly made that Homer, like Manet, has survived his century and is a modern; we were told that we must not regard him as a painter of the Gilded Age but as a master of art in the Twentieth Century. In what consists the modernity of Winslow Homer? First of all, in his originality. In his apprenticeship, Homer stated: "If a man wants to be an artist, he should never look at pictures". This youthful dictum used to perplex the critics but time has caught up with the independent spirit it dis played, and to a modern, Homer's meaning is clear. He meant simply that the artist should turn away from the academic tradition and see things afresh. At the outset of his career he knew for a truth what his contemporary, the essayist Thomas Wentworth Higginson, would later say: "Originality is simply a pair of fresh eyes." A second modern trait of Homer's was observed-and disliked-by Henry James. "The artist", he said of Homer, "turns his back squarely and frankly upon literature". But his subjects!-"to the eye, he is horribly ugly". "We frankly confess", James said in the Galaxy in 1875, "that we detest his subjects-his barren plank fences, his glaring, bold, blue skies, his big dreary lots of meadows, his freckled, straight-haired Yankee urchins, his flat-breasted maidens, suggestive of a dish of rural doughnuts and pie, his calico sun-bonnets, his flannel shirts, his cowhide boots.