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news release The Metropolitan Museum of Art For Release: Immediate Contact: Harold Holzer Jill Schoenbach LIFETIME ACHIEVEMENTS OF WINSLOW HOMER ON VIEW AT METROPOLITAN MUSEUM OF ART Major Retrospective Exhibition Will Include Works in All Media Exhibition dates: June 20 - September 22,1996 Exhibition location: European Paintings Galleries, second floor Press preview: Monday, June 17,10 a.m. - noon The creative power and versatility of one of America's greatest painters will be on view in the major retrospective exhibition Winslow Homer, opening June 20 at The Metropolitan Museum of Art. The most comprehensive presentation of Homer's art in more than 20 years, the exhibition will include approximately 180 paintings, drawings, and watercolors, and will offer a broad vision of his achievements over five decades. The exhibition, which was organized by the National Gallery of Art, Washington, comes to New York after showings at the National Gallery and the Museum of Fine Arts, Boston where it has been a great critical and popular success. The exhibition is made possible by GTE Corporation. Philippe de Montebello, Director of the Metropolitan Museum, commented: "Homer's wide-ranging pictorial style and technical virtuosity have earned him a place among the nation's indisputable masters. This summer, we are proud to display the full range of Homer's genius to visitors to the Museum from across America and around the world." "GTE is honored to join The Metropolitan Museum of Art in presenting Winslow Homer. GTE's involvement in this exhibition is a corollary to our role in communications. Our support of the arts and education reflects our desire to enhance the quality of life in our society, challenge the human spirit, and enjoy the product of creative genius," said Charles R. Lee, chairman and chief executive officer, GTE Corporation. Born in Boston, Winslow Homer (1836-1910) spent his childhood in then-rural Cambridge. He began his career about 1855 as an apprentice to a lithographer, for whom he produced sheet-music covers and other commercial works. After two years, at age 21, he set out (more) Communications Department 1000 Fifth Avenue, New York, NY 10028-0198 212-570-3951 Fax 212-472-2764 WINSLOW HOMER PAGE 2 to be a freelance illustrator and soon was a major contributor of drawings for wood engravings to popular magazines. In 1859 he moved to New York, where the publishers who commissioned his illustrations were located. There he also pursued his ambitions as a painter, briefly attending life classes at the National Academy of Design. Except for a ten-month period in Paris and the French countryside during 1866-67, and two years in England in the early 1980s, Homer remained in New York until 1883 and then settled permanently in Prout's Neck, Maine, where he lived until his death in 1910. The Homer exhibition, which is organized chronologically and in thematic groupings, will address every aspect of his long career as an artist. It will include his depictions of the Civil War and Reconstruction; genre scenes celebrating the pleasures of peace; seaside images of Gloucester, Massachusetts, and Cullercoats, England; oils and watercolors made during his vacations in the Adirondacks, Quebec, and the tropics; and powerful landscapes and seascapes of Prout's Neck. Six months after the outbreak of the Civil War, Homer was sent to the front in Virginia as an artist-correspondent for the illustrated journal, Harper's Weekly. The sketches he created — highly focused and personal vignettes of the sometimes dangerous, sometimes lonely lives of individual soldiers — were translated into wood engravings for the publication. His wartime experiences also inspired Homer's first significant oil paintings. Among the Civil War-era works on view in the exhibition will be The Sharpshooter on Picket Duty (1863), Pitching Quoits (1865), The Veteran in a New Field (1865) and Prisoners from the Front (1866). In the late 1860s and 1870s, Homer traveled during the summers to the White Mountains of New Hampshire, to the Adirondacks and elsewhere in rural New York State, and to seaside resorts in New Jersey and Massachusetts, all of which were becoming increasingly popular venues (more) WINSLOW HOMER PAGE 3 for tourism and recreation. The exhibition will feature many of Homer's portrayals of vacationers, including Bridle Path, White Mountains (1868), Long Branch, New Jersey (1869), and Eagle Head, Manchester, Massachusetts (1870). Homer also chronicled the lives of rural Americans, as can be seen in such paintings as The Morning Bell 1871) and Milking Time (1875). In all of these works, and in others such as Blackboard (1877) and The New Novel (1877), Homer revealed his interest in portraying the modern American woman. Other frequent subjects for the artist were children ~ at play, in such paintings on view as Snap the Whip (1872), and on the farm, as in Weaning the Calf (1ST5). These works reflect Homer's keen awareness of social change and his devotion to recording American manners and mores. In the summer of 1873, Homer visited the fishing port of Gloucester, Massachusetts, where he began to paint in watercolor. The show will include a number of his scenes of girls and boys enjoying childhood activities, including A Basket of Clams (1873) and In Charge of Baby (1873). Homer later reworked one of his Gloucester watercolors for Breezing Up (1876), an oil painting that is the capstone of his Gloucester experiences. About 1875, Homer returned to Virginia to observe the lives of former slaves during the first decade of Emancipation. He explored with sympathy the role of African-Americans in the newly reorganized, and yet still deeply unsettled, society of postbellum America in such paintings as The Cotton Pickers (1876) and The Carnival (1877), on view in a gallery devoted to the theme of Reconstruction. During the summer of 1878, and possibly again in 1879, Homer visited Houghton Farm in Mountainville, New York, near West Point. There he created dozens of engaging watercolors of farm girls and boys that attest to his increasing confidence as a watercolorist, as exemplified in the exhibition by Spring (1878) and Apple Picking (1878). (more) WINSLOW HOMER PAGE 4 When Homer spent the summer of 1880 in Gloucester, he lived in relative isolation in the lighthouse on Ten Pound Island, just offshore. From that vantage point, he painted a series of sailboats silhouetted against a sunset sky, including Eastern Point Light (1880) and Gloucester Sunset (1880) ~ on view in the exhibition — that are among the most dramatic and expressive watercolors of his career. "You will see, in the future I will live by my watercolors," Homer is reported to have said. His prediction was accurate: his watercolors provided him with a handsome income, they have never ceased to be admired, and their influence on artists of succeeding generations has been profound. In 1881 and 1882, Homer worked in England, settling in Cullercoats, a fishing village near Tynemouth on the North Sea. He soon became sensitive to the strenuous and courageous lives of the inhabitants, particularly the women, shown working as in Four Fisherwives (1881), or waiting at the water's edge for the return of their men, depicted most poignantly in Fisherman's Family (1881). In the summer of 1883, Homer left New York City to spend the rest of his life in Prout's Neck, Maine, a peninsula ten miles south of Portland. There he embarked on a series of oils on the theme of people in conflict with the sea, which he had begun to explore in his English watercolors. In works on view such as The Fog Warning (1885), men challenge the ocean's power with their own strength and cunning; in The Life Line (1884) and Undertow (1886), they defy the ocean's overwhelming force in scenes of dramatic rescue. An avid sport-fisherman and hunter, Homer produced several major oils and many splendid watercolors as a result of his visits to the Adirondacks (or North Woods) in upper New York State. Among these in the show are The Adirondack Guide (1894) and Jumping Trout (more) WINSLOW HOMER PAGE 5 (1889), as well as other works, such as After the Hunt (1892) and Hudson River, Logging (1897), which depict with candor and deep feeling the brutal practice of "hounding" deer and the rapid destruction of the wilderness by commercial logging. Watercolor became Homer's preferred medium on his many winter visits to Nassau in the Bahamas, to Tampa and Key West in Florida, and to Bermuda. Among the examples on view are A Garden in Nassau (1885) and Key West, Hauling Anchor (1903). Homer's experiences in the tropics also provoked his creation of a major oil ~ and one of the best-known of all his paintings - The Gulf Stream (1899). Among Homer's most admired works are his dynamic late seascapes, painted in Prout's Neck from 1890 onward. These heroic paintings, which capture the beauty, force, and drama of the sea itself, include Northeaster (1895) and West Point, Prout's Neck (1900). Two exceptional oils on view from this period, Fox Hunt (1893) and Right and Left (1909), suggest Homer's preoccupation with mortality. The exhibition will illuminate Homer's creative process with the installation of preliminary drawings, prints, and works in other media that relate to several of his major canvases. More of his prints may be seen in a companion exhibition, American Printmaking, 1860-1900: Winslow Homer and His Contemporaries, drawn entirely from the collection of The Metropolitan Museum of Art, which will coincide with the Winslow Homer retrospective. Winslow Homer was organized by the National Gallery of Art, Washington, D.C. The exhibition is accompanied by a.fully illustrated catalogue published by the National Gallery.
Recommended publications
  • Catalogue of a Loan Exhibition of Paintings by Winslow Homer : New

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  • IOWNER of PROPERTY NAME Mr

    IOWNER of PROPERTY NAME Mr

    Form No. 10-300 (Rev. 10-74) UNITED STATtS DEPARTMENT OF THE INTERIOR NATIONAL PARK SERVICE NATIONAL REGISTER OF HISTORIC PLACES INVENTORY -- NOMINATION FORM SEE INSTRUCTIONS IN HOW TO COMPLETE NATIONAL REGISTER FORMS TYPE ALL ENTRIES -- COMPLETE APPLICABLE SECTIONS NAME HISTORIC Winslov Homer Studio AND/OR COMMON Winslov Homer Studio LOCATION STREET & NUMBER Winslow Homer Road -NOT FOR PUBLICATION CITY. TOWN CONGRESSIONAL DISTRICT Front's Nerk, Scarborough — VICINITY OF First STATE CODE COUNTY CODE Maine 02^ Cumberland 005 HCLASSIFICATION CATEGORY OWNERSHIP STATUS PRESENT USE _ DISTRICT _ PUBLIC X.OCCUPIED _ AGRICULTURE X-MUSEUM .XBUILDING(S) JXPRIVATE —UNOCCUPIED —COMMERCIAL —PARK —STRUCTURE _BOTH _ WORK IN PROGRESS —EDUCATIONAL X- p mVATE RESIDENCE —SITE PUBLIC ACQUISITION ACCESSIBLE —ENTERTAINMENT —RELIGIOUS —OBJECT —IN PROCESS X-YES: RESTRICTED —GOVERNMENT —SCIENTIFIC —BEING CONSIDERED — YES. UNRESTRICTED —INDUSTRIAL —TRANSPORTATION _NO —MILITARY —OTHER; IOWNER OF PROPERTY NAME Mr. Charles Homer Willauer STREET & NUMBER 85 Chestnut Street CITY, TOWN STATE Boston VICINITY OF Massachusetts LOCATION OF LEGAL DESCRIPTION COURTHOUSE. REGISTRY OF DEEDS,ETC Cumberland County Registry of Deeds STREETS NUMBER CITY, TOWN STATE Portland Maine El REPRESENTATION IN EXISTING SURVEYS TITLE Maine Inventory of Historic Sites DATE -FEDERAL 2LSTATE —COUNTY —LOCAL DEPOSITORY FOR SURVEY RECORDS Maine Historic Preservation Commission CITY. TOWN STATE Augusta Maine DESCRIPTION CONDITION CHECK ONE CHECK ONE _XEXCELLENT —DETERIORATED —UNALTERED X-ORIGINALSITE —GOOD —RUINS .^ALTERED —MOVED DATE- _FAIR _UNEXPOSED DESCRIBE THE PRESENT AND ORIGINAL (IF KNOWN) PHYSICAL APPEARANCE The Winslow Homer Studio stands on the south side of Winslow Homer Road above the shore of Prout's Neck in Scarborough, Maine. Winslow Homer Road is a private way serving a number of substantial summer cottages -which appear to date from the late 19th through the mid-20th centuries.
  • KNOWLES-DOCUMENT-2014.Pdf

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  • Reconciling the Civil War in Winslow Homer's Undertow

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  • Scribner's Magazine

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  • The Life and Works of Winslow Homer

    i^','i yv^ ijj.B.CLARK£ cn Qni'5;tLL£RS«ST»Tm..ri THE LIFE AND WORKS OF WINSLOW HOMER PORTIL^IT OF WINSLOW HOMER AT THE AGE OF SEVENTY-TWO From a photograph taken at Prout's Neck, Maine, in igo8. Photogravure 1 y^ff THE'T'ttt:^ LIFEt ti AND WORKS OF WINSLOW HOMER BY WILLIAM HOWE DOWNES WITH ILLUSTRATIONS BOSTON AND NEW YORK HOUGHTON MIFFLIN COMPANY 191 JNJMAA/j«^G LIBRARY JUL 19™ i5[!15WW OCT 2 :M332 iNSTITUTlOW HATiOMAL COLL^^iiuji Of FINE AHW COPYRIGHT^ J911, BY WILLIAM HOWE DOWNES ALL RIGHTS RESER\'ED Published October iqii ACKNOWLEDGMENTS THE author is grateful to all those persons who have aided him in the preparation of this biography. To Winslow Homer's two brothers he owes especially cordial thanks. Mr. Charles S. Homer has been most kind in lending indispensable assistance and most patient in an- swering questions. Mr. Arthur B. Homer with fortitude has listened to the reading of the entire manuscript, and has given wise and valuable counsel and criticism. To Mr. Arthur P. Homer and Mr. Charles Lowell Homer of Boston the author is indebted for many useful suggestions and interesting remi- niscences. Mr. Joseph E. Baker, the friend and comrade of Winslow Homer in his youth, and his fellow-apprentice in BufTord's lithographic establishment in Boston, from 185510 1857, has supplied interesting data which could have been obtained from no other source. Mr. Walter Rowlands, of the fine arts department of the Boston Public Library, has made himself useful in the line of historic research, for which his experience admirably qualifies him, and has gone over the first rough draft of the manuscript and offered many friendly hints and suggestions for its betterment.
  • Artist Spotlight

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    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.
  • National Gallery of Art

    National Gallery of Art

    National Gallery of Art FOR IMMEDIATE RELEASE BREADTH AND MASTERY OF WINSLOW HOMER 'S ART ON EXHIBITION AT NATIONAL GALLERY OF ART. OCTOBER 15. 1995 - JANUARY 28. 1996; PASSES REQUIRED ON WEEKENDS AND HOLIDAYS WASHINGTON, D.C., August 25, 1995 The towering artistic achievements of Winslow Homer (1836-1910), one of America's greatest painters, will be presented in the first comprehensive exhibition of his work in more than twenty years. Organized by the National Gallery of Art, Winslow Homer will be on view in the Gallery's East Building from October 15, 1995 through January 28, 1996, before traveling to Boston and New York. The exhibition is made possible by GTE Corporation. More than 225 works in the show, including 86 oil paintings, 99 watercolors, 31 drawings, and six prints, as well as technical materials, will illustrate Homer's superb breadth, mastery, keen observation of life, and sensitivity to political issues in nineteenth-century America. "It is fitting that the premiere venue for this exhibition will be the capital of the nation whose life and finest values are so enduringly expressed in Homer's art," said Earl A. Powell III, director, National Gallery of Art. "We are deeply grateful -more- Fourlli Street at Constitution Avenue, N.W., Washington, D.C. 2056f) homer . page 2 to GTE for making this possible." "GTE is honored to join the National Gallery of Art for the ninth time in presenting a major exhibition. By supporting Winslow Homer, GTE affirms its belief in art as a powerful means of communication. We have a longstanding commitment to enhancing the quality of life in our society by supporting the arts and education," said Charles R.
  • American Images of Childhood in an Age of Educational and Social

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    AMERICAN IMAGES OF CHILDHOOD IN AN AGE OF EDUCATIONAL AND SOCIAL REFORM, 1870-1915 By AMBER C. STITT Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May 2013 2 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of Amber C. Stitt, candidate for the PhD degree*. _________________Henry Adams________________ (chair of the committee) _________________Jenifer Neils_________________ _________________Gary Sampson_________________ _________________Renée Sentilles_________________ Date: March 8, 2013 *We also certify that written approval has been obtained for any proprietary material contained therein. 3 Table of Contents: List of Figures 11. Acknowledgments 38. Abstract 41. Introduction 43. Chapter I 90. Nineteenth-Century Children’s Social Reform 86. The Cruel Precedent. 88. The Cultural Trope of the “Bad Boy” 92. Revelations in Nineteenth-Century Childhood Pedagogy 97. Kindergarten 90. Friedrich Froebel 91. Froebel’s American Champions 93. Reflections of New Pedagogy in Children’s Literature 104. Thomas Bailey Aldrich 104. Mark Twain 107. The Role of Gender in Children’s Literature 110. Conclusions 114. Chapter II 117. Nineteenth-Century American Genre Painters 118. Predecessors 118. Early Themes of American Childhood 120. The Theme of Family Affection 121. 4 The Theme of the Stages of Life 128. Genre Painting 131. George Caleb Bingham 131. William Sidney Mount 137. The Predecessors: A Summary 144. The Innovators: Painters of the “Bad Boy” 145. Eastman Johnson 146. Background 147. Johnson’s Early Images of Children 151. The Iconic Work: Boy Rebellion 160. Johnson: Conclusions 165. Winslow Homer 166. Background 166.