Winslow Homer Paintings for Sale

Winslow Homer

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Winslow Homer Paintings and Biography

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Winslow Homer Biography

American Naturalist painter, engraver, etcher & illustrator
born 1836 - died 1910

Member of: Tile Club
"The sun will not rise or set without my notice, and thanks," Winslow Homer, 1895

Perhaps it was this notice of and gratitude for the beauty of the cycles of nature that helped make Winslow Homer one of America's most treasured artists. The United States has produced its own breed of artists true to the vision and character of the nation. In the nineteenth century, one of its greatest was Winslow Homer. Classified as an American naturalist painter, Winslow was a self-taught artist who became most famous for his views of the American landscape and most notably his seascapes off of the Maine coastline where Winslow Homer lived during the latter part of his life.

Harper's sent Homer to the front during the American Civil War, where the painter did sketches of battle scenes and mundane camp life. Although these did not gain him much note at the time, they were to influence much of his later work. Back at his studio after the war, Winslow Homer set to work on several war-related paintings, among them Sharpshooter on Picket Duty and Prisoners from the Front.

After exhibiting at the National Academy of Design, Winslow Homer traveled to France in 1867 and began practicing painting landscapes while continuing to work for Harper's. Winslow Homer began to paint in watercolor, and in 1875 he ended his career as a commercial illustrator, concentrating on Winslow Homer painting.

He traveled widely and spent two years (1882-83) in England, where his boyhood Winslow Homer Later in Lifeinterest in the sea was rekindled. He moved to Prout's Neck, Maine (near Scarboro) and began painting seascapes, for which Winslow Homer is perhaps best known. Notable among these are Banks Fisherman, Eight Bells, Gulf Stream, Rum Cay, Mending the Nets, and Searchlight, harbor Entrance, Santiago de Cuba. In order to find locations for his seascapes, Winslow Homer often took trips to such locations as Florida and the Caribbean.

Homer died at the age of 74 in his Prout's Neck studio. Winslow Homer painting, Shoot the Rapids, remained unfinished. Winslow Homer paintings, already in great demand during his lifetime, are widely sought today.

"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. Just as John James Audubon becomes, by dilution, the common duck stamp, so one detects the vestiges of Winslow Homer watercolors in every outdoor-magazine cover that has a dead whitetail draped over a log or a largemouth bass, like an enraged Edward G. Robinson with fins, jumping from dark swamp water. Homer was not, of course, the first "sporting artist" in America, but Winslow Homer was the undisputed master of the genre, and the artist brought to it both intense observation and a sense of identification with the landscape-just at the cultural moment when the religious Wilderness of the nineteenth century, the church of nature, was shifting into the secular Outdoors, the theater of manly enjoyment. If you want to see Thoreau's America turning into Teddy Roosevelt's, Winslow Homer the watercolorist is the man to consult.

"The Homer sesquicentennial (he was born in 1836 and died in 1910) is being celebrated with "Winslow Homer Watercolors," organized by Helen Cooper at the National Gallery of Art in Washington, D.C. Her catalogue is a landmark in Homer studies. It puts Homer in his true relationship to illustration, to other American art and to the European and English examples Winslow Homer followed, from Ruskin to Millet; its vivacity of argument matches that of the Winslow Homer paintings. Cooper has brought together some two hundred Winslow Homer watercolor paintings almost a third of his known output. It is a wholly delectable show, and it makes clear why watercolor, in its special freshness and immediacy, gave Winslow Homer access to moments of vision the painter did not have in the weightier, slower diction of oils.

"You will see, in the future I will live by my watercolors," Homer once remarked, and Winslow Homer was almost right. He came to the medium late: he was thirty-seven and a mature artist. A distinct air of the Salon, of the desire for a "major" utterance that leads to an overworked surface, clings to some of the early Winslow Homer watercolors in particular, the Winslow Homer paintings of fisher folk the artist did during a twenty-month stay in the northern English coastal village of Cullercoats in 1881-82. Those robust girls, simple, natural, windbeaten and enduring, planted in big boots with arms akimbo against the planes of sea, rock and sky, are also images of a kind of moralizing earnestness that was common in French Salon art a century ago. Idealizations of the peasant, reflecting an anxiety that folk culture was being annihilated by the gravitational field of the city, were the stock of dozens of painters like Jules Breton, Jules Bastien-Lepage and jean-François Millet. His own America had its anxieties too-immense ones. Nothing in its cultural history is more striking than the virtual absence of any mention of the central American trauma of the nineteenth century, the Civil War, from painting. Its fratricidal miseries were left to writers (Walt Whitman, Stephen Crane) to explore, and to photographers. But painting served as a way of oblivion-of reconstructing an idealized innocence. Thus, as Cooper points out, 1870s Winslow Homer watercolors of farm children and bucolic courtships try to memorialize the halcyon days of the 185os; the children gazing raptly at the blue horizon in Three Boys on the Shore, their backs forming a shallow arch, are in a sense this lost America. None of this prevented his contemporaries from seeing such works as unvarnished and in some ways disagreeable truth. "Barbarously simple," thought Henry James. "He has chosen the least pictorial features of the least pictorial range of scenery and civilization as if they were every inch as good as Capri or Tangier; and, to reward his audacity, Winslow Homer has incontcstably succeeded."

"Although Homer exhibitions up to now have tended to treat Winslow Homer watercolors as ancillary to his oils, mere preparations, it is clear at the National Gallery that Winslow Homer did not think the same way and that he did more than any other nineteenth-century American artist to establish watercolor as an important medium in this country. In structure and intensity, best Winslow Homer watercolor paintings yield nothing to his larger paintings. Homer had great powers of visual analysis; Winslow Homer could hardly look at a scene without breaking it down and resolving it as structure, and some of Winslow Homer paintings of the Adirondack woods, with their complicated shuttle of vertical trunks against a fluid background of deep autumnal shade, are demonstration pieces of sinewy design. The artist was able to isolate a motif in action, as though the watercolor were a pseudo-photograph.

This sometimes looks false, but it was exactly the kind of falsity that appealed to popular taste, and Winslow Homer watercolors of leaping trout and thrashing bass, the Big Fish dominating the foreground, are a curious conjunction of the merely illustrative and the frenetically decorative. In his sober moods he was rarely off-key. Winslow Homer Adirondack paintings have the astringent completeness of the Michigan woods in early Hemingway. Perhaps no painting has ever conveyed a hunter's anxiety better than Hound and Hunter, with its flustered boy in the dinghy trying to get a rope on a shot stag's antlers before its corpse sinks, lurching to and fro in a cave of forest darkness and disturbed silver ripples.

List of Winslow Homer famous Paintings for Sale

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Winslow Homer

Winslow Homer Paintings and Biography