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Winslow Homer was 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 mother was a gifted amateur watercolorist and Homer’s first teacher, and she and her son had a close relationship throughout their lives. Homer took on many of her traits, including her quiet, strong-willed, terse, sociable nature; her dry sense of humor; and her artistic talent.
Homer had a happy childhood, growing up mostly in then rural Cambridge, Massachusetts. He was an average student, but his art talent was on display early. Homer’s father was a volatile, restless businessman who was always looking to “make a killing”. When Homer was thirteen, 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.
After Homer’s high school graduation, his father saw an ad in the newspaper and arranged for an apprenticeship. Homer’s apprenticeship to a Boston commercial lithographer at the age of 19, was a formative but “treadmill experience”. 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.”
Homer’s career as an illustrator lasted nearly twenty years. He contributed to magazines such as Ballou’s Pictorial and Harper’s Weekly, 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 career. His quick success was mostly due to this strong understanding of graphic design and also to the adaptability of his designs to wood engraving.
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 briefly with Frederic Rondel, who taught him the basics of painting. 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 American Civil War (1861 – 1865), where he sketched battle scenes and camp life, the quiet moments as well as the murderous ones. 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 Potomac River 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 dangerous and exhausting. Back at his studio, however, Homer would regain his strength and 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). He exhibited Home, Home, Sweet Home at the National Academy and its remarkable critical reception resulted in its quick sale and in the artist being elected an Associate Academician, then a full Academician in 1865. After the war, Homer turned his attention primarily to scenes of childhood and young women, reflecting his own, and the country’s, nostaglia for simpler times.
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.”
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.” 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.
In 1883, Homer moved to Prout’s Neck, Maine (in Scarborough) and lived at his family’s estate in the remodeled carriage house just seventy-five feet from the ocean. During the rest of the mid-1880’s, 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”. In Eight Bells (1886), two sailors carefully take their bearings on deck, calmly appraising their position and by extension, their relationship with the sea; they are confident in their seamanship but respectful of the 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.
At fifty years of age, Homer had become a “Yankee Robinson Crusoe, 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.” But despite his critical recognition, Homer’s work never achieved the popularity of traditional Salon pictures or of the flattering portraits by John Singer Sargent. Many of the sea pictures took years to sell and “Undertow” only earned him $400.
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. 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 Proust’s 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. His tropical stays inspired and refreshed him in much the same way as Paul Gauguin’s trips to Tahiti. A (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.
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 vision and manner of painting to create a body of work that has not been matched.”
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 immediately purchased by the Pennsylvania Academy of the Fine Arts, his first painting in a major American museum collection. 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.
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. Homer continued producing excellent watercolors, mostly on trips to Canada and the Caribbean. Other late works include seascapes absent of human figures, mostly of waves crashing against rocks in varying light. In his last decade, he at times followed the advice he gave a student artist in 1907, “Leave rocks for your old age-they’re easy”.
Homer died in 1910 at the age of 74 in his Prout’s Neck studio and was interred in the Mount Auburn Cemetery in Cambridge, Massachusetts. His painting, Shooting the Rapids, Saguenay River, remains unfinished.
His Prout’s Neck studio is now owned by the Portland Museum of Art.
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으로 윈슬로우 호머크기 시작 ₩327,989Fisher Girls on the Beach, Cullercoats, 1881
으로 윈슬로우 호머크기 시작 ₩309,859Fisherfolk on the Beach at Cullercoats 1881
으로 윈슬로우 호머크기 시작 ₩303,049Fishergirls coiling tackle 1881
으로 윈슬로우 호머크기 시작 ₩327,989Fisherman’s Family (The Lookout), 1881
으로 윈슬로우 호머크기 시작 ₩308,019Daughter of the Coast Guard 1881
으로 윈슬로우 호머크기 시작 ₩248,419Hark! The Lark 1882
으로 윈슬로우 호머크기 시작 ₩340,699Fishwives, 1883
으로 윈슬로우 호머크기 시작 ₩362,159Four Fishwives on the Beach, 1881
으로 윈슬로우 호머크기 시작 ₩385,949Girl Carrying a Basket, 1882
으로 윈슬로우 호머크기 시작 ₩315,019Girls on a Cliff, 1881
으로 윈슬로우 호머크기 시작 ₩318,519Inside the Bar 1883
으로 윈슬로우 호머크기 시작 ₩347,239Looking out to Sea, Cullercoats, 1882
으로 윈슬로우 호머크기 시작 ₩303,049On the Beach, Tynemouth 1881
으로 윈슬로우 호머크기 시작 ₩335,919On the Beach, Tynemouth 1881
으로 윈슬로우 호머크기 시작 ₩308,019On the Cliff 1881
으로 윈슬로우 호머크기 시작 ₩315,019On The Cliff, Cullercoats
으로 윈슬로우 호머크기 시작 ₩299,649On the Sands, 1881
으로 윈슬로우 호머크기 시작 ₩299,649Startled 1878
으로 윈슬로우 호머크기 시작 ₩323,469The Breakwater, Cullercoats, 1882
으로 윈슬로우 호머크기 시작 ₩315,019The Lookout, 1882
으로 윈슬로우 호머크기 시작 ₩309,859Three Fisher Girls, Tynemouth, 1881
으로 윈슬로우 호머크기 시작 ₩359,669Where are the Boats 1883
으로 윈슬로우 호머크기 시작 ₩376,819The Mussel Gatherers 1881
으로 윈슬로우 호머크기 시작 ₩309,859Tynemouth Sands
으로 윈슬로우 호머크기 시작 ₩306,459Two Girls On The Beach, Tynemouth, 1881
으로 윈슬로우 호머크기 시작 ₩327,989The Life Brigade, 1883
으로 윈슬로우 호머크기 시작 ₩304,509Rough Work, 1883
으로 윈슬로우 호머크기 시작 ₩308,019To the Rescue 1886
으로 윈슬로우 호머크기 시작 ₩279,189The Watcher, Tynemouth 1882
으로 윈슬로우 호머크기 시작 ₩343,849Sun and Clouds, 1882
으로 윈슬로우 호머크기 시작 ₩333,669Two Figures by the Sea 1882
으로 윈슬로우 호머크기 시작 ₩340,459The Wreck 1896
으로 윈슬로우 호머크기 시작 ₩323,469Watching the Tempest, 1881
으로 윈슬로우 호머크기 시작 ₩299,649Girl with Red Stockings, 1882
으로 윈슬로우 호머크기 시작 ₩311,519A Fishergirl Baiting Lines 1881
으로 윈슬로우 호머크기 시작 ₩318,519Boy Hailing Schooners, 1880
으로 윈슬로우 호머크기 시작 ₩272,359Beach Scene, Cullercoats 1881
으로 윈슬로우 호머크기 시작 ₩374,349Boy with Anchor 1873
으로 윈슬로우 호머크기 시작 ₩347,239Boys and Kitten 1873
으로 윈슬로우 호머크기 시작 ₩299,649Boys Wading, 1873
으로 윈슬로우 호머크기 시작 ₩299,649A Fisherman’s Daughter 1873
으로 윈슬로우 호머크기 시작 ₩289,419After the Rain, Prouts Neck, 1887
으로 윈슬로우 호머크기 시작 ₩308,019Berry Pickers, 1873
으로 윈슬로우 호머크기 시작 ₩308,019Early Evening 1881
으로 윈슬로우 호머크기 시작 ₩276,449Watching the Breakers, 1891
으로 윈슬로우 호머크기 시작 ₩286,009Bringing in the Nets 1887
으로 윈슬로우 호머크기 시작 ₩313,269Sand and Sky 1887
으로 윈슬로우 호머크기 시작 ₩299,649The Blue Boy 1873
으로 윈슬로우 호머크기 시작 ₩316,669Evening on the Beach
으로 윈슬로우 호머크기 시작 ₩322,009Promenade on the Beach 1880
으로 윈슬로우 호머크기 시작 ₩315,019Woman on the Beach, Marshfield, 1874
으로 윈슬로우 호머크기 시작 ₩374,199By the Shore, 1870
으로 윈슬로우 호머크기 시작 ₩248,419Children on the beach, 1873
으로 윈슬로우 호머크기 시작 ₩289,419The Dunes, 1894
으로 윈슬로우 호머크기 시작 ₩308,019Young Woman 1880
으로 윈슬로우 호머크기 시작 ₩304,509Two Boys Watching Schooners 1880
으로 윈슬로우 호머크기 시작 ₩309,859Watching from the Cliffs, 1881
으로 윈슬로우 호머크기 시작 ₩311,519The Boat Builders 1873
으로 윈슬로우 호머크기 시작 ₩342,979Rocky Coast (Maine Coast)
으로 윈슬로우 호머크기 시작 ₩374,199The Return, Tynemouth 1881
으로 윈슬로우 호머크기 시작 ₩248,419Watching from the Cliffs 1892
으로 윈슬로우 호머크기 시작 ₩308,019Five Boys at the Shore, Gloucester 1880
으로 윈슬로우 호머크기 시작 ₩304,509Three Boys on the Shore 1873
으로 윈슬로우 호머크기 시작 ₩347,239Watching the Ships, Gloucester 1875
으로 윈슬로우 호머크기 시작 ₩326,869Children Playing under a Gloucester Wharf, 1880
으로 윈슬로우 호머크기 시작 ₩330,269Boy in a Boatyard 1873
으로 윈슬로우 호머크기 시작 ₩350,629Hauling in the Nets, 1887
으로 윈슬로우 호머크기 시작 ₩308,019Three boys in a boat 1873
으로 윈슬로우 호머크기 시작 ₩330,269Tynemouth Priory, England 1881
으로 윈슬로우 호머크기 시작 ₩370,809Three Boys in a Dory with Lobster Pots 1875
으로 윈슬로우 호머크기 시작 ₩309,859Boy in Boat, Gloucester
으로 윈슬로우 호머크기 시작 ₩309,859A Swell of the Ocean 1883
으로 윈슬로우 호머크기 시작 ₩397,329A Wreck Near Gloucester 1880
으로 윈슬로우 호머크기 시작 ₩363,119The “Summer Cloud”, 1881
으로 윈슬로우 호머크기 시작 ₩303,049An Afterglow 1883
으로 윈슬로우 호머크기 시작 ₩303,049A Girl in a Punt, 1880
으로 윈슬로우 호머크기 시작 ₩289,419Sailing the catboat
으로 윈슬로우 호머크기 시작 ₩367,419Clamming, 1887
으로 윈슬로우 호머크기 시작 ₩347,239Boys Fishing, Gloucester Harbor, 1880
으로 윈슬로우 호머크기 시작 ₩318,519Crab Fishing
으로 윈슬로우 호머크기 시작 ₩309,859Boys in a Dory 1873
으로 윈슬로우 호머크기 시작 ₩299,649Boys in a Dory, 1880
으로 윈슬로우 호머크기 시작 ₩296,239Clear Sailing 1880
으로 윈슬로우 호머크기 시작 ₩311,519Eastern Point Light 1880
으로 윈슬로우 호머크기 시작 ₩266,599Gloucester Sunset 1880
으로 윈슬로우 호머크기 시작 ₩266,599Schooner at Sunset 1880
으로 윈슬로우 호머크기 시작 ₩269,429Sunset 1875
으로 윈슬로우 호머크기 시작 ₩275,089Sailboat and Fourth of July Fireworks 1880
으로 윈슬로우 호머크기 시작 ₩276,389Two Schooners, Gloucester 1880
으로 윈슬로우 호머크기 시작 ₩269,429Gloucester Harbor, Fishing Fleet 1880
으로 윈슬로우 호머크기 시작 ₩290,949Sunset at Gloucester 1880
으로 윈슬로우 호머크기 시작 ₩311,919Herring Fishing, 1894
으로 윈슬로우 호머크기 시작 ₩285,129Returning Fishing Boats, 1883
으로 윈슬로우 호머크기 시작 ₩322,009Rowboat 1880
으로 윈슬로우 호머크기 시작 ₩304,509Spearing Eels
으로 윈슬로우 호머크기 시작 ₩303,049Summertime, 1880
으로 윈슬로우 호머크기 시작 ₩308,019The Green Dory 1880
으로 윈슬로우 호머크기 시작 ₩299,649The wrecked Schooner
으로 윈슬로우 호머크기 시작 ₩272,259Three Men in a Boat 1890
으로 윈슬로우 호머크기 시작 ₩292,089