Product Description
Winslow Homer's luminous watercolor seascapes and highly spirited portraits of children and outdoorsmen are some of the most recognizable and cherished works in the history of American art. This catalogue, published in conjunction with a major traveling exhibition, examines his pictures from the 1870s, the least-studied period of this perennially popular American artist. Debunking the common myth that Homer worked in isolation, Margaret Conrads reveals him as a controversial artist who was an integral part of the dizzying New York art scene of the 1870s. Indeed, Homer was the American artist most frequently discussed by the press at this time--often with simultaneous commendation and vilification.

By viewing Homer's works of the 1870s through the lens of contemporaneous criticism, the author explains how and why the painter embodied the critics' high hopes for an art that expressed national values. She finds reflected in his vivid images an ongoing struggle to meet these expectations, even as he challenged and helped to redefine the artistic conventions governing American aesthetics.

With almost one hundred full-color plates and nearly sixty black-and-white illustrations, this handsome volume is a remarkable record of an important period not only in Winslow Homer's career but also in the fascinating art world of late-nineteenth-century America.

EXHIBITION SCHEDULE:

The Nelson-Atkins Museum of Art Kansas City, Missouri February 18-May 6, 2001

Los Angeles County Museum of Art June 10-September 9, 2001

High Museum of Art, Atlanta October 6, 2001-January 6, 2002 ... Read more

Customer Reviews (1)

Very Well Done
This is an exceptional new treatment of Homer from a new perspective. The reproductions are first rate; there are many images that I have not seen before. The commentary is fresh and incisive. Recommended. ... Read more

Product Description
In addition to being acclaimed for his magnificent paintings and watercolors, Winslow Homer is widely regarded as one of the most accomplished and prolific illustrators of the nineteenth century. This volume illuminates his illustrations--an often overlooked but magnificent body of work by America's most popular nineteenth-century artist. Working in an era when photography was not yet widely used as a reproductive medium, Homer was employed between 1857 and 1875 as an artist whose images were made into wood engravings that appeared in such popular journals as Harper's Weekly, Appletons' Journal, and Every Saturday. Homer's first steps toward his transformation into the artist of haunting emotional and formal vision he later became are visible in these illustrations. Winslow Homer: Illustrating America reproduces 79 of Homer's best printed illustrations--scenes of children, of the Civil War, the coastal resorts, the Adirondacks, and others. Essay authors Gallati and Kushner discuss these works within their art historical and social contexts. ... Read more

Product Description
American painter Winslow Homer talks about his life and work as if entertaining the reader for the weekend. Includes reproductions of the artist's works and a list of museums where they are on display. ... Read more

Customer Reviews (1)

Homer in England
An extremly well produced book with many high quality illustrations of Homer's work and with many contempory colour photos of the the same scenery today. This is a refreshing change from those books that are all text with many repetitions of the same illustrations. In so many art books the text is just filler but in this book its actually very readable. A great value to anyone interested in Homer. ... Read more

Product Description
Perhaps no other American painting is at once so familiar and so little understood as Winslow Homer’s The Gulf Stream (1899). For more than a century, scholars have praised the artist and yet puzzled over this harrowing scene of a black man adrift in the open sea, in a derelict boat surrounded by sharks. Critical commentary, when it has departed at all from the painting’s composition and coloring, has generally viewed The Gulf Stream as a universal parable on the human condition or as an anecdotal image of a coastal storm.

There is more to this stark masterpiece, says Peter H. Wood, a historian and an authority on images of blacks in Homer’s work. To understand the painting in less noticed but more meaningful ways, says Wood, we must dive more deeply into Homer’s past as an artist and our own past as a nation. Looking at The Gulf Stream and the development of Homer’s social conscience in ways that traditional art history and criticism do not allow, Wood places the picture within the tumultuous legacy of slavery and colonialism at the end of the nineteenth century.

Viewed in light of such events as the Spanish American War, the emergence of Jim Crow practices in the South, and the publication of Rudyard Kipling’s epochal poem "The White Man’s Burden," The Gulf Stream takes on deeper layers of meaning. The storm on the horizon, the sharks and flying fish in the water, the sugarcane stalks protruding from the boat’s hold—-these are just some of the elements in what Wood reveals to be a richly symbolic tableau of the Black Atlantic world, linking the histories of Africa, the Caribbean, and the United States.

By examining the "present" that shaped The Gulf Stream more than a century ago, and by resurrecting half-forgotten elements of the "past" that sustain the painting’s abiding mystery and power, Wood suggests a promising way to use history to comprehend art and art to fathom history. ... Read more

Customer Reviews (1)

An Average Amount Of Information
"The Drawings Of Winslow Homer" contains 44 pages of pictures by the artist.The printed part of a page is typically 6 x 9 inches.Most pages have only one picture on them, a few have two.The pictures are reproduced as monochrome images even though some of these works ( e.g. the watercolor paintings "Fresh Eggs", "Woman Peeling A Lemon" ) are not monochrome. The technology probably exists to photograph watercolor paintings to reveal the pencil sketch beneath the colors, but this has not been applied.You simply see a grayscale version of the paintings.

There is a two page essay on Winslow Homer by Stephen Longstreet.One of the things we learn is that Homer seldom drew nudes.The only picture with nudity in this collection is a very sketchy image of some children near a swimming hole.Compared to other volumes in the "Master Draughtsman Series", this collection has a relatively large number of pictures ( about 20, I think) that would qualify as finished works of art as opposed to sketches or studies.

For each picture, the book gives a title, the medium and the museum that contains the picture (- save for one picture where all the information is missing). The sizes of the pictures are not given.

I rate this book as three stars out of five to indicate that it does an average job of informing students about Homer's drawings.

Although I'm not sure how many of the titles were given by Homer himself or standardized by scholars, it may be helpful to have a list of the pictures, which the book itself lacks.Using the titles given by the book, it contains the following:


A Fisher Girl on the Beach
Pencil
Metropolitan Museum Of Art, New York NY

Schooner at Anchor
Black Chalk and White Body Color
Sterling and Francine Clark Art Institute, Williamstown MA

Woman and Elephant,
Watercolor
Albright-Knox Art Gallery, Buffalo NY

Two Girls in a Field
Pencil
Brooklyn Museum, Brooklyn, NY

Beach Scene, Tynemouth
Watercolor, over Sketch in Pencil
Sterling and Francine Clark Art Institute, Williamstown MA

Shepherdess
Pencil
Addison Gallery of American Art, Phillips Academy, Andover MA

Three Boys on Beached Dory
Pencil and Crayon Heightened with White
Museum of Fine Arts, Boston MA

Little Girl Swinging
Pencil, Heightened with White
Museum of Fine Arts, Boston MA

Shepherdess
Charcoal Heightened with White
Cleveland Museum of Art, Cleveland OH

Child Seated in a Wicker Chair
Black Crayon and White Gouache with Touches of Pencil
Sterling and Francine Clark Art Institute, Williamstown MA

Study for "Undertow"
Pencil and Black Chalk
Sterling and Francine Clark Art Institute, Williamstown MA

Study for "The Signal of Distress"
Pencil and Water Color
Cooper-Hewitt Museum of Design, Smithsonian Institution, New York NY

Sketch of Calvalry Soldier
Charcoal and White Chalk
Museum of Fine Arts, Boston MA

On the Edge of the Farm
Pencil, Heightened with White
Museum of Fine Arts, Boston MA

Going Berrying
Crayon, Heightened with White on Buff Paper
Museum of Fine Arts, Boston MA

Hunting for Eggs
Gouach, over Sketch in Pencil
Sterling and Francine Clark Art Institute, Williamstown MA

Sailing in Annisquam
Pencil
Museum of Fine Arts, Boston MA

On the Road to Lake George
Pencil Drawing for Woodcut
Museum of Fine Arts, Boston MA

Boy Picking Berries
Pencil and Chalk
Addison Gallery of American Art, Phillips Academy, Andover MA

Fisher Girl with Net
Pencil, Gray and White Wash
Sterling and Francine Clark Art Institute, Williamstown MA

Cavalry Soldier
Black Crayon on Paper
Cooper-Hewitt Museum of Design, Smithsonian Institution, New York NY


Girl Seated on a Rail Fence
Pencil with Chinese White
Brooklyn Museum, Brooklyn, NY

Reconnaissance by General Gorman before Yorktown
Pencil and Wash
Museum of Fine Arts, Boston MA

Studies of Soldiers' Heads
Charcoal on Brown Paper
Cooper-Hewitt Museum of Design, Smithsonian Institution, New York NY

Sketch in Front of Yourktown 1862
Pen and Ink and Crayon
Addison Gallery of American Art, Phillips Academy, Andover MA

Feeling the Enemy
Pen and Ink, Black and White Chalk
The Art Museum, Princeton University, Princeton NJ

Shepardess Resting
Charcoal on Cardboard
Cooper-Hewitt Museum of Design, Smithsonian Institution, New York NY

Feeding Time
Watercolor and Gouache, over Sketch in Pencil
Sterling and Francine Clark Art Institute, Williamstown MA

Young Girl Seated with Basket
Charcoal and Chinese White on Gray Paper
Cooper-Hewitt Museum of Design, Smithsonian Institution, New York NY

Study for "The Fishing Party"
Pencil on Paper
Cooper-Hewitt Museum of Design, Smithsonian Institution, New York NY

Study for "The Coolest Spot in New England, Summit of Mt. Washington"
Black and White Crayon on Paper
Cooper-Hewitt Museum of Design, Smithsonian Institution, New York NY


[Untitled sketch of dismounted cavalry, no information given about medium or museum ]


Men Beaching a Boat
Black Chalk on White Paper
Fogg Art Museum, Harvard University, Cambridge MA

Royal Palms, Cuba
Pencil, White Crayon on Paper
Cooper-Hewitt Museum of Design, Smithsonian Institution, New York NY

Women on Shore with Lobster Pot, 1882
Pencil and Watercolor
Brooklyn Museum, Brooklyn NY

Girl and Sheep
Pencil and Wash
Albright-Knox Art Gallery, Buffalo NY

Civil War Soldier
Charcoal and Chalk
Museum Of Fine Arts, Boston MA

Study of Cavalry Officers Boots
Pencil on Paper
Cooper-Hewitt Museum of Design, Smithsonian Institution, New York NY


Girls at a Well
Pencil and Chinese White
Brooklyn Museum, Brooklyn NY

The Swimming Hole
Pencil
Brooklyn Museum, Brooklyn NY

The Bathers
Charcoal and White Chalk
Metropolitan Museum Of Art, New York NY


The Croquet Players
Black Chalk
Metropolitan Museum Of Art, New York NY


Sheep Grazing in a Field
Crayon and Chinese White on Paper
Cooper-Hewitt Museum of Design, Smithsonian Institution, New York NY

Two Girls on a Cliff
Wash, Pencil, Heightened with White
Fogg Art Museum, Harvard University, Cambridge MA

Woman Peeling a Lemon
Watercolor, over Sketch in Black Chalk
Sterling and Francine Clark Art Institute, Williamstown MA

From Richmond
Pencil on Paper with Washes of Water Color, 1862
Cooper-Hewitt Museum of Design, Smithsonian Institution, New York NY

After the Storm
Charcoal, Brown and White Chalk
The Art Museum, Princeton University, Princeton NJ


Fresh Eggs
Watercolor
Whitney Museum Of American Art, New York NY

Study for "The Lookout -All's Well"
Crayon and Chinese White on Cardboard
Cooper-Hewitt Museum of Design, Smithsonian Institution, New York NY


... Read more

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Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone! ... Read more

Product Description
Publisher: Boston, New York, Houghton Mifflin CompanyPublication date: 1911Subjects: Homer, Winslow, 1836-1910Notes: This is an OCR reprint. There may be typos or missing text. There are no illustrations or indexes.When you buy the General Books edition of this book you get free trial access to Million-Books.com where you can select from more than a million books for free. You can also preview the book there. ... Read more

Product Description
The only comprehensive volume of Homer's magazine illustrations, with extensive scholarly treatment.

Winslow Homer (1836-1910), arguably the best-known American artist of the nineteenth century, created three distinctly different bodies of work in the course of his long career: paintings, book illustrations, and illustrations for the pictorial press, the magazine-like illustrated journals of his day. A number of books and exhibition catalogues have dealt with his career as a painter, and historian David Tatham treated all of Homer's work as an illustrator of literature in his Winslow Homer and the Illustrated Book. Now, ten years later, Tatham has completed a full, scholarly account of Homer's work for pictorial magazines such as Harper's Weekly, Appleton's Monthly, and Every Saturday.

Homer's work for pictorial magazines is substantial, to say the least. It amounts to some 250 wood-engraved images published between 1857 and 1875. These wood engravings are collected assiduously and are exhibited frequently in museums. They differ from Homer's book illustrations in that they are independent from the texts; Homer chose and treated the great majority of his magazine subjects much as he did his paintings. They are, in essence, original works of graphic art.

The illustrations reproduced here cover a remarkable range. They constitute the first substantial body of American art about the life of the city streets, the Thanksgiving and Christmas holidays, abolition, and the New Woman. They include compelling treatments of the Civil War, rural childhood, and wilderness. They also comprise an essential contribution to the study of one of the masters of American art. ... Read more

Customer Reviews (1)

A work of impeccible scholarship
A work of impeccible scholarship by David Tatham (Professor Emeritus of Fine Arts at Syracuse University), Winslow Homer And The Pictorial Press presents an informed and informative text which is enhanced with black-and-white reproductions of the art of Winslow Homer. One of the best-known American painters of the nineteenth century, Professor Tatham provides extensive insights into Homer's career, and how he necessarily relied on his great artistic skill and talent to make ends meet. Accurately portraying all sides of American life as experienced and interpreted by Homer, Winslow Homer And The Pictorial Press is commended as an especially thoughtfully written work and an outstanding contribution to American Art History and American Publishing History reference collections. ... Read more

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Customer Reviews (4)

A Blank Journal with a Literary Theme
This blank journal is meant for journaling about books read.It has literary quotes and beautiful reproductions of paintings depicting women reading.It is refreshing to have a blank book journal as so many of the others are organized in specific ways which may or may not suit an individual.I have filled up two of these journals and enjoy the art, the ability to use as much (or as little) space as I want to write about each book.

From the Publisher
"This exquisite volume, illustrated with beautiful full-color reproductions of paintings of women reading, provides compelling inspiration for recording one's private thoughts. Works by Mary Cassatt, Pierre-Auguste Renoir, Edouard Manet, Edward Hopper, James McNeill Whistler, and Winslow Homer, as well as contemporary selections, are included. Quotes from well-known female writers on the subjects of literature and reading appear throughout.

"Pomegranate's illustrated journals lend inspiration to thinkers, observers, and diarists. Hardcover, with a contrasting ribbon marker, each journal features 26 full-color illustrations and a wealth of insightful quotes. At only $17.95 it will appeal to the writer in everyone. 120 lined pages. ISBN: 0-87654-816-8; size: 5 1/2 x 8 1/2"."--© Pomegranate

Loved "The Reading Woman"
I picked up "The Reading Woman" in a museum gift shop and have loved owning it.I use it as a journal of the books I've read in the past and what I'm currently reading.It's amazing how quickly you forget a books you've read, so I enjoy writing my thoughts right after I finish one.The illustrations are lovely, some of them paintings from other centuries.Women have made time for reading FOREVER. Now that I've filled this journal completely, does anyone know of a similar one I can start?

A beautiful way to organize your books and reading!
This is a beautiful journal for women who lovebooks and reading. This lovely volume is organized for the books you've read, books you want to read, books you've loaned out, and more. What sets this jewel apart fromother book journals are the lovely prints of paintings depicting women invarious situations, simply enjoying reading. No cooking, caring forchildren,cleaning, teaching, nursing, etc. Just reading for pleasure. The journal also includes wonderful quotes about reading and books.Beautifully done. ... Read more

Product Description

The admired American painter Winslow Homer rose to national attention during the Civil War. But one of his most important early images remained unknown for a century. The renowned artist is best known for depicting ships and sailors, hunters and fishermen, rural vignettes and coastal scenes. Yet he also created some of the first serious black figures in American art. Near Andersonville (1865–66) is the earliest and least known of these impressive images.

Peter Wood, a leading expert on Homer’s images of blacks, reveals the long-hidden story of this remarkable Civil War painting. His brisk narrative locates the picture in southwest Georgia in August 1864 and provides its military and political context. Wood underscores the agony of the Andersonville prison camp and highlights a huge but little-known cavalry foray ordered by General Sherman as he laid siege to Atlanta. Homer’s image takes viewers “behind enemy lines” to consider the utter failure of “Stoneman’s Raid” from the perspective of an enslaved black Southerner.

By examining the interplay of symbolic elements, Wood reveals a picture pregnant with meaning. He links it to Abraham Lincoln’s presidential campaign of 1864 and underscores the enduring importance of Homer’s thoughtful black woman. The painter adopted a bottom-up perspective on slavery and emancipation that most scholars needed another century to discover. By integrating art and history, Wood’s provocative study gives us a fresh vantage point on Homer’s early career, the struggle to end slavery, and the dramatic closing years of the Civil War.