Homer's luminous watercolors and outdoor portraits are some of the most recognizable works in art history. This collection paints Homer as an integral part of the New York art scene who both embraced, and challenged, the American aesthetic of art. Color illustrations.
Outgrowth of the author's thesis (Yale University, 2007) under the title: The plague of jocularity: contesting humor in American art and culture, 1863-1893.
When Winslow Homer sailed to England in March of 1881, he was already well established as a leading member of his generation of American artists. Critics often referred to him as the “most American of American artists,” combining praise with the implication that his work was provincial compared to that of his more European-trained American contemporaries. However, upon his return, after a year and a half spent in the seaside village of Cullercoats, Homer’s work garnered rave reviews and gained a new appreciation among art dealers. In this book, Tatham’s detailed account of Homer’s time in Cullercoats offers a perceptive reappraisal of both the village’s influence on his work and the paintings themselves. In his Cullercoats paintings, Homer took as his main subject the lives and labors of the village’s women and their strong sense of community. In many ways, these paintings stand among Homer’s most original and perceptive depictions of women, but they also display his masterly uses of watercolor. The Cullercoats paintings show Homer in a new light, and Tatham’s revelatory account provides the long-overdue attention they deserve.
American painter Winslow Homer (1836–1910) created some of the most breathtaking and influential watercolors in the history of the medium. This handsome volume provides a comprehensive look at Homer’s technical and artistic practice as a watercolorist, and at the experiences that shaped his remarkable development. Focusing on 25 rarely seen watercolors from the Art Institute’s collection, along with 75 other related watercolors, gouaches, drawings, and paintings––including many of the artist’s characteristic subjects––the book proposes a new understanding of Homer’s techniques as they evolved over his career. Accessibly written essays consider each of the featured works in detail, examining the relationship between monochrome drawing and watercolor and the artist’s lifelong interest in new optical and color theories. In particular, they show how his sojourn in England—where he encountered leading British marine watercolorists and the dynamic avant-garde art scene—precipitated an abrupt change in technique and subject matter upon his return home. Conservators address the fragility of these watercolors, which are prone to fading due to light exposure, and demonstrate, through pioneering research on Homer’s pigments and computer-assisted imaging, how the works have changed over time. Several of Homer’s greatest watercolors are digitally “restored,” providing an exhilarating glimpse of the original impact of Homer’s groundbreaking color experiments.
The fascinating story of the transformation of American watercolor practice between 1866 and 1925 The formation of the American Watercolor Society in 1866 by a small, dedicated group of painters transformed the perception of what had long been considered a marginal medium. Artists of all ages, styles, and backgrounds took up watercolor in the 1870s, inspiring younger generations of impressionists and modernists. By the 1920s many would claim it as "the American medium." This engaging and comprehensive book tells the definitive story of the metamorphosis of American watercolor practice between 1866 and 1925, identifying the artist constituencies and social forces that drove the new popularity of the medium. The major artists of the movement - Winslow Homer, John Singer Sargent, William Trost Richards, Thomas Moran, Thomas Eakins, Charles Prendergast, Childe Hassam, Edward Hopper, Charles Demuth, and many others - are represented with lavish color illustrations. The result is a fresh and beautiful look at watercolor's central place in American art and culture.
When, in 1989, a collection of John Updike’s writings on art appeared under the title Just Looking, a reviewer in the San Francisco Chronicle commented, “He refreshes for us the sense of prose opportunity that makes art a sustaining subject to people who write about it.” In the sixteen years since Just Looking was published, he has continued to serve as an art critic, mostly for The New York Review of Books, and from fifty or so articles has selected, for this richly illustrated book, eighteen that deal with American art. After beginning with early American portraits, landscapes, and the transatlantic career of John Singleton Copley, Still Looking then considers the curious case of Martin Johnson Heade and extols two late-nineteenth-century masters, Winslow Homer and Thomas Eakins. Next, it discusses the eccentric pre-moderns James McNeill Whistler and Albert Pinkham Ryder, the competing American Impressionists and Realists in the early twentieth century, and such now-historic avant-garde figures as Alfred Stieglitz, Marsden Hartley, Arthur Dove, and Elie Nadelman. Two appreciations of Edward Hopper and appraisals of Jackson Pollock and Andy Warhol round out the volume. America speaks through its artists. As Updike states in his introduction, “The dots can be connected from Copley to Pollock: the same tense engagement with materials, the same demand for a morality of representation, can be discerned in both.” On Just Looking “Some of these essays are marvelous examples of critical explanation, in which the psychological concerns of the novelist drive the eye from work to work in an exhibition until a deep understanding of the art emerges.” —Arthur Danto, The New York Times Book Review “These are remarkably elegant little essays, dense in thought and perception but offhandedly casual in style. Their brevity makes more acute the sense of regret one feels to see them end.” —Jeremy Strick, Newsday
NATIONAL BESTSELLER • From the national bestselling author of The River and The Dog Stars comes a "carefully composed story about one man’s downward turning life in the American West” (The Boston Globe). After having shot a man in a Santa Fe bar, the famous artist Jim Stegner served his time and has since struggled to manage the dark impulses that sometimes overtake him. Now he lives a quiet life ... until the day that he comes across a hunting guide beating a small horse, and a brutal act of new violence rips his quiet life right open. Pursued by men dead set on retribution, Jim is left with no choice but to return to New Mexico and the high-profile life he left behind, where he’ll reckon with past deeds and the dark shadows in his own heart. Look for Peter Heller's new novel, The Last Ranger, coming soon!