Winslow Homer And The Illustrated Book

This volume examines the illustrations of American artist Winslow Homer (1836-1910). Homer's paintings and illustrations have both received much attention, but the author focuses his attention on Winslow's book illustrations alone. Although the author does not deny that Winslow's illustrations are uneven in quality, he points out many fine qualities of the best ones and argues that Homer's approach to painting was greatly influenced by his work as an illustrator. Chapters on Homer's illustrations for juvenile fiction, fiction, poetry, history, etc. illustrate this point. This work further discusses Homer's art in relation to the publishers' demands, reading fashions among the book-buying public, and the technology of printing.

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.

This is a new release of the original 1961 edition.

A revelatory exploration of Winslow Homer’s engagement with photography, shedding new light on his celebrated paintings and works on paper One of the greatest American painters of the 19th century, Winslow Homer (1836–1910) also maintained a deep engagement with photography throughout his career. Focusing on the important, yet often-overlooked, role that photography played in Homer’s art, this volume exposes Homer’s own experiments with the camera (he first bought one in 1882). It also explores how the medium of photography and the larger visual economy influenced his work as a painter, watercolorist, and printmaker at a moment when new print technologies inundated the public with images. Frank Goodyear and Dana Byrd demonstrate that photography offered Homer new ways of seeing and representing the world, from his early commercial engravings sourced from contemporary photographs to the complex relationship between his late-career paintings of life in the Bahamas, Florida, and Cuba and the emergent trend of tourist photography. The authors argue that Homer’s understanding of the camera’s ability to create an image that is simultaneously accurate and capable of deception was vitally important to his artistic practice in all media. Richly illustrated and full of exciting new discoveries, Winslow Homer and the Camera is a long-overdue examination of the ways in which photography shaped the vision of one of America’s most original painters.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

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.

The picture in the attic -- Behind enemy lines -- The woman in the sunlight.

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.