Winslow Homer Prints, Paintings, Fine Art Posters

See Homer Winslow for a larger selection of his art.

The Herring Ne Art Print

Fog Warning Art Print

Gloucester Schooners and Sloop Art Print

Shore at Bermuda Art Print

Gloucester Farm Art Print

New Novel Art Print

Driftwood Art Print

On Beach Art Print

Nooning Art Print

Boy Fishing Art Print

In Mowing Art Print

Jumping Trout Giclee Print

Gloucester Harbor Art Print

Yellow Jacket Art Print

Turtle Pound Art Print

Winslow Homer was born in Boston, Massachusetts February 24, 1836, as the middle sons of three boys of Charles Savage Homer and Henrietta Benson Homer, each with long ancestries of New Englanders. His mother had been a talented nonprofessional watercolorists and so had been Homer's first instructor. Henrietta and her son were close all during their lifetimes. Homer acquired several of his mother's personality traits, among them her subdued, strong minded, curt, friendly nature; her dry humor; along with her creative skill. Homer's childhood had been happy, being raised for the most part in at that time the rural area of Cambridge, Massachusetts. Homer had been an mediocre pupil, although his gift in art had been evident early in his life.

Schooners at Anchor

Waterfall in Adirondacks

Dinner Horn

East Hampton Long Island

Summer Night Stretched Canvas

Crossing Pasture

Fog Horn Giclee

Boy Holding Logs

Boating in Adirondacks

Boats Inside Bar

Fly Fishing Saguenay

Fresh Air with Sheep

Nassau Giclee

Wall Nassau

Uncle Ned at Home

Woman with Rose

Homer's father had been an explosive, fidgety businessman and forever searching to "make a killing". While Homer had been 13, Charles abandoned the hardware store company to find his fortune out of the California gold rush. Once that went bad, Charles left and traveled to Europe, leaving behind his family with the intent of raising funds to finance other get rich quick schemes which did not happen.

Following Homer graduating from high school, his father came across an advertisement in a newspaper and made arrangements for Homer to have an apprenticeship with a Boston lithographer business when he was 19. The apprenticeship proved help shape Homer's future but nonetheless but "treadmill experience". The young Homer worked over and again with sheet music covers along with additional commercial art for two years. From 1857, his independent career had been started once he declined an offer to become a member of the faculty of Harper's Weekly.

His career as an illustrator covered almost twenty years. Homer worked with magazines like Ballou's Pictorial as well as Harper's Weekly, during the era when the trade of illustrations had been quickly expanding and while fads along with styles had been rapidly changing. His initial art, largely commercial etchings of urbanized or rural social settings, can be defined with clear lines, simple shapes, striking contrast from light to dark, along with active figure groups. Such would be elements which stayed on essential all during the artist's career. Homer's rapid achievements had been primarily a result of a firm grasp of graphic design coupled with the versatility of his patterns in wood engraving.

During 1859, Homer established a studio in now famous Tenth Street Studio Building of New York City, which was the artistic and printing center in America. Up to 1863 he enrolled in lessons with the National Academy of Design, as well as trained for a short time under Frédéric Rondel, who instructed him in the fundamentals of painting. With merely approximately one year of self teaching, Homer had been creating superior oil paintings. His mother attempted to raise sufficient funds in order to to send her son to Europe so that he might continue his art education however Harper's magazine then posted Homer on the front lines of the then raging American Civil War. While witnessing this event, the artist chalked out battle scenes along with daily camp existence, the hushed times in addition to the bloody ones. His first drawings had been done in the camp and were of commanding officers, along with the army of the illustrious Union commander, Major General George B. McClellan, on the shore of the Potomac River during October, 1861.

Even though the sketches didn't catch much attention during this period, these label Homer's growing talents between illustrator to painter. Such as with his city settings, Homer likewise illustrated females in war time, which presented the impacts of the war upon the home front. The war art had been life-threatening and tiring. Returning to his studio, nevertheless, the artist recovered his strength and was able to focus his creative vision. Homer began to form a set of war themed paintings founded on his drawings, with them were the paintings Home, Sweet Home, Prisoners from the Front and Sharpshooter on Picket Duty. Winslow displayed the piece titled Home, Sweet Home with the National Academy and its extraordinary critical response led to its speedy purchase as well as the painter having been elected Associate Academician, then during 1865 as a full Academician. Following the Civil War, he focused his attention predominantly to views of childhood along with young females, pondering his personal, along with the country's, wistfulness for less complicated days.

From almost the outset of his artistic profession, the 27 year old Homer displayed a mature sense of mood, astuteness of understanding, and command of method that had been instantly acknowledged. His approach to realism had been impersonal, true to nature, and emotionally curbed. Following an exhibit with the National Academy of Design, he was at long last able to take a trip to visit Paris during 1867. Homer stayed in France for a year. His best received early art work, Prisoners from the Front, had been displayed with the Exposition Universelle of Paris simultaneously. Homer was never educated in the traditional manner however he kept up his landscape painting while staying on to work with Harper's, portraying aspects of the Paris lifestyle.

Homer created approximately twelve small paintings over his visit. Even though he went to France during an era of new styles in art, Homer's chief theme of his art works had been peasant life, which displayed more in common with the conventional French Barbizon school coupled with the painterJean Francois Millet then it had with current painters such as Edouard Manet and realist artist Gustave Courbet. Although Homer's interest in rendering natural light has a common foundation with the initial impressionist school of thought, there has been no grounds to demonstrate that Homer had direct influence from the impressionist artists as he had been by that time a plein-air artist in the United States. Homer had by that time acquired a individualized style that had more in common with Édouard Manet than Claude Monet. Regrettably, the artist had been quite confidential concerning his private life along with his techniques. He even refused his initial biographer personal facts and gave no comments. His position had been distinctly toward his personal independence of style coupled with a devotion to American themes.

All during the 1870s Homer kept painting. generally topics of rural or pastoral views of farm life, playing children or images of young couples courtship. During 1875, Homer resigned from commercial illustration and swore to live on just his paintings and watercolors exclusively. In spite of his superior critical esteem, his monetary situation stayed unstable. His well liked piece, Snap-the-Whip, had been presented in the 1876 Centennial Exposition of Philadelphia, Pennsylvania, along with one of his best and best known paintings titled Breezing Up.

The painting Breezing Up, Homer's iconic work depicting a father and his three sons out for a lively sail on the water, earned extensive praise. Trips to Petersburg, Virginia in approximately 1876 led to subjects of rural African American life. The equivalent direct sensibility that enabled Homer to purify art out of such possibly emotional issues likewise afforded the most uncontrived observation of African American life during this era, as illustrated in Dressing for the Carnival and A Visit from the Old Mistress.

In the year 1877, Homer presented for his first time with the Boston Art Club submitting the piece titled An Afternoon Sun. Between 1877 to 1909 he would exhibit often in the Boston Art Club. Art on paper, both drawings and watercolors, had been regularly displayed by the artist commencing during 1882. Although unique sculpture of Homer's, the work Hunter with Dog Northwoods, had been presented during 1902. Already Homer had changed his base Gallery from the Boston established Doll and Richards to the New York City founded Knoedler & Co. gallery.

Homer joined The Tile Club, a circle of artists and writers who assembled regularly to discuss thoughts and coordinate expeditions for painting, in addition to nurture the making of decorative tiles. Briefly, Homer fashioned tiles for fireplaces. His nickname with The Tile Club had been The Obtuse Bard. Additional familiar Tilers had been artists Arthur Quartley, William Merritt Chase along with the sculptor Augustus Saint Gaudens.

Homer began painting in watercolors on a steady basis during 1873 over a summer visit to Gloucester, Massachusetts. Since the start, his method had been instinctive, flowing and sure, exhibiting his innate skill for a demanding medium. Homer's effect on this art form would be revolutionary. With this, once more, the critics had been puzzled at the beginning. However his watercolors became well liked and lasting, and were purchased more promptly, bettering his financial affairs substantially. The watercolors deviated from extremely careful to loosely impressionistic. A few were constructed as preceding sketches to be used for future oil paintings and others intended to be completed works by themselves. From then on, Homer rarely took a trip lacking paper, brushes along with his water base paints.