No comments about Winslow Homer (Getting to Know the World's Greatest Artists).

1 comments about Winslow Homer: An American Vision.

1. The works of Winslow Homer are already well familiar to any interested in American art: they captured the American Civil War and, later, scenes of early America as a whole, presenting a range of styles and themes - so it's surprising to note this book is the first in-depth critical survey written in the last decade. Here all his major paintings appear along with a number of etchings and woodcuts to compliment a blend of biography and critical art survey. Full-page color prints not only analyze the works; they offer insights into the public's reaction to scenes, settings, and perspectives. A powerful, recommended pick.
   
   Diane C. Donovan
   California Bookwatch

2 comments about Winslow Homer: The Nature of Observation.

1. Considered by most art historians to be one of the more important American artists, Winslow Homer was essentially self-taught and that fact informs his prolific span of works as much from the progressive technical maturity of his paintings and drawings as from the intuitive approach to his subjects that, at time, 'over-schooling' can flatten.
   
   Elizabeth Johns has written an engrossing study of how Homer's life and psychological development are evident in the various stages of his work. Never cloying or intrusive in demeanor, Johns intertwines facts gleaned from correspondence and from criticism and Homer's responses to same to paint her own portrait of a man at odds with the world in some ways and in other ways as an integral observer of such phenomena as his passion for the sea.
   
   Johns' writing is so facile that the book could comfortably exist without illustration, but add to the power of her writing the fine reproductions of both black and white and richly colored plates of Homer's paintings and this becomes a book that will satisfy even those who have questioned Homer's importance in American art history. A fine read. Grady Harp, November 05



2. This is one of the most instructive books on painting that I have read. I could understand the concepts so well. Now I hope I can make use of them. Beautiful!

2 comments about Winslow Homer Watercolors (Watson-Guptill Famous Artists).

1. This is an excellect book for anyone who is interested in painting, watercoler and/or Winslow Homer. It has a representative sample of Homers' work with large color plates, along with a discussion of each painting which places it in the context of Homers' life and career at the time the work was created.



2. The book opens with a chronology and a bibliography. This is followed by a ten page essay which provides a chronological record of Homer's development and his work. The remainder of the book is taken up with the colour plates, each of which is presented on the right hand page with the facing page offering details and comments on the work. These notes are generally objective and informative.
   
   The large square format of the book combined with taking the image almost to the edges of the page, allows the images to be reproduced to a good size. However, while there is no problem with the clarity of the images they appear a little weak in colour, and lack the vibrancy one would expect from watercolours. While I have not been fortunate to see the works in the original, reproductions I have seen elsewhere look more convincing. I feel too that the choice of a modern serif font for the text is not the best choice; it certainly has not reproduced well and despite being fairly large is not that easy to read across the wide page.
   
   This is a well produced book which offers thirty two full colour plates covering the range of the artist's watercolour output.

1 comments about Winslow Homer and the Sea.

1. What a beautiful story of one of my favorite painters. I learned so much about how to look in depth.

No comments about Drawings of Winslow Homer (Master Draughtsman Ser.).

5 comments about Winslow Homer.

1. As an Art student, venturing into watercolor recently, I received this book as a gift. I truly gained much information about the artist and the additon of color plates (90+) make this a complete reference guide. The author has separatedhis works into catogories by subject matter.The intro- duction reviews his travels, family life,interests,educa-tion,recognition and awardsduring his lifetime. A brief review proceeds each Chapterwhich then is visually supp-orted by wonderflul,colorful plates of Winslow works of that subject. The Chapters are Civil War, Sea PaintingsTropics, Adirondonck and Canada, and Prout's Neck,Me. He was an extraordinarypainter of various mediums,and always captured the 'atmosphere' in his workswhether it was stormy seasoff the coast of Maine, placid lakes in the mountains, clear skies in the tropics or children at play at that time. Fortunately, he was an artist who was noticed during his lifetime and rewarded with fame before his demise at age 74, having enjoyed his love of his work. I would highly recommend this hard cover version, to any art lover or student of the arts. I will plan to purchase this publication for my son, and perhaps a friend in the near future.



2. As an Art student, venturing into watercolor recently, I received this book as a gift. I truly gained much information about the artist and the additon of color plates (90+) make this a complete reference guide. The author has separatedhis works into catogories by subject matter.The intro- duction reviews his travels, family life,interests,educa-tion,recognition and awardsduring his lifetime. A brief review proceeds each Chapterwhich then is visually supp-orted by wonderflul,colorful plates of Winslow works of that subject. The Chapters are Civil War, Sea PaintingsTropics, Adirondonck and Canada, and Prout's Neck,Me. He was an extraordinarypainter of various mediums,and always captured the 'atmosphere' in his workswhether it was stormy seasoff the coast of Maine, placid lakes in the mountains, clear skies in the tropics or children at play at that time. Fortunately, he was an artist who was noticed during his lifetime and rewarded with fame before his demise at age 74, having enjoyed his love of his work. I would highly recommend this hard cover version, to any art lover or student of the arts. I will plan to purchase this publication for my son, and perhaps a friend in the near future.



3. I'd been looking for a book about Winslow Homer for a while and was delighted to find this one. Kate Jennings' copy about his life and art are very good and the 68 color prints are large and on glossy paper. The prints are not top notch, but very nice. If you're looking for a nice collection of Homer's work without breaking the bank, this is for you. (This review pertains to the Winslow Homer book by Kate Jennings. Alas,I havn't seen the one by Nicolai Cikovsky.)



4. Too often museums and writers take the prodigious output of the 19th century American artist Winslow Homer lightly, even at times dismissing him as inconsequential in the mainstream of important art. This magnificent volume whould change that once and for all.
   
   Essayists and curators Nicolai Cikovsky and Franklin Kelly, with significant contributions by writers Judith Walsh and Charles Brock, have not only created a superb collection of Homer's works in all media, they have also taken the time to reevaluate Homer in terms of his place among his colleagues of his day, his subsequent isolationism when he communicated with nature along the coast of Maine, creating come of the most mystically beautiful works form an American artist, and an overview of how history has treated him.
   
   The result is a hefty volume with more valuable insights and well written essays that for once truly illuminate the images generously placed throughout the volume. This may have started out to be a catalogue to accompany a traveling exhibition, but its long shelf life is assured by the high quality of every aspect of the book. Highly recommended for art lovers and art historians alike. Grady Harp, January 06



5. I liked the book, has hundreds of oil paintings and many of the watercolors of Homer, about everything that has to do with the sea where it is a true master. The reason for placing four stars and not five is not that there are so many color illustrations of every page, as expect of a large book. But like is a very good buy for lovers of Homer

5 comments about Winslow Homer Watercolors.

1. One of my heroes, Winslow Homer (1836 - 1910) worked in watercolour throughout his career. As a watercolorist myself, I rate Homer as one of the best in the history of watercolor painting.

   I purchased this book for its good illustrations of Homer's watercolour paintings, but soon found that the excellent text makes compelling reading too, dealing with formal and art-historical painting issues. It is an academic publication, with an emphasis on Homer's technique as it relates to his subject and meaning. Buy it just to drool over the paintings; the text is an added bonus.

   The author has grouped Homer's watercolor work into geographical sections - for example, "Bahamas", "Adirondacks", "Florida and Prout's Neck". More than just a chronological journey, the book examines Homer's work from his many different physical locations. Homer's technically brilliant watercolours reflect his unique artistic vision, celebrated in vivid color, unique viewpoints, superb composition ... and more.




2. Received as a gift and have loved to peruse it ever since. Everyone should have these paintings to relax them and these words that stimulate.



3. Since seeing a show of Winslow Homer's works a few years ago, I have been in awe of this artist's talent and versatility. So it was natural for me to pick up this beautiful and informative book which focuses on his watercolor career. In addition, the author gives us Homer's earlier background as an oil painter and illustrator. She is certainly well-qualified to write about Homer---she holds the position of Curator of American Paintings and Sculpture at the Yale University Art Gallery.

   The color plates in this book are gorgeous and the text gives good information about Homer, his life, times, and techniques. It was a delight for my eyes!

   In 1873, at the age of 37, Homer began serious work with watercolor while in Gloucester, Massachusetts. These paintings were characterized by broad brushstrokes and extensive use of light and color.

   The Gloucester watercolors began Homer's lifelong pattern: he would focus for a certain amount of time on a singular theme inspired by a particular location. Some of these themes included rural life, especially childhood, and seascapes/marine scenes. He lived for periods of time in Gloucester; Cullercoats, England; Prout's Neck, Maine; the Bahamas and Cuba;, the Adirondacks; Quebec; Bermuda; and Florida. His need for privacy led him to live in somewhat remote locations, and during these years he was constantly experimenting with new techniques. Prout's Neck was his home base for his last 30 years although he often spent time in other places during that period. It was in Cullercoats (1881-82) that he developed his mature watercolor technique and his love of sea themes which he painted for the rest of his life.

   Homer's late works are very thought provoking, often showing heroic subjects or themes; they show nature's beauty and its power and humans' mortality.

   Homer lived a very solitary life, never truly realizing how really famous he was. He died at the age of 75, his last five years spent even more withdrawn from society and battling many illnesses.




4. This book provides a great analysis of Winslow Homer's growth as an artist. The author uses each chapter to analyze a different period of Homer's life as he, basically, self-taught himself through observation and experimentation based on where he lived, whether it was in the Bahamas, England, or the Northeast Atlantic coast of the United States. The pictures within the book are very good quality. The author emphasizes analysis of Homer's work over actual biographical information. If you are looking for more of a biographical-type book of Homer read Lloyd Goodrich's book Winslow Homer. Enjoy!



5. I am very pleased with the book of watercolors. There were numerous pictures of high quality, and covered different phases of his life.

3 comments about The Watercolors of Winslow Homer.

1. To: Amazon.com

   The hundreds of paintings reproduced in this large-format book deserve five stars. The publisher should be thanked for bringing together works scattered around a large number of museums, and for giving us a finely produced art book. Even fans of Winslow Homer will not have seen most of these paintings, which may represent the summit of American watercolors. Unfortunately, the accompanying text goes far beyond what is necessary to appreciate Homer's art. The descriptions of personal history and technique are helpful, but not the philosophical musings and overwrought interpretations. The text should have been cut by a third.




2. My first impression of this book was WOW!!! The size of the reproductions is astounding. Many extend over both large pages of the text. The binding is such that the book lies flat on the table and so the seam in the middle is negligble. THe colour of the reproductions is rich, detailed, and rings true (altho I have not seen any of Homer's work in real-life). Compared side-by-side with Cooper's book, Cooper's reproductions are much smaller and the colour appears weaker and washed out.

   As for the text of the book, it is interesting, informative, and insightful. Altogether, this is a very well put together book; it is one of the finest books I have in my collection.




3. As a very young child I would spent many hours looking through my grandmother's art library.Winslow Homer and the French impressionists were my favorites and that early experience is probably one of many reasons I became an artist. I bought this book as a gift for my sister who is also an artist. I was able to read most of it before I gave it to her but intend to get a copy for myself. I especially liked the way the book follows Mr. Homer's growth as an artist. It's well written and the collection of his work is incredible. There are so many paintings I have never seen and some I have only seen in black and white.

5 comments about Watercolors by Winslow Homer: The Color of Light (Art Institute of Chicago).

1. After seeing someone else's copy I immediately bought my own. Not only is it interesting for anyone who appreciates Homer's watercolors, but it shares methods, techniques and helpful hints used by him for many types of effects and in some cases to cover mistakes. A must have for watercolorists. My instructor is considering giving a class using this book as a basis.



2. Apart from featuring paintings from the exhibit at the Chicago Art Institute, it provided a lot of information about the watercolor techniques. A great reference book.



3. For those of use who revere Homer as a great American artist and who particularly love his watercolors, this book is what we've waited for. I only wish some of the details and close-ups (which are stunning!) were larger.
   One reviewer said that her watercolor teacher is considering a course with this book as a basis. Great idea. I've taught watercolor at Fullerton College for sixteen semesters and I would love to do the same. For years my students and I have conjectured on how Homer worked. This book answers almost every question that can be answered. And the reproductions are excellent. And the work is breathtaking.



4. Winslow Homer - The Color of Light is a work of amazingly penetrating scholarship on many levels that examines the techniques and the pigments and papers used by this foremost of native American watercolorists, as well as much else. Every time a book on Winslow homer comes out, one assumes it will be the last, then yet another emerges that is nevertheless of immense value in understanding this painter. Winslow Homer - The Color of Light is such a book.



5. This is an invaluable book on Winslow Homer's watercolors with superb color photographs and technical details.
   TEDESCHI, MARTHA; DAHM, KRISTI; WALSH, JUDITH; and HUANG, KAREN.
   
   Watercolors by Winslow Homer: The Color of Light
   
   The Art Institute of Chicago, Yale University Press, New Haven and London2008
   
   978-0-300-11945-9
   
   228 pages, index of technical terms, extensive references and bibliography, copiously illustrated with excellent color plates.
   
   This catalogue accompanied an exhibition at the Art Institute of Chicago in spring 2008. Technical information about Winslow Homer's watercolor technique is woven throughout the entire text. Homer's career in watercolors is carefully traced beginning with his self-taught, trial-and-error early watercolors. He began using watercolor as an independent medium in 1873. His method was often to paint quickly in the open air or to develop a watercolor from a careful pencil study. He seems to have informed himself by reading treatises on the medium. Favoring papers of moderate texture, he opted for opaque watercolor at first but sometimes combined transparent washes and opaque passages. He usually began by laying out the central motif with graphite lines. Technical variety was established early and would endure throughout his career. Homer's "Bible" was Chevreul on Colors.
   
   By the early 1870s Homer was an accomplished draftsman. To achieve brightness and opacity he used zinc white watercolor, mixing it with and layering it under transparent watercolor. By 1878 he carried out some works entirely in transparent watercolor. For "Weary" he selected an off-white, medium-thick sheet with a rough, twill texture and used a dry brush method for sunlight hitting the tree trunk. In the fall of 1880 he dedicated himself to painting in transparent watercolor and appropriated a new range of transparent pigments including three blues: Antwerp, indigo, and Prussian. A chart is provided of his pigments from 1878 to 1903.
   
   Many of his watercolors were on Whatman paper, handmade from linen fibers and infused with gelatin size. This size sometimes attracted mold which appeared in scattered spots of foxing. The Whatman paper was bound in a solid block with a gumlike adhesive and gauze on four sides. His brown laid papers, containing red and blue fibers were made by the French manufacturer "Saint Mars." Among the remains of Homer's studio materials are two Winsor and Newton "Japanned tin boxes" containing moist watercolor cakes. They contained glycerin, a wetting agent that retains moisture and causes the immediate release of color when touched with a rough brush. Two of his watercolor brushes are pictured; they are made from sable bristles set into a swan quill that was stripped of its feathers.
   
   Homer sometimes transferred designs using carbon paper. Examination under ultraviolet light reveals the artist's use of madder lake; in "Two Boys Watching Schooners" of 1880, the madder lake was used over the figures and rocks to convey the sun's warmth. He sometimes used blotting to create atmospheric textures or would wet, blot, and scrape areas. Scraped passages are recognized when viewed at an angle; the broken and disrupted paper fibers in these areas have a softer look than the uninterrupted surface. Homer sometimes used sandpaper to abrade both pigment and paper to reveal the white substrate below; this method created a speckled texture, taking away pigment only from the highest points of the rough paper while leaving it in the surrounding interstices. Occasionally, Homer abandoned his brushes and tools and manipulated watercolors directly with his fingers. Other techniques discussed include applying broad flat washes for sky and water, painting wet-on-wet to create atmospheric effects, spattering to produce the effect of salt and humidity hanging in the air, tamping the brush to construct thin wispy tops of pine trees, using a knife to create white highlights, and using a resist, possibly of white lead, a drying oil, and a resin, to block off areas. Alterations were sometimes made by scraping. Infrared images of the graphite underdrawings may reveal significant changes in composition. Homer sometimes cropped the works; the trimmed edges appear slightly uneven and lack the adhesive residue from the watercolor drawing block.
   
   Homer would sometimes place tracing paper over a watercolor, outline the main elements with a soft graphite pencil, and place the tracing face down onto a copper plate to transfer the image for an etching. Some of the red lake pigments in Homer watercolors have faded. The original color may be preserved where it was covered by a window mat or frame rabbet edge.