Word: homer
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...Saint-Phalle would hardly have crossed the street to see an Augustus Saint-Gaudens. Even today his rehabilitation is incomplete. Sculpture provokes fewer fantasies than painting; not everyone is willing to give Saint-Gaudens the place accorded, as a matter of course, to Albert Bierstadt, Thomas Eakins or Winslow Homer. Hence the interest of the current exhibition "Augustus Saint-Gaudens: Master Sculptor," organized by Art Historian Kathryn Greenthal for New York's Metropolitan Museum...
...exhibit at the National Gallery shows why Winslow Homer's watercolors have become enduring symbols of American innocence...
Some major artists create popular stereotypes that last for decades; others never reach into popular culture at all. Winslow Homer was a painter of the first kind. Even today, 150 years after his birth, one sees his echoes on half the magazine racks of America. Just as John James Audubon becomes, by dilution, the common duck stamp, so one detects the vestiges of Homer's watercolors in every outdoor-magazine cover that has a dead whitetail draped over a log or a largemouth bass, like an enraged Edward G. Robinson with fins, jumping from dark swamp water. Homer...
...Homer sesquicentennial (he was born in 1836 and died in 1910) is being celebrated with "Winslow Homer Watercolors," organized by Art Historian Helen Cooper at the National Gallery in Washington. (It runs there through May 11, and will then travel to the Amon Carter Museum in Forth Worth and the Yale University Art Gallery, where Dr. Cooper is curator of American paintings and sculpture.) Her catalog is a landmark in Homer studies. It puts Homer in his true relationship to illustration, to other American art and to the European and English examples he followed, from Ruskin to Millet; its vivacity...
...will see, in the future I will live by my watercolors," Homer once remarked, and he was almost right. He came to the medium late: he was 37 and a mature artist. A distinct air of the salon, of the desire for a "major" utterance that leads to an overworked surface, clings to some of the early watercolors--in particular, the paintings of fisherfolk he did during a 20-month stay in the northern English coastal village of Cullercoats in 1881-82. Those robust girls, simple, natural, windbeaten and enduring, planted in big boots with arms akimbo against the elemental...