Winslow Homer

Winslow Homer 1836 – 1910
The light in the Caribbean was dazzlingly white or rich cream; it had a liberating and lasting effect on Homers watercolour style. He uses free gestural strokes in transparent washes often using brilliant colours leaving large areas of the white paper exposed. This painting style was undoubtedly affected by their being painted outdoors quickly, before the dilute pigment could dry under the hot sun. The fewer spongings, scrapings and lift outs having a direct and seemingly unpremeditated execution.
His palette is bright and washes transparent. Apparent also, is the greater exploitation of accidental effects and an increased suggestiveness and freedom of brushwork, a looser approach entirely than previous works.

The Sponge Diver 1889

Homer gives this scene vivid clarity by his use of colour, contrast and broad fluid washes. The dramatically dark figure and brilliant blue water shot with pale pink reflections contrasting strongly with the white boat achieved by reserving the white paper.
There is immediacy about these watercolours that cannot be found in his oil paintings. At times it almost seems as if Homer has waded into the ocean to paint the native divers and fishermen, no distance or distraction interferes with the close up intimacy of these subjects.

Rest 1885
Depicts a local woman resting a tray of fruit against a wall. Homer portrayed these women with a quiet dignity.
Homer has used a paint-loaded brush to drop pools of colour over a brief graphite outline, this is evdent by the drying lines. The colours are kept fresh and clean, and once again he uses dramatic contrasts to give a feeling of tropical light.

If you would like to find out more about the Winslow Homer, the article which was inspired by these two paintings is featured in the May issue of The Artist Magazine. Ring 01580 763673 if you would like to order a copy or better still, take out an anual a subscription.

Winslow Homer Winslow Homer 1836 – 1910 The light in the Caribbean was dazzlingly white or rich cream; it had a liberating and lasting effect on Homers watercolour style. He uses free gestural strokes in transparent washes often using brilliant colours leaving large areas of the white paper exposed. This painting style was undoubtedly affected by their being painted outdoors quickly, before the dilute pigment could dry under the hot sun. The fewer spongings, scrapings and lift outs having a direct and seemingly unpremeditated execution. His palette is bright and washes transparent. Apparent also, is the greater exploitation of accidental effects and an increased suggestiveness and freedom of brushwork, a looser approach entirely than previous works. The Sponge Diver 1889 Homer gives this scene vivid clarity by his use of colour, contrast and broad fluid washes. The dramatically dark figure and brilliant blue water shot with pale pink reflections contrasting strongly with the white boat achieved by reserving the white paper. There is immediacy about these watercolours that cannot be found in his oil paintings. At times it almost seems as if Homer has waded into the ocean to paint the native divers and fishermen, no distance or distraction interferes with the close up intimacy of these subjects. Rest 1885 Depicts a local woman resting a tray of fruit against a wall. Homer portrayed these women with a quiet dignity. Homer has used a paint-loaded brush to drop pools of colour over a brief graphite outline, this is evdent by the drying lines. The colours are kept fresh and clean, and once again he uses dramatic contrasts to give a feeling of tropical light. If you would like to find out more about the Winslow Homer, the article which was inspired by these two paintings is featured in the May issue of The Artist Magazine. Ring 01580 763673 if you would like to order a copy or better still, take out an anual a subscription.

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