Where Is The Original Winslow Homer The Sutler’S Tent

Sutler’s Tent, 3rd Pennsylvania Cavalry (recto) by Winslow Homer

A landscape painter and printmaker from the United States, Winslow Homer was best known for his depictions of marine life. He is widely regarded as one of the most important painters of nineteenth-century America, as well as a preeminent figure in the history of American art. Homer began his professional career as a commercial illustrator, a field in which he was largely self-taught. Afterwards, he turned to oil painting, producing major studio works that were distinguished by the weight and density he was able to achieve through the medium.

He was the second of three sons of Charles Savage Homer and Henrietta Benson Homer, both of whom descended from long lines of New Englanders.

Homer’s mother was a talented amateur watercolorist who also served as his first teacher.

Many of her characteristics, such as her quiet, strong-willed, terse, sociable nature; her dry sense of humor; and her artistic ability, were inherited by Homer and his brother.

  1. Despite the fact that he was a mediocre student, his artistic ability was evident from an early age.
  2. When that failed, Charles left his family and went to Europe to raise capital for other get-rich-quick schemes that did not pay off.
  3. Homer’s apprenticeship at the age of 19 to J.
  4. Bufford, a Boston commercial lithographer, was a formative but “treadmill experience”.
  5. By 1857, his freelance career was underway after he turned down an offer to join the staff of Harper’s Weekly.
  6. He contributed illustrations of Boston life and rural New England life to magazines such as Ballou’s Pictorial and Harper’s Weekly at a time when the market for illustrations was growing rapidly and fads and fashions were changing quickly.
  7. His quick success was mostly due to this strong understanding of graphic design and also to the adaptability of his designs to wood engraving.

His uncle’s Belmont mansion, the 1853 Homer House, was the inspiration for a number of his early illustrations and paintings, including several of his 1860s croquet pictures.

In 1859, he opened a studio in the Tenth Street Studio Building in New York City, the artistic and publishing capital of the United States.

In only about a year of self-training, Homer was producing excellent oil work.

His initial sketches were of the camp, commanders, and army of the famous Union officer, Major General George B.

Although the drawings did not get much attention at the time, they mark Homer’s expanding skills from illustrator to painter.

The war work was dangerous and exhausting.

He set to work on a series of war-related paintings based on his sketches, among them Sharpshooter on Picket Duty (1862), Home, Sweet Home (1863), and Prisoners from the Front (1866).

He exhibited paintings of these subjects every year at the National Academy of Design from 1863 to 1866.

During this time, he also continued to sell his illustrations to periodicals such as Our Young Folks and Frank Leslie’s Chimney Corner.

Homer was also interested in postwar subject matter that conveyed the silent tension between two communities seeking to understand their future.

The formal equivalence between the standing figures suggests the balance that the nation hoped to find in the difficult years of Reconstruction.

Near the beginning of his painting career, the 27-year-old Homer demonstrated a maturity of feeling, depth of perception, and mastery of technique which was immediately recognized.

According to one observer, “Winslow Homer is one of the few young artists who, with their very first contributions to the Academy, leave a strong impression on the audience about their potential.

The delicate beauty and emotional intensity that permeate this small painting are unmatched throughout the whole exhibition.” “A work of genuine emotion, depicting troops in camp listening to the evening band while thinking about their spouses and darlings stationed overseas.

At the same time, his most acclaimed early painting, Prisoners from the Front, was on display at the Exposition Universelle in Paris, where it received widespread appreciation.

During his visit, Homer created around a dozen tiny paintings for himself.

There is no indication of direct influence, despite the fact that he was already a plein-air painter in America at the time of his death, and that he had developed a distinctive style that was far more similar to Manet than Monet.

Homer thought that artists “should never gaze at pictures,” but rather “should stammer in a language of their own,” as his colleague artist Eugene Benson put it.


Despite his outstanding critical reputation, his financial situation remained to be problematic throughout his career.

In 1877, Homer showed for the first time at the Boston Art Club with the oil painting An Afternoon Sun, which was his first major public exhibition (owned by the Artist).

Beginning in 1882, Homer’s works on paper, including both sketches and watercolors, were often shown in public spaces.

By that year, Homer had relocated his main gallery from Boston’s Doll and Richards to New York City’s KnoedlerCo, which had been his previous choice.

For a brief period of time, he worked as a tile designer for fireplaces.

His approach was natural, flowing, and confident from the start, exhibiting his intrinsic ability to work in a tough medium like oil paint.

In this case, too, the critics were baffled at first, claiming that “a toddler with an ink bottle could hardly have done worse.” In the words of another reviewer, Homer “took a quick and frantic leap into the world of water color painting.” However, his watercolors proved to be popular and long-lasting, and they sold more readily as a result, allowing him to significantly improve his financial situation.

  1. From highly detailed (Blackboard, 1877) to widely impressionistic (Schooner at Sunset, 1880), they represented a wide range of styles.
  2. After that, he rarely left the house without paper, brushes, and water-based paints in his bag.
  3. For a time, he even resided at the remote Eastern Point Lighthouse (with the keeper’s family) to get away from it all.
  4. After 1880, he rarely depicted refined women at leisure, preferring to depict working women instead of them.
  5. Working men and women and their everyday heroics were the topics of several of Homer’s paintings in Cullercoats, which were filled with a firmness and sobriety that was unique to his art at the time, and which foreshadowed the direction of his future work.
  6. Hardy animals with a lot of muscle.” His watercolors during this time period account for nearly all of his output.
  7. His subjects are more universal and less nationalistic than those of his contemporaries, and they are more heroic as a result of his unsentimental rendering.
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In November 1882, Homer returned to the United States and exhibited his English paintings in New York.

Near 1883, Homer relocated to Prouts Neck, Maine (in Scarborough), where he stayed in the restored carriage house on his family’s land, which was just 75 feet from the ocean.

Homer’s characters “had the weight and authority of classical figures” in Undertow (1886), which depicts the dramatic rescue of two female bathers by two male lifeguards, according to the film’s synopsis.

Some of these etchings were duplicated by the artist.

Many of the seascapes took years to sell, and Undertow only brought around $400 from his efforts.

Following the loss of his mother, Homer took over the role of “parent” for his elderly but demanding father, and Mattie became his closest female acquaintance.

With this painting, he swapped out the turbulent green storm-tossed sea of Prouts Neck for sparkling blue Caribbean skies and the hardy New Englanders for African-Americans, further expanding his watercolor technique, subject matter, and color palette.

His tropical vacations inspired and invigorated him in the same manner that Paul Gauguin’s excursions to Tahiti did for the artist himself.

The critics praised his freshness and originality, but he proved to be too advanced for the traditional art buyers, and he “looked in vain for profits” once more.

Between 1888 and 1903, Homer made a number of trips to Key West in Florida.

Summer vacations to the North Woods Club, located near the hamlet of Minerva, New York, in the Adirondack Mountains, provided Homer with ideas for his writing.

Homer is unafraid of the violence of blood sports or the battle for existence, and neither do his characters.

Homer’s accomplishments as a watercolorist are unparalleled in terms of quality and innovation: “Homer had used his singular vision and manner of painting to create a body of work that had not been matched before.” Homer painted The Fox Hunt in 1893, which is considered one of his most famous “Darwinian” works.

  • In this painting, which was Homer’s largest, the Pennsylvania Academy of the Fine Arts acquired it right away, making it the artist’s first picture to be included in a major American museum collection.
  • With The Gulf Stream (1899), another late piece, an African-American seaman is seen drifting in a broken boat, surrounded by sharks and an imminent storm.
  • He also no longer had the obligations of caring for his father, who had passed away two years before to this.
  • Other recent works include athletic scenes such as Right and Left, as well as seascapes that are devoid of human beings and consist mostly of waves breaking against rocks in changing light conditions, such as Right and Left.

When he was in his final decade, he occasionally followed the advice he had given to a young student artist in 1907: “Leave rocks for your old age—they’re simple.” Homer died at his Prouts Neck studio in 1910 at the age of 74, and his ashes were buried in Cambridge, Massachusetts’ Mount Auburn Cemetery.

Shooting the Rapids, Saguenay River, a painting that he began but never finished, is still incomplete. A visit of his studio at Prouts Neck, which is a National Historic Landmark, is available through the Portland Museum of Art, which owns and operates it.

File:Winslow Homer, Sutler’s Tent, 3rd Pennsylvania Cavalry (recto), 1862, NGA 98216.jpg – Wikimedia Commons

Sutler’s Tent, 3rd Pennsylvania Cavalry()
Artist Winslow Homer
Title Sutler’s Tent, 3rd Pennsylvania Cavalry
Date 1862
Medium graphite and charcoal on wove paper
Dimensions sheet: 17.7 × 25.3 cm (6 15/16 × 9 15/16 in.)
National Gallery of Art
Native name National Gallery of Art, Washington DC
Location Washington, D.C.,United States of America
Coordinates 38° 53′ 29.29″ N, 77° 01′ 12.04″ W
Established 17 March 1941
Web page www.nga.gov
Authority control
  • In the case of Q214867, the VIAF number is 157699250, the ISNI number is 0000 0001 2375 3994, and the ULAN number is 500115983. The LCCN number is n79054426, and the NAID number is 10479068. In the case of WorldCat, the VIAF number is 10479068.
Accession number 1996.121.16.a
Credit line Gift of Dr. Edmund Louis Gray Zalinski, II
This file was donated to Wikimedia Commons as part of a project by theNational Gallery of Art. Please see the Gallery’sOpen Access Policy.


This file is made available under theCreative CommonsCC0 1.0 Universal Public Domain Dedication.
The person who associated a work with this deed has dedicated the work to thepublic domainby waiving all of their rights to the work worldwide under copyright law, including all related and neighboring rights, to the extent allowed by law. You can copy, modify, distribute and perform the work, even for commercial purposes, all without asking permission.

Winslow Homer – The Sutlers Tent – Art Print

WINSLOW HOMER (1836-1910) was an American landscape, marine, and genre painter who lived from 1836 to 1910. Homer was born in Boston, where he eventually worked as a lithographer and illustrator after graduating from Harvard University. In 1861, he was dispatched to the battlefront as a correspondent for Harper’s Weekly, where his reporting garnered widespread recognition. In this era, he worked as a prominent magazine artist, and many of his postwar depictions of ordinary life, such as Crack the Whip (Metropolitan Museum), were inspired by his experiences during the war.

  1. He found inspiration in the landscape of the United States and, later, in the sea, which he painted in the summer in Prouts Neck, Maine, and in the winter at Florida or the Bahamas.
  2. His paintings, both in oil and watercolor, are distinguished by their directness, realism, objectivity, and use of vibrant color.
  3. After 1884, he became a hermit and lived a solitary existence.
  4. They may be found at some of the most prestigious museums around the United States.
  5. The Gulf Stream(1899), Moonlight-Island Wood’s Light(both: Metropolitan Mus.
  6. With permission, this image has been used.
  7. Columbia University Press has copyright protection for the year 2001.

Antique 1862 Winslow Homer Civil War Engraving, Sutlers Tent Camp Thanksgiving

VISIT THE STORE | LEARN MORE ABOUT US | CHECK OUT OUR FEEDBACK | CONTACT US Hello and welcome to Wwolst12, according to eBay statistics, the number one eBay site for Antiques, Collectibles, and Art! We are a small family-owned firm that collaborates with 38 expert art, antique, and collectable pickers that are spread across 10 states between Maine and Virginia to provide you the best deals possible. Every day, we list up to 30 one-of-a-kind, rare, and uncommon things ranging from ancient antiques to collectibles from the mid-20th century.

  • In addition, we guarantee that you will view and have the option to purchase a diverse range of rare and valuable products, the vast majority of which will be brand new to the market!
  • This wood cut engraving, which was originally published on November 29, 1862, by Harper’s Weekly, is titled “Thanksgiving in Camp” and depicts a campfire.
  • Sutler is promoting pigs, herrings, and cider for sale in his newspaper advertisement.
  • It measures 9 3/4 by 14 1/8 inches by sight and is housed in a 16 3/4 by 20 3/4 inch gilded wood frame.
  • There are no issues with this original Winslow Homer, Civil War Engraving, and you will discover that it is being offered without any reserve price.
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The Sutlers Tent by Winslow Homer – Wrapped Canvas Print

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Original Vintage Bookplate Print, about 1865, depicting “The Sutler’s Tent,” from Winslow Homer’s Paintings of the Civil War series. The image size is roughly 6 x 8 1/2 inches on an 8 1/2″ x 11″ piece of paper. The condition is excellent. Full-Color Printing Adapted from a 1988 publication Please keep in mind that this is an original vintage bookplate print from 33 years ago, not a replica or reproduction. WHAT IS A BOOKPLATE PRINT AND HOW DOES IT WORK? A book plate is a page illustration, image, or photograph that is produced separately from the text of a book, but is bound into the book during the manufacturing process.

  1. SPECIAL PACKAGES AVAILABLE Purchasing any four bookplate prints will result in a 15 percent discount.
  2. SHIPPING: Your bookplate prints will be mailed by First Class Mail in a sealed transparent plastic sleeve, inside a sturdy mailer, within 2-3 business days of receipt of your order.
  3. Purchase 1 or more Bookplate Prints, as well as additional prints, and save on shipping.
  4. You will only be responsible for postage for the first bookplate print.
  5. If your bookplate is damaged during delivery, or if you are otherwise dissatisfied with your purchase, you may return the plate for a refund or an exchange for another bookplate print of equal or greater value of your choosing.
  6. I do not provide refunds; instead, I only offer exchanges.

Winslow Homer: Soldiers on Picket Duty

Thanksgiving in Camp Winslow Homer finished out the year 1862 with thisillustration, which appeared in the November 29, 1862 edition of Harper’sWeekly. The image is captioned, “Thanksgiving in Camp”.It presents animpressive image of soldiers enjoying the day.They appear in front ofthe “Sutler’s Tent”, so no doubt the soldiers have spent some of theirmoney.The
November 29, 1862- Thanksgiving in Camp(Click on Image for Enlarged View) The Sutler’s tent has signs advertising Pies,Herrings, and Cider. One soldier has his head tipped back, enjoying thecider.Another soldier appears as if he has had a little too muchcider.Yet another appears to be enjoying one of the Herring. A nice camp fire is going in the foreground.Other soldiers appearto be relaxing, and just enjoying the day.This is a typical Homer print, showing some of themore common issues of day to day life in the Civil War. The illustrationhas Homer’s signature in the lower right.A Note to our Readers We acquired the images above for thepurpose of digitally persevering them on this site for all to enjoy. With the digital archive complete, we are making the original, 140 yearold illustrations available for purchase.By selling theseoriginal illustrations, we are able to acquire more material to archiveon this site.If you are interested in purchasing one of theoriginal Harper’s Weekly leafs on this page, contact [email protected] are available for a price of $250 a piece, and the proceeds will go to continue to expand theresources on this site.

Winslow Homer: Pay Day

Pay Day in the Army of the Potomac The February 28, 1863 edition of Harper’s Weekly featuredthis uncharacteristically upbeat Winslow Homer Civil War Illustration. The leaf is captioned, “Pay-Day in the Army of the Potomac [Drawn by Mr.Homer].” The illustration also features a distinct Homer signature in thelower left corner.This is a fascinating image showing scenes aroundcamp associated with pay day.
February 28, 1863 – Pay Day in the Armyof the Potomac The upper center image shows soldiers in line toreceive their pay.On the upper left, we see men putting money inenvelopes and writing letters.This inset is labeled, “SendingMoney Home”. The upper right shows a woman and small boy. Apparently showing the letter and needed money showing up at thesoldier’s family. The lower illustration is a stunning image of thesoldiers descending on the Sutler’s tent. Every one is crowding aroundthe sutler, eager to buy the various pleasures he offers. Bread, cheese,eggs, and milk can all be seen behind the counter, and there would nodoubt also be plenty of coffee and tobacco.A Note to our Readers We acquired the images above for thepurpose of digitally persevering them on this site for all to enjoy. With the digital archive complete, we are making the original, 140 yearold illustrations available for purchase.By selling theseoriginal illustrations, we are able to acquire more material to archiveon this site.If you are interested in purchasing one of theoriginal Harper’s Weekly leafs on this page, contact [email protected] are available for a price of $250 a piece, and the proceeds will go to continue to expand theresources on this site.

Give me Winslow Homer anytime

Winslow Homer’s “Thanksgiving in Camp,” was published Nov. 29, 1862, in Harper’s Weekly.

Winslow Homer first came to public attention as an illustrator in the United States. He had already begun working in the field before to 1861, but his depictions of military life during the Civil War reached thousands of readers who were eager to learn what was happening to the troops on the front lines. These writings, which were published in Harper’s Weekly, served to perpetuate the romantic notion of battle as an exercise in friendship and chivalry. Homer’s cavalry and bayonet attacks appeared to be courageous and daring, if only in Homer’s mind.

  • On Thanksgiving, he painted a group of guys enjoying themselves around a sutler’s tent.
  • Modern observers may discern the hand of a mature Homer in these drawings from World War II.
  • His compositions and depiction of human nature capture the viewer’s attention.
  • However, as a young artist in his twenties, Homer was well aware that success as a newspaper illustrator hinged on the creation of pictures that were perceived as patriotic.
  • The exhibition will be on display until September 8.
  • Someone made the prudent choice to keep the cash flow flowing this summer by dragging out and mounting the Clarks’ Homer collection, which was a great decision.
  • They amassed more than 200 pieces, which included drawings, oil paintings, watercolors, prints, sketches, and letters, as well as other memorabilia.
  • You have to sell images in order to eat.
  • “I will paint for money at any moment,” he stated in an 1893 letter.
  • In spite of this, he did not achieve financial security until he was in his sixties.
  • Wesley McNair, my personal friend and now Maine’s poet laureate, knew the man who looked after these lands many years ago, long before his studio and house there were available to the public.

As I walked along the beach, I could feel Homer’s joy for painting the churning seascapes in my bones. As I took in the sights and sounds of the breaking waves, I could feel Homer’s excitement for painting them. There was nothing that could stand between the ancient artist and nature.

Homer’s “West Point, Prouts Neck,” which is on display at the Clark.

In these World War II illustrations, modern readers may detect the hand of a more mature Homer. He likes to play around with different ideas and concepts. His compositions and depiction of human nature capture the viewer’s attention and imagination. His oil and watercolor canvases will soon be enlivened by the blaze of his pencil lines. In his twenties, however, Homer was well aware that success as a newspaper illustrator depended on the creation of pictures that were perceived as patriotic by the general public.

Until September 8, visitors may take in the exhibition.

It was a sensible choice made somewhere to keep the cash flow flowing this summer by moving the Clarks’ Homer collection and putting it on display there.

They amassed more than 200 pieces, which included drawings, oil paintings, watercolors, prints, sketches, and letters, as well as other materials.

Selling photos was required in order to feed well.

“I will paint for money at any moment,” he stated in an 1893 letter to a friend.

My favorite Homer works, as much as I adore his combat scenes, are a series of enormous oil paintings he created on and near Prouts Neck, Maine, during his latter years.

We were given the opportunity to tour them by him.

As I took in the sights and sounds of the breaking waves, I could feel Homer’s excitement for painting them too.

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