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| Watercolors by Winslow Homer: The Color of Light (Art Institute of Chicago)
Hardcover
Author: Martha Tedeschi, Kristi Dahm
Publisher: Art Institute of Chicago
Release Date: 2008-02-26
ISBN-10: 0300119453
ISBN-13: 9780300119459
List Price: $45.00
Average Customer Rating:
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American painter Winslow Homer (1836-1910) created some of the most breathtaking and influential watercolours in the history of the medium. This handsome volume provides a comprehensive look at Homer's technical and artistic practice as a watercolourist, and at the experiences that shaped his remarkable development. Focusing on 25 rarely seen watercolours from the Art Institute's collection, along with 75 other related watercolours, gouaches, drawings, and paintings - including many of the artist's characteristic subjects - this book proposes a new understanding of Homer's techniques as they evolved over his career.Accessibly written essays consider each of the featured works in detail, examining the relationship between monochrome drawing and watercolour and the artist's lifelong interest in new optical and colour theories. In particular, they show how his sojourn in England, where he encountered leading British marine watercolourists and the dynamic avant-garde art scene, precipitated an abrupt change in technique and subject matter upon his return home. Conservators address the fragility of these watercolours, which are prone to fading due to light exposure, and demonstrate, through pioneering research on Homer's pigments and computer-assisted imaging, how the works have changed over time. Several of Homer's greatest watercolours are digitally 'restored', providing an exhilarating glimpse of the original impact of Homer's groundbreaking colour experiments.
Very Pretty.
| Customer Rating: | | Vibrant reproductions of Homer's watercolors bring the vivid hues of his art out for visual appreciation. You know, what else can I say? I love Winslow Homer's paintings and this book showcases them pret-ty dang well. Worth the money. Worth the time. Buy it. Reside with it. Love it. Tell your friends. Take it to tennis matches. Read it while driving on the autobahn, and then (not uncoincidentally) mention it in your will. It's a nice book! |
A great book for watercolor artists
| Customer Rating: | | This book was by far the best book I have read about any of the well-known artists who have preferred watercolor as a medium. I am an artist getting back into the field after around 30 years, and I took up watercolors about 3 years ago. The book has most definitly contributed to my understanding of this medium, mostly because it was written for artists and therefore contains loads of information about the daring ways in which Homer experimented with this little understood medium. There is a lot of detail about each work, both scientific and technical, and besides, I got to know the man. I understand now why Winslow Homer is important the in history of watercolour -- he was corageous in the use of the medium, and did not limit himself to the European tradition of watercolor. He was an excellent draftsman (confirming my insistence to become a master draftman too), and set the standard high for any aspiring watercolor artist. A MUST for any professional who would become an expert in this difficult medium. Judy Moraga, Caracas, VenezuelaWatercolors by Winslow Homer: The Color of Light (Art Institute of Chicago) |
Marvelous book with beautiful color images and technical details
| Customer Rating: | 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.
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Praise Not Faint
| Customer Rating: | | 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. |
Finally - A Glorious Reference Book on Homer!
| Customer Rating: | 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. |
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