|
The Art Institute of Chicago
www.artic.edu/aic
111 S. Michigan Avenue
Chicago, Illinois 60603
312.443.3600
Watercolors by Winslow Homer: The Color of Light
February 16 – May 10, 2008
Susan Weinrebe
February 13, 2008
For thirty years following the Civil War, Winslow Homer played the alchemist using the color theories of a chemist, Michel-Eugène Chevreul, to turn paint into light. The 130 drawings, prints, oils, and mainly watercolors in the exhibit, Watercolors by Winslow Homer: The Color of Light, are arranged thematically and by geography, as a tour of the painter’s progress in his art.
Though Homer lacked formal art training, he may have had a genetic predisposition to his talents; his mother was a capable amateur artist and he quickly learned the craft of lithography and wood engraving, traveling several times with the Union army and selling his work to the popular Harper’s Weekly.
Traversing rural and coastal settings from the Adirondacks to Maine, England and the Bahamas, Winslow Homer preferred watercolors as his chief medium as they allowed the portability and quick-drying attributes that his plein-air painting demanded. Because water colors could be more quickly executed and sold, they were also the bread and butter of the artist’s life.
Examination of Homer’s techniques reveals how he layered, wet, scraped, spattered, tinted, and played with color to make his waters shimmer and whites blind the eye. But working in watercolors comes with a price. In fact, because of the fragility of the paint, Art Institute paper conservator, Kristi Dahm noted, “The biggest challenge [to mounting the show] was because of the susceptibility of watercolors to damage.” In fact, while placing pictures, paintings already hung were enrobed in protective paper covers to minimize any photo exposure. Ms. Dahm’s scientific examinations also disclosed some secrets: seemingly spontaneous compositions bore traces of preliminary sketches as well as elements either changed or completely painted out.
Part way through the exhibit, a cozy nook is carved out for the visitor to add another aspect of education to the excellent audio tour and explanatory signage. Computers dedicated to “Behind the Scenes: Exploring Winslow Homer’s Watercolors,” the first time the Art Institute has developed an interactive website, are a bonanza of information. Links and many layers of detail survey Homer’s art, techniques, locations, resources, include a glossary and much more on the alluring website that can be reviewed again at home at one’s leisure.
Another station features the beautiful exhibit catalogs that are laden with explanations of Homer’s techniques and details on the technology of curation of his paintings. Thrillingly, a collection of the artist’s painting materials and his own copy of the book on color theory that so influenced his work, are also on display.
Watercolors by Winslow Homer: The Color of Light,, is a dazzling and rare show only to be seen at the Art Institute of Chicago.
Winslow Homer. The Rapids, Hudson River, 1894.
Transparent watercolor, with traces of opaque watercolor, blotting, and scraping,
over graphite, on thick, rough-textured, ivory wove paper, 384 x 546 mm.
Mr. and Mrs. Martin A. Ryerson Collection.
Photo Courtesy of Art Institute of Chicago.
Winslow Homer. The Water Fan, 1898/99.
Watercolor, with blotting and touches of scraping,
over graphite, on thick, rough twill-textured, ivory wove paper , 374 x 534 mm.
Gift of Dorothy A., John A., Jr., and Christopher Holabird in memory of William and Mary Holabird.
Photo Courtesy of Art Institute of Chicago.
Jimmy Carr Tickets >
Mamma Mia Tickets and more
Cheap Theatre Tickets!
|
