Anticipated Winslow Homers Here

Exhibit At Fenimore Opens 6/6

Edition: June 5, 2014
by JIM KEVLIN

And there it is, Winslow Homer’s “Watching the Breakers,” at eyeball level.
On the walls surrounding it on the second floor of The Fenimore Art Museum, there resident Paul D’Ambrosio, who has had “Winslow Homer: The Nature of Rhythm and Life” in mind since his student days at the Cooperstown Graduate Program.

That matters, because Homer’s career and artistic development can be traced through the 23 works, D’Ambrosio points out, walking from painting to painting hung against the gallery’s soft blue walls.
First, an early oil from a Civil War camp from the 1860s, when Homer began his career as an illustrator for Harper’s Weekly. Then, after a year studying in France, “On The Beach” (1869), showing a more complicated style.

In the 1870s, Homer discovered watercolors, said D’Ambrosio as he paused in front of “Moonlight” (1874): “He realizes he’s really good at this. What’s more, watercolors sell. It secures his financial future.” Homer gave up illustration for good.

Then, oils from that same decade, rural scenes down Maine, are “more Impressionistic,” looser, less detailed. Finally, “the end of his career,” exemplified by “Watching the Breakers” (1896), a “very stark style,” Darwinian in contrast with “the pastoral harmony between man and nature” evident in early works.

“The drama,” said D’Ambrosio, stopping in front of “Breakers.” “The effective use of heavy colors – dark blue, slate, dark brown.” The wave towers above the three figures. “Your imagination adds to the experience.”
The show opens Friday, June 6, and already is attracting notice. The Wall Street Journal will make note of it over the weekend. The other day, a reporter visited from The Detroit News.

Except for one painting from the Metropolitan Museum of Art, all works are from the Arkell Museum in Canajoharie, which simultaneously will be opening “A View from the Shore: Winslow Homer’s Impressions of the Coast.” As similar collaborations have in the past, D’Ambrosio anticipates each exhibit will increase interest in the other.

Given the revived debate on the role of women in American society, the Met offering may be of particular interest. “Inside The Bar” (1883) show fishermen cowering in two boats in the stormy background, while a bold woman, basket under her arm, strides purposefully atop a stone breakwater at ocean’s edge.