This 1996 winner of the John Ben Snow Prize includes color and black and white reproductions of over 100 oils, drawings, prints, and watercolors from the artist's many visits to the region between 1870 and 1910. Tatham casts Homer's early Adirondack works as postbellum pastorals and explores the impact of Darwinian thought on Homer's later works. He examines the concepts of landscape and wilderness, the development of the Adirondack park, and the forest preservation movement. 10x11.25". Annotation c. by Book News, Inc., Portland, Or.

Winslow Homer and the Adirondacks

Arts & Photography

Tatham, David

Individual Artists

Syracuse Univ Pr

In this title, David Tatham demonstrates that Winslow Homer's 'Adirondack oils and watercolours constitute a highly original examination of the human race's relationship to the natural world at a time when long-established assumptions about humans, nature, and art itself were undergoing profound change.

Winslow Homer in the Adirondacks (New York State Series)

History & Criticism

Syracuse University Press

Though a Bostonian by birth and upbringing, Winslow Homer lived and maintained his studio in New York City for twenty-five years, establishing himself as a leading figure in New York’s art world. In 1881, determined to broaden his status as a painter, Homer journeyed to Great Britain. During his trip, major changes appeared in nearly everything he did as a painter. The changes came so rapidly during his first months abroad that there can be little doubt that the crucial turning point occurred during his first weeks in London. After his return to New York in November of 1882 and during his later years in Maine, the sequence of major oil paintings that came from his brush owed much, in the most fundamental ways, to transformations that began in London. Tatham’s book Winslow Homer in London: A New York Artist Abroad is the first to examine in detail this preeminent American painter’s crucial weeks in London during his year and half in Great Britain. Tatham presents new information concerning Homer’s time in the city, the centuries-old American associations of his London neighborhood, and his visits to London art institutions; he also considers in detail the artist’s iconic painting The Houses of Parliament. Concluding chapters consider New York’s reception of Homer’s post-London paintings from the fishing village of Cullercoats and show how London and this village together formed the foundation for the major paintings of the artist’s later career. Tatham’s acute examination is enhanced with several illustrations of Homer’s most celebrated paintings.

Winslow Homer in London: New York Artist Abroad 1881-1882

Winslow Homer and His Cullercoats Paintings: An American Artist in England's North East

Review\nThis exquisitely crafted narrative thoroughly details the artist’s creative process inspired by England’s North East region. Beautifully written, Tatham’s extensive research provides a thought- provoking and convincing thesis that Homer’s Cullercoats paintings were not transitional pieces rather, they formed an independent body of work praised in their day, solidifying the artist’s reputation.” ― Nancy Siegel, Towson University\nTatham’s luminous prose, historical insights and wise inferences make this book indispensable to all readers interested in Homer, or in American art. ― William R. Cross, curator of Homer at the Beach\nTatham’s depiction of Cullercoats assures the place these understudied pictures should hold in the artist’s oeuvre. ― Judith Walsh, Professor Emerita, Buffalo State College, SUNY\nTatham is a meticulous scholar who uses his keen eye and very perceptive sense of what makes these paintings so compelling and significant to provide a truly fresh and engaging read. ― Sarah Burns, Indiana University Bloomington\nDavid Tatham presents a well- researched and well-written assessment of Homer’s work during this 18 month period (1881–1882). . . . Homer was an expressive artistic powerhouse, and the Cullercoats work proves his versatility. ― New York Journal of Books\nTatham organizes the book into studies of groups of paintings bracketed by an introduction to England’s North East and what Homer did after returning to America in 1882. . . . What has always made Homer such a remarkable artist is his virtuoso touch with atmospherics: lavender-green dusk, tempestuous waves, limpid sunlight, scudding clouds, and, in Cullercoats, the “Scotch mists”. ― Leann Davis Alspaugh, The Hopkins Review\nWhen Winslow Homer sailed to England in March of 1881, he was already well established as a leading member of his generation of American artists. Critics often referred to him as the “most American of American artists,” combining praise with the implication that his work was provincial compared to that of his more European-trained American contemporaries. However, upon his return, after a year and a half spent in the seaside village of Cullercoats, Homer’s work garnered rave reviews and gained a new appreciation among art dealers. In this book, Tatham’s detailed account of Homer’s time in Cullercoats offers a perceptive reappraisal of both the village’s influence on his work and the paintings themselves. In his Cullercoats paintings, Homer took as his main subject the lives and labors of the village’s women and their strong sense of community. In many ways, these paintings stand among Homer’s most original and perceptive depictions of women, but they also display his masterly uses of watercolor. The Cullercoats paintings show Homer in a new light, and Tatham’s revelatory account provides the long-overdue attention they deserve.\nBook Description\nA fascinating exploration of Winslow Homer’s time in Cullercoats and the paintings he created there.

This study introduces a little-known aspect of the work of the artist Winslow Homer (1836-1910). In particular, it focuses on his work as an illustrator of books and literary magazines, where, for almost three decades, he pictorialised the works of Bryant, Longfellow, Tennyson and Whittier.

Winslow Homer and the Illustrated Book

Winslow Homer (1836-1910), arguably the best-known American artist of the nineteenth century, created three distinctly different bodies of work in the course of his long career: paintings, book illustrations, and illustrations for the pictorial press, the magazine-like illustrated journals of his day. A number of books and exhibition catalogues have dealt with his career as a painter, and historian David Tatham treated all of Homer's work as an illustrator of literature in his Winslow Homer and the Illustrated Book. Now, ten years later, Tatham has completed a full, scholarly account of Homer's work for pictorial magazines such as Harper's Weekly, Appleton's Monthly, and Every Saturday. Homer's work for pictorial magazines is substantial, to say the least. It amounts to some 250 wood-engraved images published between 1857 and 1875. These wood engravings are collected assiduously and are exhibited frequently in museums. They differ from Homer's book illustrations in that they are independent from the texts; Homer chose and treated the great majority of his magazine subjects much as he did his paintings. They are, in essence, original works of graphic art. The illustrations reproduced here cover a remarkable range. They constitute the first substantial body of American art about the life of the city streets, the Thanksgiving and Christmas holidays, abolition, and the New Woman. They include compelling treatments of the Civil War, rural childhood, and wilderness. They also comprise an essential contribution to the study of one of the masters of American art.

Winslow Homer and the Pictorial Press

When Winslow Homer sailed to England in March of 1881, he was already well established as a leading member of his generation of American artists. Critics often referred to him as the "most American of American artists," combining praise with the implication that his work was provincial compared to that of his more European-trained American contemporaries. However, upon his return, after a year and a half spent in the seaside village of Cullercoats, Homer's work garnered rave reviews and gained a new appreciation among art dealers. In this book, Tatham's detailed account of Homer's time in Cullercoats offers a perceptive reappraisal of both the village's influence on his work and the paintings themselves. In his Cullercoats paintings, Homer took as his main subject the lives and labors of the village's women and their strong sense of community. In many ways, these paintings stand among Homer's most original and perceptive depictions of women, but they also display his masterly uses of watercolor. The Cullercoats paintings show Homer in a new light, and Tatham's revelatory account provides the long-overdue attention they deserve.

One of 1,950 copies printed by the Imprint Society. Bound in cream colored cloth with brown boards. Illustrated with facsimile copies of the title pages of the sheet music of the day, some in color. A Near Fine copy with a small thin scratch mark to the front board but otherwise fine in a Near Fine slipcase. Although this copy is not numbered it is signed by author Tatham on the limitation page.

The lure of the striped pig;: The illustration of popular music in America, 1820-1870

Music

Imprint Society

Winslow Homer Masterworks from the Adirondacks

Fenimore Art Museum

The Dictionary of Falklands Biography (Including South Georgia): From Discovery Up to 1981

Reference

David Tatham

See the best price to sell, buy, or rent books by Tatham, David. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Tatham, David

See the best price to sell, buy, or rent books by Tatham, David. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Winslow Homer and the Adirondacks

Winslow Homer in the Adirondacks (New York State Series)

Winslow Homer in London: New York Artist Abroad 1881-1882

Winslow Homer and His Cullercoats Paintings: An American Artist in England's North East

Winslow Homer and the Illustrated Book

Winslow Homer and the Pictorial Press

Winslow Homer and His Cullercoats Paintings: An American Artist in England's North East

The lure of the striped pig;: The illustration of popular music in America, 1820-1870

Winslow Homer Masterworks from the Adirondacks

The Dictionary of Falklands Biography (Including South Georgia): From Discovery Up to 1981