Anglo‐American

In late 1882 the American painter Winslow Homer arrived back in New York after eighteen months spent at the artists’ colony in Cullercoats, a fishing village near Tynemouth in the north of England. Over the next year, while working on a set of watercolours and oil paintings based on his English subjects, Homer began his enduring relationship with Prout’s Neck on the Maine coast. By the spring of 1883 he was permanently established in Maine, and almost immediately began the extraordinary series of paintings of dramatic events set at sea that includes The Life Line (1884, Philadelphia Museum of Art), The Fog Warning (1885, Museum of Fine Arts, Boston), and Undertow (1886, Sterling and Francine Clark Art Institute). Scholars have seen the transition from the dramatic events depicted in the Prout’s Neck paintings of the 1880s to the empty seascapes which followed in the 1890s as ‘time and narrative erased’, the emergence of Homer’s new attitude to ‘narrative meaning and content’ and even to ‘eternity’.1

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• Craft, War, and Cultural Diplomacy

  Imogen Hart•Winterthur Portfolio•2019

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