• The Hope II, 1908
  • Riegert aka Laima Clock, 2011 - Vezur
  • The Magpie, 1869
  • Woman with Black Hat, 1909
  • Independence Day, 2011 - Vezur
  • Manao Tupapau (Spirit of the Dead Watching), 1892
  • Lane at the Jardin du Luxembourg, 1886
  • The Last Supper, 1498
  • Madame Pompador, 1915
  • Boat in the Moonlight
  • Evocation
  • The Boat, 2011 - Vezur
  • Woman on a Terrace, 1857
  • Recumbent Nude, 1917
  • San Giorgio Maggiore at Dusk, 1908
  • Moonlight On The Loire Barbizon landscape
  • Forest, 2011 - Vezur
  • Dancers in Riga Heart, 2011 - Vezur
  • Two Swans, 2011 - Vezur
  • Mona Lisa, 1507
  • The Vision after the Sermon, 1888
  • Interior, Woman at the Window, 1880
  • The Bather, 1879
  • Dancers V, 1877
  • Horses, 2011 - Vezur
  • Gloomy Situation, 1933
  • Dancers in Blue, 1890
  • Deauville, The Basin, 1892
  • Adele Bloch Bauer I, 1907
  • Breath of the Earth, 2011 - Vezur
  • The Second Youth, 2011 - Vezur
  • View Of Venice Fog, 1881
  • The Kiss, 1908
  • Zwei Akte, 1890
  • The Buffalo Trail, 1867
  • Anemones, 1909
  • Marine bleue, 1893
  • Woman with a Parasol and Small Child on a Sunlit Hillside,1874
  • Portrait of a Man, 1923
  • An Angel
  • Negress, 1869
  • Conversion, 1912
  • Yellow Circle, 1926
  • Judith and the Head of Holofernes, 1901
  • Riga at Night, 2011 - Vezur
  • The Red Vineyard, 1888
  • Avenue of poplars at sunset, 1884
  • Seacoast at Kurzeme, 2011 - Vezur
  • Cherubini, 1514
  • Autumn, 1877

Autumn, 1877

Autumn, 1877

Winslow Homer

By the mid-1870s a mysterious woman with red hair appears for the first time in Homer's watercolors and oil paintings. Slowly he comes closer to the subject of his desires. From depicting her doing chores on the farm, tending a sick chick and collecting eggs. He continues drawing even closer to his subject. Eventually she becomes the subject alone, backgrounds disappear and props are reduced to a minimum. By 1877 he produces one of his most intimate works, The New Novel, a work that speaks of not artist and model, but lovers. And just as suddenly after his portrait titled Autumn of 1877 she disappears completely. We can't expect any word about this phase from a man who wouldn't even talk about his more public life. All we do know is that after this period the women in his works appear stiff wooden and faceless. By the time he was painting women in Cullercoats, England he was using wooden manikins as models for his female subjects as if just working closely with a female model was too painful for him to contemplate.

The painting will be delivered unstreched, rolled in protective & presentable case.