• The Boat, 2011 - Vezur
  • Self Portrait with Hands on Chest, 1910
  • The Banks of the River at Veneux, 1881
  • Cagnes Landscape
  • View Of Venice Fog, 1881
  • Fields of Gold, 2011 - Vezur
  • The Sleeping Gypsy, 1897
  • Study of a Head, 1913
  • Breton Landscape - Fields by the Sea (Le Pouldu), 1894
  • Winter at the seaside, 2011 - Vezur
  • Madame Camus with a Fan, 1870
  • Boat in the Moonlight
  • The Sower, 1888
  • The Vines, 1902
  • Rosina, 1878
  • Columbus Avenue, Rainy Day, 1885
  • Horses, 2011 - Vezur
  • The Bather, 1879
  • Spring, 1879
  • Stehend Karyatide, 1913
  • The Hope II, 1908
  • Portrait of a European Lady in Japanese Costume
  • Boreas , 1903
  • Reclining Woman with Green Stockings (aka Adele Harms), 1917
  • Lady with hat and feather boa, 1909
  • Blue cow, 2011 - Vezur
  • Old Riga view, 2011 - Vezur
  • The End of Summer, 2011 -  Vezur
  • The Woman Friends, 1917
  • Mona Lisa, 1507
  • Harvest Time, 1878
  • Caricature Self Portrait, 1889
  • Water Lilies, Green Reflection, Left Part, 1923
  • Ligo Evening, 2011 - Vezur
  • Tree of Life, 1909
  • San Giorgio Maggiore at Dusk, 1908
  • Portrait of Josette, 1916
  • Riga in Blue, 2011 - Vezur
  • Lady with fan, 1918
  • Ophelia, 1905
  • Deauville, The Basin, 1892
  • The Magpie, 1869
  • Cherubini, 1514
  • Adam and Eve, 1526
  • Mother And Child Aka Madonna, 1908
  • The Man on the Balcony, 1880
  • Old Riga, 2011 - Vezur
  • Old Town Charm, 2011 - Vezur
  • Morning in a Pine Forest, 1889
  • Madame Pompador, 1915

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.