A new exhibition called ‘
Winslow Homer and the Camera: Photography and the Art of Painting’ opens this Saturday at Bowdoin College in Maine.
The show and the associated catalog examine the longstanding engagement of
Winslow Homer (1836-1910) with various aspects of photography: its purely visual effects, its usefulness as a picture-making tool, and its role in shaping the artist’s public image.
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"Winslow Homer, Charles S. Homer, Sr., and Sam at Prout’s Neck,"
ca. 1884, albumen silver print, by Simon Towle. Bowdoin College Museum of Art. |
I had always assumed that Homer was camera shy and there are few photos of him, but recent scholarship has turned up new discoveries, many of which are included in the exhibition.
Homer’s interest in photographs gained momentum during his time as a sketch artist covering the Civil War. He collected photographs that were taken by others, which helped him visualize the scenes he portrayed for the popular magazines.
By the 1880s, he sought fresh inspiration for his artwork, so he traveled to Europe, and he bought the first of three cameras.
Though he never wrote about his use of photographs as reference, the authors explore the various ways his art was shaped by the camera, a tool that could simultaneously capture accurate information and deceive the viewer.
His painting of a fish in mid-leap was his painterly response to the ability of the camera to freeze action. Though probably not based directly on a photo, the very idea of painting a moment from fast action was unusual in the nineteenth century, when most other artists would have painted a fish as a still life object.
The exhibition and book contain other insights into Homer's process, including doll-size mannikins with simple costumes, which he used for reference when drawing and painting working-class women.
The exhibit ‘
Winslow Homer and the Camera: Photography and the Art of Painting’ is the product of years of study by Bowdoin art historian Dana E. Byrd and museum co-director Frank H. Goodyear III. Bowdoin College hosts the first showing of the exhibition, which travels in November 2018 to the Brandywine River Museum.
The catalog is 208 pages with 138 color illustrations, hardbound, and published by the Yale University Press.
The exhibition will be up from June 23 - October 28, 2018.
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Other books that explore the relationship between painting and photography:
Art and Photography by Aaron Scharf, 1968. Covers the influence of photography on portraiture, landscape, realism, and impressionism.
Shared Intelligence: American Painting and the Photograph, Edited by Barbara Buhler Lynes, 2011. Chapters on Eakins, Remington, Steiglitz, O'Keeffe, and Bechtle. In this book the main emphasis is on modern painters.
Painting and Photography, 1839-1914. by Dominique de Font-Réaulx, 2012. Textbook-style coverage of the intersection between realist painters and the photographic image, with chapters on genre photography, photographing the nude, portraiture, and painters who were also photographers.
The Artist and the Camera: Degas to Picasso. Oversize book with features on key artists who used photography.
Norman Rockwell: Behind the Camera. Shows Rockwell's reference photos compared to his finished illustrations, as well as information about how he took photos and how he changed them to suit his purposes.
Previously on GurneyJourney
Using Photo Reference
Most of the original paintings in this post are currently on exhibit in the Wadsworth Atheneum show, along with Church's paintings (both sketches and big studio works) portraying Jerusalem, Petra, and other exotic places. The exhibit will be up through August 26.
Art and Photography by Aaron Scharf, 1968. Covers the influence of photography on portraiture, landscape, realism, and impressionism.
