- 27
溫斯洛·荷馬 1836 - 1910 年
估價
2,000,000 - 3,000,000 USD
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招標截止
描述
- Winslow Homer
- 《照看嬰孩》
- 款識：畫家簽名 Homer 並紀年73（左上）；簽名 Homer 並紀年1873（左下）
- 水彩紙本
- 8 1/2 x 13 1/2 英寸
- 21.6 x 34.3 公分
- 1873年作 敬請留意，本拍品於印刷版圖錄中之編號為 27T。
來源
售出：國家設計學院，紐約 ，「學院成員及其他捐贈者之藝術收藏，為支付學院的抵押貸款債務釋出」，1875年12月21日，品號15
艾爾弗雷德·威爾金森，錫拉丘茲，紐約，約1875年（應購自上述拍賣）
約瑟芬·梅與凱瑟琳·梅&mi💮ddot;威爾金森，紐約，1935年前（家族傳承自上🐼述藏家）
維登斯坦公司，紐約，至1948年
卡羅琳·瑞安·福🅘克，紐約，1953年（售出：紐約蘇富比，1987年5月28日，拍品編號5）
A‧阿弗烈‧陶博曼購自上述拍賣
展覽
布魯克林，紐約，布魯克林藝術協會，「第一屆舉辦於布魯克林藝術協會之美國水彩畫家學會展覽」，1875年3月，品號332/553
路易維爾，肯塔基州，「路易維爾工業博覽」，1875年9月，品號174
紐約，惠特尼美術館，「溫斯洛·荷馬之油彩及水彩作品」，1944年10至11月
伍斯特，麻薩諸塞州，伍斯特美術館，「溫斯洛·荷馬」，1944年11至12月，品號18
明尼亞波利斯，明尼蘇達州，沃克藝術中心；底特律，密西根州，底特律藝術學院；布魯克林，紐約，布魯克林博物館；舊金山，加利福尼亞州，笛洋美ꦍ術館，「美國水彩與溫ꦬ斯洛·荷馬」，1945年2月至8月
休士頓，德克薩斯州，藝術同盟協會年度藝術嘉年華，「溫斯洛·荷馬之油彩、水彩及素描作品，1836-1910年」，19🐟52年11月，品號14
芝加哥，🐓伊利諾州，特拉美術館，「在格洛斯特時的溫斯洛·荷馬」，1990年10月至12月，品號8，第40及103頁，載圖圖版11，第72頁
華盛頓哥倫比亞，國家美術館；波士頓，麻薩諸塞州，波士頓美術館；紐約，大都會藝術博物館，「溫斯洛·荷馬」，1995年10月至199𓆏6年9月，品號70，第138頁，載圖
堪薩斯城，密蘇里州，納爾遜·阿特金斯藝術博物館，「溫斯洛·荷馬與藝評人：1870年代塑造民族藝術」，2001年2月至5月，第7𒊎0、207、222頁，品號4，🐈圖50載圖，第69頁
出版
<美術.在國家設計學院舉辦之展覽>，《紐約時報》，1875年12月16日，第4頁
<油畫拍賣>,《紐約時報》，1875年12月22，第4頁
勞埃德·𓄧;古德里奇，《溫斯洛·荷馬》，紐約，1959年，第20、114頁，圖19載圖（錄題為《照看嬰孩》）
勞埃德·古德里奇與阿比蓋爾·布思·耶茨，《溫斯洛·荷馬作品記錄》，紐約，2005年，
卷II，品號460，第238頁載圖；第476頁載圖
Condition
Please contact the American Art Department at (212) 606-7280 for the condition report for this lot.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
拍品資料及來源
Winslow Homer spent the summer of 1873 in Gloucester, Massachusetts, at that time one of the busiest fishing ports in the nation. His rooms at the Atlantic House placed him in the center of the community, overlooking the Town Landing and the bustling activity on the wharves. Painted during this stay in Gloucester, In Charge of Baby dates from a pivotal point in Homer’s career, a summer that resulted in some of the most important developments in his artistic technique. According to Helen Cooper, “The Gloucester watercolors established what would be, with few exceptions, Homer’s lifelong pattern in watercolor: concentrating for a particular period of time on a single theme suggested by a particular locale. His interest would last for the duration of his stay; on returning to his studio he would put the subject aside, often developing the idea further on subsequent visits” (Winslow Homer Watercolors, New Haven, Connecticut, 1986, pp. 24-25).
The summer of 1873 was the first period in which Homer seriously pursued painting in watercolor, a medium which readily lent itself to the fresh, spontaneous portrayal of children at play on the docks and local beaches of Gloucester. In Charge of Baby exemplifies Homer’s primary theme of that summer, combining his deep-rooted passion for the out-of-doors with his desire to explore technical concerns in painting. Even at this early point in his watercolor career, Homer’s clear draftsmanship and controlled manipulation of a high-keyed palette are evident in the present work, in which bold patterns of light and dark play across the sheet, with the pier supports framing the central composition and the dock providing a high horizon line. Like Homer’s In Charge of Baby, Mary Cassatt’s The Boating Party is a fresh interpretation of a classic genre scene. Using strong linear elements to formally define the space and unconventional flattening of the picture plane, both Homer and Cassatt offer a distinctly modern view of a sun-filled, leisurely day at the shore.
The increasing popularity of watercolor in the 1870s was largely due to the efforts of the American Society of Painters in Water Colors. Its sponsorship of an unprecedented international exhibition in 1872 firmly established the credibility of the watercolor medium and encouraged many young artists to explore its possibilities. Lloyd Goodrich observes, “The medium suited Homer perfectly from the first. He was essentially a draftsman and an observer of the outdoor world, and in watercolor he could work direct from nature, proceeding from a pencil sketch to a finished picture in color in one sitting. In watercolor he made the discoveries—of places, subjects, light, color—that he later embodied in his oils. The transparency of the medium, with the white paper showing through, made an immediate difference in his color. His early oils had been comparatively dark; in watercolor he at once achieved more luminosity. His swift, skillful draftsmanship, learned in years of illustrating, had full scope in watercolor. The combined freshness and sureness of his watercolor handling anticipated the later development of his painting style” (Winslow Homer, New York, 1959, p. 20).
The portability, flexibility and quick-drying quality of watercolor facilitated a plein-air method of working, which resulted in straightforward pictures devoid of pretense or overt sentimentality. As Dr. Cooper notes, “Throughout the 1870s, Homer’s subject matter embodied the ideal of simple and reassuring pleasures in union with nature itself. The Gloucester watercolors expanded on a theme Homer had touched on only occasionally in his paintings—that of rural childhood. …At Gloucester, and for some years afterward, children figured prominently in his compositions. The novelty of watercolor as a medium for artistic expression may have suggested to Homer the need for a fresh subject as well” (Winslow Homer Watercolors, p. 25). Homer’s obvious delight in the freedom watercolor provided and the freshness of vision it could convey is palpable in the first series of Gloucester watercolors and brought him almost instant acclaim. His watercolors have “been ranked among the greatest achievements in American art” (ibid., p. 16).
The summer of 1873 was the first period in which Homer seriously pursued painting in watercolor, a medium which readily lent itself to the fresh, spontaneous portrayal of children at play on the docks and local beaches of Gloucester. In Charge of Baby exemplifies Homer’s primary theme of that summer, combining his deep-rooted passion for the out-of-doors with his desire to explore technical concerns in painting. Even at this early point in his watercolor career, Homer’s clear draftsmanship and controlled manipulation of a high-keyed palette are evident in the present work, in which bold patterns of light and dark play across the sheet, with the pier supports framing the central composition and the dock providing a high horizon line. Like Homer’s In Charge of Baby, Mary Cassatt’s The Boating Party is a fresh interpretation of a classic genre scene. Using strong linear elements to formally define the space and unconventional flattening of the picture plane, both Homer and Cassatt offer a distinctly modern view of a sun-filled, leisurely day at the shore.
The increasing popularity of watercolor in the 1870s was largely due to the efforts of the American Society of Painters in Water Colors. Its sponsorship of an unprecedented international exhibition in 1872 firmly established the credibility of the watercolor medium and encouraged many young artists to explore its possibilities. Lloyd Goodrich observes, “The medium suited Homer perfectly from the first. He was essentially a draftsman and an observer of the outdoor world, and in watercolor he could work direct from nature, proceeding from a pencil sketch to a finished picture in color in one sitting. In watercolor he made the discoveries—of places, subjects, light, color—that he later embodied in his oils. The transparency of the medium, with the white paper showing through, made an immediate difference in his color. His early oils had been comparatively dark; in watercolor he at once achieved more luminosity. His swift, skillful draftsmanship, learned in years of illustrating, had full scope in watercolor. The combined freshness and sureness of his watercolor handling anticipated the later development of his painting style” (Winslow Homer, New York, 1959, p. 20).
The portability, flexibility and quick-drying quality of watercolor facilitated a plein-air method of working, which resulted in straightforward pictures devoid of pretense or overt sentimentality. As Dr. Cooper notes, “Throughout the 1870s, Homer’s subject matter embodied the ideal of simple and reassuring pleasures in union with nature itself. The Gloucester watercolors expanded on a theme Homer had touched on only occasionally in his paintings—that of rural childhood. …At Gloucester, and for some years afterward, children figured prominently in his compositions. The novelty of watercolor as a medium for artistic expression may have suggested to Homer the need for a fresh subject as well” (Winslow Homer Watercolors, p. 25). Homer’s obvious delight in the freedom watercolor provided and the freshness of vision it could convey is palpable in the first series of Gloucester watercolors and brought him almost instant acclaim. His watercolors have “been ranked among the greatest achievements in American art” (ibid., p. 16).