{"title":"Winslow Homer Prints","description":"\u003cp\u003eFine art prints by Winslow Homer (American, 1836–1910). Every work in our Winslow Homer collection is printed to order. Winslow Homer's work belongs to Realism. Archival giclée on Hahnemühle fine art paper. Free worldwide shipping.\u003c\/p\u003e","products":[{"product_id":"winslow-homer-the-gulf-stream-fine-art-print","title":"Winslow Homer — The Gulf Stream | Fine Art Print","description":"\u003cp\u003eA small boat with a broken mast-stump and a red-brown cabin rides a heaving sea of teal and deep blue. A bare-chested man lies back on the deck among cut stalks of sugarcane and a heap of pale cloth, looking away across the water; the boat's stern is lettered in black with her home port, Key West. Sharks circle in the foreground, one with its jaws open, their fins and tails cutting the swell, and a dark waterspout twists down from a bank of cloud at the right. A sailing ship shows faintly on the horizon at the left.\u003c\/p\u003e\u003cp\u003eHomer painted The Gulf Stream at Prouts Neck after an 1898 voyage to the Bahamas, developing it through watercolours that look back to shark subjects from his first trip there in 1885. It made its debut at the Pennsylvania Academy of the Fine Arts in early 1900, and he went on amending it; the Metropolitan Museum dates it 1899, reworked by 1906. In December 1906 the museum trustees, petitioned by artists, reversed an earlier refusal and bought it, the first Homer painting to enter the collection.\u003c\/p\u003e\u003cp\u003eWinslow Homer (1836–1910) was an American painter regarded as one of the foremost artists of nineteenth-century America. He began as a magazine illustrator during the Civil War, producing wood engravings of camp and battlefield life for Harper's Weekly, then turned increasingly to oil and watercolor; his early oil Home, Sweet Home (1863) is now in the National Gallery of Art. From the 1880s he painted the sea itself, in works such as The Fog Warning (1885), now in the Museum of Fine Arts, Boston, and The Gulf Stream (1899), now in the Metropolitan Museum of Art.\u003c\/p\u003e\u003cp\u003ePrinted as a museum-grade giclée on Hahnemühle fine art paper using 12-ink archival pigment printing. Available handframed in FSC-certified wood with optional float glass, or unframed. 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From the 1880s he painted the sea itself, in works such as The Fog Warning (1885), now in the Museum of Fine Arts, Boston, and The Gulf Stream (1899), now in the Metropolitan Museum of Art.\u003c\/p\u003e\u003cp\u003ePrinted as a museum-grade giclée on Hahnemühle fine art paper using 12-ink archival pigment printing. Available handframed in FSC-certified wood with optional float glass, or unframed. 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Beside him a woman in a white apron and dark skirt stands with a small child on her shoulder, the child in a red jacket, both looking out to sea. Coiled nets hang on a wooden rack at the right and strands of dark seaweed lie on the sand. Signed and dated 1873 at the lower left.\u003c\/p\u003e\u003cp\u003eWinslow Homer (1836–1910) was an American painter regarded as one of the foremost artists of nineteenth-century America. He began as a magazine illustrator during the Civil War, producing wood engravings of camp and battlefield life for Harper's Weekly, then turned increasingly to oil and watercolor; his early oil Home, Sweet Home (1863) is now in the National Gallery of Art. 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At the left a woman in a headscarf looks down at her sewing and a small girl in white stands by a wooden gate, while children gather at the right, two of them holding small flags.\u003c\/p\u003e\u003cp\u003eHomer painted this scene in 1877, showing preparations for Jonkonnu, a masquerade tradition that enslaved and formerly enslaved African Americans brought to the South (called Pinkster in the North). Two women stitch a Harlequin-like costume onto the central figure, the festival's traditional Lord of Misrule, while children look on, one holding a small flag. Scholars have read the scene, painted a decade after emancipation, as a meditation on how far Reconstruction had fallen short of its promises.\u003c\/p\u003e\u003cp\u003eWinslow Homer (1836–1910) was an American painter regarded as one of the foremost artists of nineteenth-century America. 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The sea churns in teal-green streaked with foam, breaking again in smaller crests toward the horizon. The foreground rocks are near-black, streaked with rust-red and ochre, catching the wave's edge in a wash of pale foam. Homer painted the scene at Prouts Neck, Maine, in 1895, reworking the rocks by 1901.\u003c\/p\u003e\u003cp\u003eHomer painted Northeaster in 1895 at Prouts Neck, Maine, where he had settled a decade earlier to concentrate on the sea, and reworked the foreground rocks by 1901 into the simplified, near-abstract mass seen today. The picture passed through the dealer M. Knoedler \u0026amp; Co. and the collector Thomas B. Clarke before George A. Hearn bought it in 1901 and gave it to the Metropolitan Museum of Art in 1910. It remains one of the museum's most reproduced American marine paintings.\u003c\/p\u003e\u003cp\u003eWinslow Homer (1836–1910) was an American painter regarded as one of the foremost artists of nineteenth-century America. 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Dark storm clouds bank over a turquoise sea breaking in whitecaps, and two palms stand on the low horizon at the right. Signed 'HOMER' at the lower left.\u003c\/p\u003e\u003cp\u003eWinslow Homer (1836–1910) was an American painter regarded as one of the foremost artists of nineteenth-century America. He began as a magazine illustrator during the Civil War, producing wood engravings of camp and battlefield life for Harper's Weekly, then turned increasingly to oil and watercolor; his early oil Home, Sweet Home (1863) is now in the National Gallery of Art. From the 1880s he painted the sea itself, in works such as The Fog Warning (1885), now in the Museum of Fine Arts, Boston, and The Gulf Stream (1899), now in the Metropolitan Museum of Art.\u003c\/p\u003e\u003cp\u003ePrinted as a museum-grade giclée on Hahnemühle fine art paper using 12-ink archival pigment printing. Available handframed in FSC-certified wood with optional float glass, or unframed. 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Cut wheat lies in swaths around his feet, and in the lower right corner a dark jacket and canteen rest among the fallen stalks. The brushwork renders the grain in short, dry strokes of gold, ochre and brown. The artist's signature is inscribed at the lower left.\u003c\/p\u003e\u003cp\u003eHomer painted it in 1865, the war's final year; the reaper's discarded blue jacket and canteen in the wheat identify him as a discharged Union soldier, though his turned back keeps him anonymous, standing for any returning veteran. Critics have long linked his scythe to the Grim Reaper, reading the scene as a meditation on the war dead alongside its more literal subject of homecoming. The Metropolitan Museum of Art, which holds the painting, received it as a gift from Adelaide Milton de Groot.\u003c\/p\u003e\u003cp\u003eWinslow Homer (1836–1910) was an American painter regarded as one of the foremost artists of nineteenth-century America. 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