Beyond The Paintbrush Of Winslow Homer

Winslow Homer, "The Bridle Path, White Mountains," 1868. Oil on canvas. (The Clark, 1955).Winslow Homer, "Fireworks on the Night of the Fourth of July," published in Harper's Weekly, 11 July 1868. Wood engraving on newsprint, sheet: 28 x 39.8 cm, (The Clark, 1955).

A “force of inspiration.” “Muscularly in motion.” “Inexhaustible” — these are just a few of the ways that Boston Globe art critic Sebastian Smee has described the work of the 20th century New England painter Winslow Homer.

And now, Sebastian has reason to fall in love with Homer’s work all over again, thanks to a new exhibit at the Sterling and Francine Clark Art Institute in Williamstown, titled “Winslow Homer: Making Art, Making History.” The exhibit goes beyond Homer’s paintbrush, including wood engravings, sketches, and even some of his personal letters.

“Winslow Homer: Making Art, Making History” is on display through September 8th at the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts. 


Sebastian Smee, art critic for The Boston Globe.


The Boston Globe, “Pleasure, drama, sturdiness, light. These are the qualities (along with a potentially endless list of free associations, starting with childhood, weather, war, danger, and death) that spring to mind when contemplating the work of Winslow Homer. The opportunity to do just that comes around with dependable regularity in these parts. So it’s just as well that yet another quality — inexhaustibility — is equally present. Who gets sick of looking at Homer? No one I know.”

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Hosts Meghna Chakrabarti and Anthony Brooks introduce us to newsmakers, big thinkers and artists and bring us stories of relevance to Bostonians here and around the region. Live every weekday at 3.

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