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The Cotton Pickers is an 1876 oil painting by the American artist Winslow Homer. [1] It depicts two young African-American women in a cotton field.
Winslow Homer American. 1876. Not on view. The Cotton Pickers is Homer’s most monumental representation, in form and content, of life for the newly emancipated in Reconstruction-era Virginia. Two sensitively rendered laboring women appear poised between their past, present, and future.
Jul 18, 2023 · Gilbert Stuart’s “George Washington (Lansdowne Portrait)” painted in 1796, presents an engaging insight into George Washington in his final year as President. Gilbert Stuart’s personal story is as intriguing as his work. Stuart, and his Loyalist family, relocated from Rhode Island to Canada during the Revolutionary War.
Three most notable of several versions of “The Spirit of '76" painted by Archibald Willard are Marblehead's (top, in the Selectmen's Room, Abbot Hall); Cleveland's (left, in City Hall), and Wellington's (right, in the Herrick Memorial Library).
- Summary of American Impressionism
- Key Ideas & Accomplishments
- Beginnings of American Impressionism
- American Impressionism: Concepts, Styles, and Trends
- Later Developments - After American Impressionism
Like much of the art world, American painters of the late 19th-century were stunned and startled by the dazzling colors and vibrant brushwork of French Impressionism, yet by the century's end, Americans would be among the most passionate devotees of the Impressionist style. Inspired by the novel approaches to painting modern life embodied in French...
Although initially many American artists rejected the loose sketchiness of French Impressionism, their eventual adoption of the style ultimately facilitated a revolutionary break from the linear st...Combining European sophistication with identifiably American subject matter, American Impressionism quickly became popular among the increasing numbers of upper-class patrons. As American industria...American Impressionism built upon the examples of landscape painting practiced by the Hudson River School and the Tonalists, particularly in the emphasis on immersion in the natural world and an at...The American Impressionists fostered new organizations for the creation and exhibition of their work; these innovations would last beyond the popularity of the style. Many of the artist colonies an...A New Era for American Art
With the end of the Civil War and a new era of American prosperity, the wealthy built large houses to showcase their success. In order to demonstrate their cosmopolitan taste, they furnished these mansions with furniture and art imported from Europe. Although American artists such as the Hudson River School and the Tonalists had developed distinctively national styles, their paintings did not command the prices of European art; American art was not considered fashionable or sophisticated. To...
The French Impressionists
By the 1870s, however, academicism was being threatened by the emerging avant-garde, particularly in France. The Impressionist group first showed together in 1874. Although their styles and intentions were diverse, the Impressionists were united in rejecting the traditional Parisian Salon and its stale academic tradition. In general, an Impressionists' aesthetic emerged that was notable for the use of loose brushwork and experimental color composition, with a new focus on the effects of light...
American Impressionists Emerge
Interestingly, both visiting American artists and the buying public in the US rejected Impressionism, even as the style gained critical attention from French critics. The Americans, who had been indoctrinated in the tenets of academic art found Impressionism too radical in its rejection of fine art. For much of the 1870s and 1880s, American artists in Europe followed more traditional styles of painting, which remained popular (and salable) at home. These decades saw the beginnings of an activ...
American Nature
The intention of French Impressionism was to capture a fleeting snapshot, or a representation of the artist's perception of a place rather than an accurate study. The Impressionists didn't choose overly romantic or fantastical locations for their paintings, but instead focused on everyday spaces, such as cities, gardens, and places of popular entertainment. When Impressionism came to America, artists were similarly interested in capturing fleeting impressions and in depicting scenes of everyd...
Returning Home
Interiors and domesticity were key themes for many American Impressionists, as they were for their French counterparts (notably Berthe Morisot and Edgar Degas). Patrons embraced the colorful and harmonious images of domestic tranquility, often as an antidote to the harsher realities of industrial and urban life. Mary Cassatt's paintings of intimate interiors and female companionship inspired American Impressionists of both genders. The paintings of Edmund Tarbell demonstrate the influence of...
Gardens and parks
Like their French predecessors, many American Impressionists painted scenes set in gardens and parks. However, whereas Monet's garden paintings were often based on the vibrant colors and unusual compositions they offered (privileging form and color over subject matter), many Americans were more deeply inspired by the example of Renoir, who focused on the changing social interactions that took place in these spaces. In the work of Edmund Tarbell or William Merritt Chase, for example, these spa...
After a meteoric rise in popularity and prestige, American Impressionism quickly replaced academic art as a favorite of collectors. Its soaring prestige, however, was quickly halted by the 1913 Armory Show, which featured more experimental art from Europe (including the Fauves and Cubists) and America (including the abstractions of the Stieglitz ci...
Some came away with depictions of landscapes and scenes of everyday middle-class life, painted with the bright palette and natural light of the Impressionists. In 1886, William Merritt Chase (1849–1916) became the first major American painter to create Impressionist canvases with a series of images of New York’s new urban parks.
In Gallery 71, the last of the American painting galleries, Kenyon Cox’s Flying Shadows (1883), Daniel Garber’s April Landscape (1910), Edward Willis Redfield’s The Mill in Winter, (1921), and Willard Leroy Metcalf’s May Night (1906) offer four examples of impressionist landscapes with American subjects.
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