Winslow Homer. Mount Washington. 1869. New Hampshire. Oil on canvas The White Mountains of New Hampshire were celebrated by artists, travel writers, and naturalists for their sublime wilderness. The artists Thomas Cole and John Frederick Kensett reveled in the untamed scenery, but by the time Winslow Homer arrived on assignment from Harper’s Weekly in 1868, the landscape was dominated by tourists and the comforts they demanded grand hotels, railroads, and well-groomed trails for walking and riding. Homer’s depiction of the eastern landscape as a stage for human activity, particularly tourist a
Winslow Homer. Mount Washington. 1869. New Hampshire. Oil on canvas The White Mountains of New Hampshire were celebrated by artists, travel writers, and naturalists for their sublime wilderness. The artists Thomas Cole and John Frederick Kensett reveled in the untamed scenery, but by the time Winslow Homer arrived on assignment from Harper’s Weekly in 1868, the landscape was dominated by tourists and the comforts they demanded grand hotels, railroads, and well-groomed trails for walking and riding. Homer’s depiction of the eastern landscape as a stage for human activity, particularly tourist activity, rather than a sublime paradise fraught with Christian and nationalistic associations, is characteristic of American art produced after the Civil War.
Size: 3000px × 1984px
Photo credit: © WBC ART / Alamy / Afripics
License: Licensed
Model Released: No
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