An extraordinary opportunity to travel to Center City Philadelphia this weekend made it possible to fulfill a longtime wish from my younger days to view in person some of the actual original works of Winslow Homer. As a much younger man, full of optimism and the creative spirit, I had thought to become an artist myself, and had taken many steps to achieve that aim throughout my educational journey. Art classes in grammar school, high school, and college only served to heighten my interest in the great works of art created out in the world, and one of my earliest experiences with admiration for other artists involved Mr. Homer, as his paintings were often used as illustrations for poetry books that I never seemed to be able to avoid reading.
The painting at the top of this page, entitled, “Diamond Shoal,” was created around 1905, and captured my imagination not simply as a work of art, but as an inspiration to imagine sailing in such a circumstance myself, as well as prompting what would become a lifelong interest in watercolor painting. Once it became an interest for me, I began attempting to create my own works, a few of which have illustrated my writings here. I never felt like my own skill approached any sort of level that might warrant attention from the art world, but the inspiration of the many works I encountered along the way never left me.
The image above, also by Winslow Homer, is a prime example of how such paintings not only appealed to me as a work of art, but also gave me an appreciation for the content of artwork that the masters unfailingly produced, which I rarely felt that I could embody in my own work. The painting is called, The Trysting Place,” from around 1875, and it depicts a young woman waiting at an appointed meeting place for what the artist described as “…a tardy lover.” You can almost feel the butterflies in her stomach in anticipation of his arrival, and perhaps even some anxiety that he might not show up at all. She is a lovely young woman, dressed in a deliberate choice by the artist as emblematic of the times, and she seems both vulnerable as she wonders what might be keeping her lover, and yet still also courageous to make the arrangement in the first place. Standing in front of these works, knowing that they are the original work of an artist I have long admired and who is world famous with good cause, was both uplifting and inspiring, even as a much older man today. There were hundreds of works by other artists as well and a few of them were especially notable for me as an enthusiastic patron of the exhibit.
This image was painted by one of the many women artists featured at the exhibit. “Bow Sprit,” from around 1916-1918, is a much more impressionistic rendering than some of the others which caught my eye, and I love how the impressions of the water and the sails and the circumstance are more than sufficient to give the viewer a sense of what the artist saw. I love the sparkling array of colors and the fluid movement suggested by her skilled hands. There were many renderings in the exhibit which had similar effects, but this one stood out for me.
At about the half-way point in the journey through these amazing images, there was a section of Winslow Homer works, paired with similar subjects and renderings by another master of watercolor, John Singer Sargent. Both artists were members of the American Watercolor Society in the late 1800’s and early 1900’s, but had remarkably different approaches to their work, and the contrast was both illuminating and interesting to contemplate. Homer seemed most often to be more concerned with precision and including important details in his renderings, and Sargent was much more focused on the impressionistic aspects of his final works, but both achieved a very similar result which delights and inspires.
Included in this array of creativity were two images by Georgia O’Keefe, someone whose work I have always admired, but for which I had never had the opportunity to view in person. The image above was one of the two, both renderings described as “Evening Star,” and this one is “number two.” The description reported the works as “experimental in nature,” both created as an exploration of the medium and of the subject. There was a palpable feeling of connection to the artist for me at that moment, and as with many of the other works displayed, a sense of awe and satisfaction that is very difficult to articulate.
The exhibit is only available in Philadelphia, and only for a few short weeks from March 1st through May 14th. The quality and nature of these paintings are so exquisitely unique, that they are very rarely exhibited due to the harm that results from exposure to light, even the subtle indoor light of the museum. Several of the works had curtains in front of them so as to minimize the amount of exposure the paintings would receive, even during such a short period of time. Going to such lengths to preserve these works is an enormously important factor for future generations, and I walked away from the museum that afternoon enlivened and inspired in a way that is also unfortunately not as frequent as I would like.
Our connection to the artists and the works they produced in the past is a vital link to the very heart of our humanity, and while each of us may not be masters of our chosen creative arts, we each possess the same vital elements within us that connects us to each other and to those who came before us. We are the masters of our own creative spirits, and uniquely qualified to continue to connect to our spiritual and creative sensibilities as only we can.