Art Institute of Chicago
The End of the Day, Adirondacks
Winslow HomerLinkedCulture matchlcp-bcddaaacf48f
- Date
- 1890
- Medium
- Transparent watercolor, with traces of opaque watercolor, rewetting, blotting, and scraping, over traces of graphite, on moderately thick, rough-textured, ivory wove paper
- Culture
- United States
- Department
- Prints and Drawings
- Institution
- Art Institute of Chicago
- Object ID
- 16785
From the Art Institute of Chicago record
The End of the Day, Adirondacks captures a fisherman’s introspective moment. Homer rendered the light from the setting sun with pale pink and orange washes, seen in the sky and reflected in the water. Foliage in the background and at the right side of the image is depicted abstractly, adding to the scene’s hazy atmosphere. This area shows signs of overwork, where Homer repeatedly removed and added color as he sought to soften the contours of the landscape, as if enveloped in the mist of evening. Characteristic of the artist’s working methods, he did not try to obscure the passage and chose to let it stand.
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Provenance & credit
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- Credit line
- Mr. and Mrs. Martin A. Ryerson Collection
- Provenance
- The artist to his brother, Charles S. Homer, Jr. (1834–1917), New York, by 1910 [according to correspondence from Abigail Booth Gerdts to the Art Institute, February 10, 2007]. Charles W. Gould (1849–1931), New York, by 1915 [Brooklyn exh. cat. 1915]. Sold by Knoedler and Company, New York, to Martin A. Ryerson (1856–1932), Chicago, November 11, 1915 [invoice]; given to the Art Institute, 1933.
Linked open data
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- Object type
- AAT300033973
Part of a LinkedCulture topic
American Watercolor Landscape ArtThese objects are predominantly watercolor and drawing works by American artists depicting natural landscapes, outdoor recreational activities, and coastal or wilderness scenes from the 19th century.
63 objects from 3 institutions
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