"Undertow" by Winslow Homer<br><p><b>Identifier</b>: ameng00vand (<a class="external text" href="https://commons.wikimedia.org/w/index.php?title=Special%3ASearch&amp;profile=default&amp;fulltext=Search&amp;search=insource%3A%2Fameng00vand%2F">find matches</a>)<br><b>Title</b>: <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookidameng00vand">American painting and its tradition : as represented by Inness, Wyant, Martin, Homer, La Farge, Whistler, Chase, Alexander, Sargent</a><br><b>Year</b>: <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookyear1920">1920</a> (<a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookdecade1920">1920s</a>)<br><b>Authors</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookauthorVan_Dyke__John_Charles">Van Dyke, John Charles</a><br><b>Subjects</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/booksubjectAmerican_Painting">American Painting</a><br><b>Publisher</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookpublisherCharles_Schribner_s_Sons">Charles Schribner's Sons</a><br><b>Contributing Library</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookcontributorWhitney_Museum_of_American_Art__Frances_Mulhall_Achilles_Library">Whitney Museum of American Art, Frances Mulhall Achilles Library</a><br><b>Digitizing Sponsor</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/booksponsorMetropolitan_New_York_Library_Council___METRO">Metropolitan New York Library Council - METRO</a><br><br><b>View Book Page</b>: <a rel="nofollow" class="external text" href="https://archive.org/stream/ameng00vand/ameng00vand#page/n130/mode/1up">Book Viewer</a><br><b>About This Book</b>: <a rel="nofollow" class="external text" href="https://archive.org/details/ameng00vand">Catalog Entry</a><br><b>View All Images</b>: <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookidameng00vand">All Images From Book</a><br>
Click here to <a rel="nofollow" class="external text" href="https://archive.org/stream/ameng00vand/ameng00vand#page/n130/mode/1up"><b>view book online</b></a> to see this illustration in context in a browseable online version of this book.<br><br><b>Text Appearing Before Image:</b><br><i>and line, so ropelike is histreatment, and the enormous hollow of the seais merely a perilous background. As for color,the picture is gray and would lose none of itsfetching quality if done in black-and-white.There is no love for color as color nor for paint-ing as painting here. The handling was evidentlyas little pleasure to the painter as it is to us.It is as flat, as monotonous, and as negative asthe plaster on a kitchen wall. There is nosuspicion of subtlety, facihty, or suavity in it.But when all that is said, there is a large some-thing left behind unaccounted for—a grip andknowledge and point of view—that we respectand admire.A second dramatic and harrowing picturefinished at Fronts Neck was ^Undertow.*It is a rescue of two girl bathers by life-savers,something that the painter had seen in thesurf at Atlantic City. It appealed to him.Why ? Because it was beautiful in itself ? Hardlythat; but because it had great illustrative pos-sibilities. There once more was the critical</i><br><b>Text Appearing After Image:</b><br><i>WINSLOW HOMER VrS moment and the appealing interest. He couldnot resist such *copy as that. But now in put-ting the picture together he is something morethan a reporter of the fact. He embellishes thefact to make it not only more effective but moreattractive. He places the figures on the canvasin a diagonal line that echoes the diagonal ofthe incoming wave at the back. The lines givea swing and surge forward not only to the seabut to the figures. The four figures are locked ina long chain—almost a death-grip—with clutch-ing hands and arms and much use of anglelines. The angle lines repeat one another, inter-lock, and run on until the whole group is of apiece—moves as a piece. All this, of course,helps on the literary but it also indicates agrowing sense of the pictorial. The four figuresbegin to have the monumental quahty of aGreek pedimental group. The very sharpness oftheir drawing and the hardness of their textureseem to help out the plastic feeling. Homerseems rising to the</i><br><br><b>Note About Images</b><br></p>
<i>Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.</i>
Van Dyke, John Charles
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<ul><li>Source book page: <a rel="nofollow" class="external free" href="https://archive.org/stream/ameng00vand/ameng00vand#page/n130/mode/1up">https://archive.org/stream/ameng00vand/ameng00vand#page/n130/mode/1up</a></li></ul>