The first week of the new year provided me the opportunity to visit an exhibition of paintings by Winslow Homer, at London’s National Gallery. His work is surprisingly under-appreciated on this side of the Atlantic: according to the catalogue, this is only the second exhibition ever held in Britain devoted to his work; furthermore, and shockingly, there is not a single work by Homer held in any UK public art collection, despite him spending over a year living and painting in England, near Tynemouth in 1881-2.
The image used to advertise the exhibition –- The Gulf Stream, 1899 – was a poor choice as it borders on cliché. A black man lies on the deck of a small boat, staring impassively to the horizon. The mast is broken, and a storm is fast approaching, yet he appears unconcerned. He is surrounded by symbols: a handful of loose sugar canes lie on the deck to remind us of the importance of the sugar trade and the slave economy that maintained it, although it is unclear why the sailor would have need sugar on this fishing trip; on the distant horizon there is a bigger sailing ship, another symbol of global trade, but probably too far away and too busy to come to his assistance; his damaged vessel is circled by three grey sharks, coloured to match the uniforms of the soldiers of The Confederacy; the sea is tinted with splashes of dark red, perhaps the blood of previous victims of sharks, or perhaps a sly reference to the poetry of the artist’s namesake, whose heroes once sailed over “wine-dark seas” of the Mediterranean. The nonchalance of this man in the face of nature’s threats divests the picture of emotional power. It presents a puzzle for the mind to decode rather than a pleasure for the eye to linger over.
Continue reading “Homer’s yule seas”