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Grace Hoops edit
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| Grace Hoops | |
|---|---|
| Artist | Winslow Homer |
| Year | 1872 |
| Medium | Oil on canvas |
| Dimensions | 22 in x 15 in (55.9 cm x 38.1 cm) |
| Location | McMullen Museum of Art |
Grace Hoops is a genre painting by the American artist Winslow Homer. It depicts two young women outdoors playing the Game of graces. Scenes of childhood innocence constituted one of Homer's recurring subjects throughout the 1870s. The work is now in the collection of the McMullen Museum of Art at Boston College, having been donated as part of the Carolyn A. and Peter S. Lynch collection.
Background edit
In the 1870s, Winslow Homer is at a turning point of his life. Finally free from the artist-reporter’s job he occupied during the Civil War, he started focusing on his enduring passion: painting.[1]
Native of Boston, Homer flew to Paris for less than a year between 1867 and 1868. There, he focused on subjects that echoed his sensibility such as scenes of peasants and their life in the countryside. From his stay in France, he might have gained or heightened his taste for some of the Impressionists' techniques like loose brushwork or the use of outdoor lighting. When he came back to the US, he settled in a studio in New York City and worked for magazines as an illustrator[1].
In his thirties, the artist went through an experimental period painting a series of canvases mainly depicting the theme of childhood and women. Due to his relatively young age, the paintings, including Grace Hoops, differ considerably from the later ones on the maritime theme[1] or the watercolors he started in 1873, so one year after Grace Hoops[2]. However, thanks to his work, Homer offers an interesting perspective on post-Civil War America.
Painting edit
Game of Graces edit
The Game of Graces dates back to 19th-century France. Designed for young girls from middle to upper class families, the game intends to entertain them by developing their natural gracefulness and making them conform to women’s 19th century high society standards.
As we can see in Homer's painting, the game is played by two girls gracefully throwing a hoop to each other with sticks. Their sticks are blue and white stripped for the lady with her back to us and red and white for the young girl facing the viewer. Together, the women are tossing a red and white stripped hoop between each other.
“The sticks are held straight, about four inches apart, when trying to catch the hoop; and when the hoop is thrown, they are crossed like a pair of scissors.”[3]
Description edit
The painting represents two young girls playing the Game of Graces which the title, Grace Hoops, explicitely references. The scene takes place in a garden enclosed by a wooden fence and offering a glimpse of the landscape behind it. As evidenced by the ladies' dresses and the wide range of flowers, this happens on a summer day. Ground-ivy and common daisies occupy the foreground, while flowering bush and pinkish hollyhocks in the background give a bucolic and innocent atmosphere. The blue sky is covered by white and bright clouds that contribute to this atmosphere.
The young ladies are wearing long straight dresses respectively dark for the lady on the left, and white with a shawl in the same tone for her counterpart on the right side of the painting. The dresses have balloon-shaped sleeves and highlight an unnaturally high waistline as favored by the 1870s fashion.[4] The lack of accessories such as headwears, that were essential to any social gathering, is a sign of the intimate relation linking these women.
According to the position of their sticks, the young girl wearing a black dress is about to catch the hoops thrown by her friend. Staring at the flying hoop, they both look very focused. The young ladies stand in a graceful pose as their chins are up, their arms slightly bent at the elbow and raised in the air accentuating their thin silhouette.
However, the moment depicted is itself significant. Homer chooses a key instant where the hoop is in motion in the air. Time seems to freeze. This observation made by Christies experts[5] is all the more interesting that at the time no camera would have been able to immortalize this moment.
Analysis edit
The critical moment showing the hoop in the air could also have a deeper meaning when associated with childhood in post Civil War America. The American Modernists contemporary to Winslow Homer were finding a never ending subject matter with the depiction of childhood.[2] In 1869, Eugene Benson, writer for the Appletons' Journal and close friend of the painter, refers to childhood as "a special and individual presence, not an accidental and accessory one."[6]
Therefore, Grace Hoops represents with subtility the “transition between childhood and adulthood.”[5] While the two young girls are dressed as mature ladies in elegant outfits, the nature of the game and the colorful sticks are reminders of their childish nature.
According to Helen A. Copper, the painting might also be a way for Homer to reflect on his current position as an adult. Indeed, in his thirties, this would help him greeving his own childhood.[7]
Finally, the painting also appears to give contextual information about Homer’s contemporary times and how women were expected to behave.
Further information edit
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Winslow Homer actually did a study prior to this canvas. Also named Grace Hoops, the small sketch appears less refined and different in many aspects. Despite the exact same depiction of the posture of the two ladies and of the disposition of the game in the final painting, the girls are here playing in a garden with no fencing and barely any flowers. Also, we can observe important differences in Homer's choices of the pigments for the dresses as well as for the greenish tones of their natural surroundings.
On the one hand, the young lady in the foreground wears a dark dress in both the sketch and the canvas but we can see the apparition of a large white collar in the final version. On the other hand, the other girl in the prior study is wearing a luminous pink dress with a blue shawl covering her shoulders while she wears a white/greyish dress in the finished version.
Finally, looking closely at the facial traits of the young lady on the right in the sketch compared to in the final work, she appears more mature in the latter. Indeed, her skin color is more contrasted giving a sense of responsibility and seriousness that is not conveyed in the sketch.
Also, both ladies seem to wear gloves in the sketch to play the Game of Graces.
The woman in the black dress at the foreground is thought to be Grace Barret Valentine. It is worth mentioning that the model is present in other paintings of the same year such as An Open Window (1872), At the Window (1872), Reverie (1872) and Salem (1872)[8].
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Reception in the art world edit
Press edit
The works of Winslow Homer were greatly covered in the media in the second half of the 19th century. Thereby, Grace Hoops appeared to be the center of numerous critiques. Praised by many as a "spirited picture"[9], it was eventually ridiculed by the author of the New York Daily Tribune of February 24, 1875 :
"Mr. Winslow Homer had a picture entirely unworthy of his reputation. It was called "Grace Hoops," but why, who can tell. These ladies had no hoops, and certainly they had no grace."[10]
Sales and exhibitions edit
The painting has belonged to a long list of owners both public and private. Currently in the hands of the McMullen Museum thanks to the donation of Carolyn A. and Peter S. Lynch[11], it was first owned by a certain Henry T. Chapman before being sold at Leavitt’s auction to Lawson Valentine in May 1875[8].
Grace Hoops has also been exhibited on several occasions since its creation in the 19th century. Some of the major places it has been displayed include the Young's Art Galleries in Chicago, Illinois, as well as the West Coast in San Francisco at California Palace of the Legion of Honor in 1964 and the East Coast in Boston Museum of Fine Arts in 1944, and in New York’s Whitney Museum of American Art in 1973.[5] As a result, the painting traveled vastely across the United States but never reaching foreign lands.
Note that the painting is not currently on display.
References[edit] edit
- ^ a b c "Winslow Homer (1836-1910)". www.metmuseum.org. Retrieved 2022-11-17.
- ^ a b Cikovsky, Nicolai (1995). Winslow Homer (PDF) (Yale University Press ed.). pp. 61–94.
- ^ Child, Lydia Maria (1833). The Girl's Own Book. Clark Austin & Company.
- ^ "1870-1879 | Fashion History Timeline". fashionhistory.fitnyc.edu. Retrieved 2022-11-21.
- ^ a b c "Winslow Homer (1836-1910)". www.christies.com. Retrieved 2022-11-18.
- ^ Benson, Eugene (Apr 24, 1869). "Childhood in Modern Literature". Appletons' journal. 1 (4): 118–119.
- ^ Cooper, Helen A. (1986). Winslow Homer Watercolors [exh. cat., National Gallery of Art]. New Haven and London.
{{cite book}}: CS1 maint: location missing publisher (link) - ^ a b Goodrich, Lloyd (2005). Records of Works by Winslow Homer. Vol. 2. New York, Spanierman Gallery. pp. 182–184.
- ^ "Leavitt Art Rooms". (NY) Eveing Post. February 20, 1875.
- ^ "Fine Arts. Leavitt's Sale of American Paintings". New York Daily Tribune. February 24, 1875.
- ^ "Boston College's art museum receives a $20 million gift of paintings by Sargent, Rivera and Picasso". www.wbur.org. Retrieved 2022-11-17.