The Melville of American Painting
“I am not at all sure that I know what Americanism really is,” the art critic Elisabeth Luther Cary told readers of The New York Times in 1936, “but so the case stands: Americanism really is, and, in art, Winslow Homer is its great exemplar.” There was little disagreement. His very name seemed made for the job, half muscular Greek adventure, half fretful Yankee Calvinism (his parents were inspired by the Congregational pastor Hubbard Winslow). During his lifetime, he managed—not without strategizing—to be both popular with the hoi polloi and admired by his peers. After his death in 1910, his husky seafarers and oddly concrete ocean sprays were a bridge between old-fashioned storytelling pictures and the 20th-century preference for expressive form. In 1995, when the National Gallery of Art, in Washington, D.C., assembled a magisterial retrospective, Homer was still “America’s greatest and most national painter.” He gave us our best selves: Currier and Ives without the kitsch, modernism with a human face. To John Updike, he was simply “painting’s Melville.”
This kind of flag-waving is no longer fashionable, or even comfortable, in an art world striving to be global and in a country where arguments over what counts as “real America” become nastier by the day. So it is not surprising that “Crosscurrents,” the biggest Homer show in more than a quarter century, positions the artist as part of a transnational Atlantic world, stretching from the Caribbean (where he made radiant watercolors of shark fishermen and limpid inlets) north to Quebec (leaping landlocked salmon and First Nations guides) and east to the English village of Cullercoats (heroic fishwives whipped by wind). In between lie his familiar stomping grounds: the battlefields of Virginia, the rocky coast of New England, the autumnal Adirondacks.
The map thus devised roughly follows the contours of the Gulf Stream, which is also the title of the first Homer painting purchased by the Metropolitan Museum of Art, a co-organizer of the exhibition, along with the National Gallery, in London. Indeed, (1899) is the centerpiece, a marker for how the curators—Stephanie L. Herdrich and Sylvia Yount in New York, Christopher Riopelle in London—envisage Homer for the 21st century. No longer
