Fine Art Poster
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A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Hard Tack - Winslow Homer
Precio habitual
£28.00 GBP
Precio de oferta
£28.00 GBP
Precio habitual
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A lithograph by Winslow Homer depicting a Union soldier struggling with a piece of hardtack, capturing the mundane realities of American Civil War camp life.
This lithograph by Winslow Homer depicts a solitary Union soldier during the American Civil War. The subject is shown in a moment of mundane struggle, attempting to consume a piece of hardtack, the notoriously dense and dry biscuit that formed a staple of the soldier's diet. Homer, who worked as a freelance illustrator for Harper's Weekly during the conflict, often focused on the daily experiences of the common soldier rather than the grand strategies of generals or the chaos of the battlefield.
The composition is straightforward and direct. The soldier sits upon a crate, his posture suggesting weariness. His expression is one of grim determination as he grapples with the unyielding ration. The artist employs a limited colour palette, which is characteristic of the period's commercial lithography. The lines are clear and descriptive, capturing the texture of the uniform and the physical toll of military life. By focusing on such a specific, unglamorous detail, Homer provides a glimpse into the realities of life in the camp.
This work belongs to a series of illustrations that Homer produced to document the war. These images were widely circulated, allowing the public to engage with the personal side of the conflict. The print reflects the artist's ability to observe and record human behaviour with precision. It avoids sentimentality, choosing instead to present the soldier's existence as a series of small, often difficult, tasks. The inclusion of the tin cup beside him reinforces the setting, grounding the scene in the reality of the field. This piece remains a record of the period, offering insight into the material culture of the American Civil War through the eyes of one of the country's most observant artists.
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Fabricación
Cada impresión se realiza bajo pedido mediante impresión giclée de 12 colores en papel de archivo con certificación FSC. Diseñado en Gran Bretaña e impreso en su centro de producción más cercano para reducir residuos y acelerar la entrega.
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Características específicas
Cada pieza de Solis se fabrica bajo pedido con materiales de calidad de archivo y de galería, diseñados para durar.
- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
- Papel artístico mate de calidad de archivo, con certificación FSC
- Múltiples tamaños y opciones de enmarcado disponibles
- Marcos en negro, madera natural, madera oscura o blanco
- Las impresiones enmarcadas llegan listas para colgar
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Materiales y tamaños
Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
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Hard Tack - Winslow Homer
Precio habitual
Desde £28.00 GBP
Precio de oferta
Desde £28.00 GBP
Precio habitual
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Winslow Homer
Homer started as an illustrator for Harper's Weekly, covering the American Civil War. He was not a soldier. He was a correspondent, sketching camp life, sharpshooters, and prisoners with the detached accuracy of a reporter. The war drawings were published as wood engravings and brought him national attention. He was twenty-five.
He moved from illustration to painting without formal training, learning oil technique largely by observation. His early paintings are genre scenes of rural American life: children playing, women on croquet lawns, the kind of post-war pastoral that the public wanted. They sold well. He was dissatisfied with them.
In 1881 he went to Cullercoats, a fishing village in northeast England, and spent two years painting the women who waited on the shore for the fishing boats to return. The Cullercoats paintings are darker, more dramatic, and more serious than anything he had made before. The sea became his subject.
He moved to Prouts Neck, Maine, in 1883 and lived there, mostly alone, for the rest of his life. The Maine paintings, The Gulf Stream, Northeaster, Right and Left, are about the confrontation between human beings and the ocean. The figures are small. The water is enormous. The light is cold. He painted the sea the way Constable painted clouds: from direct observation, over years, until he understood its behaviour.
His watercolours, made on fishing trips to the Adirondacks, Florida, and the Bahamas, are freer and more experimental than the oils. Tropical sunlight and clear water brought out colours he did not use in Maine. He died in 1910, at seventy-four.
He moved from illustration to painting without formal training, learning oil technique largely by observation. His early paintings are genre scenes of rural American life: children playing, women on croquet lawns, the kind of post-war pastoral that the public wanted. They sold well. He was dissatisfied with them.
In 1881 he went to Cullercoats, a fishing village in northeast England, and spent two years painting the women who waited on the shore for the fishing boats to return. The Cullercoats paintings are darker, more dramatic, and more serious than anything he had made before. The sea became his subject.
He moved to Prouts Neck, Maine, in 1883 and lived there, mostly alone, for the rest of his life. The Maine paintings, The Gulf Stream, Northeaster, Right and Left, are about the confrontation between human beings and the ocean. The figures are small. The water is enormous. The light is cold. He painted the sea the way Constable painted clouds: from direct observation, over years, until he understood its behaviour.
His watercolours, made on fishing trips to the Adirondacks, Florida, and the Bahamas, are freer and more experimental than the oils. Tropical sunlight and clear water brought out colours he did not use in Maine. He died in 1910, at seventy-four.
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Fine Art Framed
From £45
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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