DOI Heft:
No. 186 (September 1912)
DOI Artikel:Meyer, A. Nathan: Homer Martin: American landscape painter
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20778#0281
Homer Martin, American Landscape Painter
ordinary when we consider the upbringing of
Homer Martin and the art ideals of his contem-
poraries. Even as far back as 1859-60 his pictures
show a distinct advance over the work that was
being done about him ; an advance in poetry, in
colour and in composition. In 1870 he painted
a picture of Lake Sanford in the Adirondack
Mountains, which clearly stands alone among the
landscapes of that date. Its colour is marvellously
brilliant, and even if it is not painted in as free
and broad a stroke as later, yet it is certainly broad
and free enough to make almost every other
picture of the same year seem, in comparison, like
a coloured photograph, for it is the general result
achieved that should count.
In the winter of 1862-3, Homer Martin with his
young wife settled in New York. His first trip to
Europe took place in 1876, where he first met
Whistler, who promptly recognised his quality as a
painter and invited him to work in his studio. This
acquaintance with Whistler ripened still further
into friendship during Martin’s next visit to Europe,
in 1881, a visit which lasted for five years. While
Homer Martin was one of the first to place Whistler
where he really belonged, yet he was too strong an
individuality to show in his work the influence of
any painter, however profoundly admired. He was
one of the very first to appreciate the charm and
poetry of Corot, even from such examples as he
could see in America, yet no one could say that
there is even a note in his canvases that suggests
Corot.
There are certain pictures by Martin which we
know were painted in Whistler’s studio, and
certain touches here and there make one feel
that he had gained in seeing for a while with
Whistler’s eyes, but there is absolutely nothing
that for a moment suggests imitation. Look
about the pictures that are hung to-day at the
exhibitions, and it will be seen that it is not
easy at once to admire Whistler and not reflect
him. It would be interesting to know what
canvases of Martin’s were seen by Whistler. I
know of one wonderful green glowing night pic-
ture that was painted in Whistler’s studio, and one
might be tempted to see in the jewel-like quality of
it something of Whistler’s own manner, only the
strange thing is that I have seen another night
picture by Martin painted many years before in
New York and possessing the same glowing,
almost iridescent quality.
According to the recollection of Mrs. Homer
Martin very little of importance was actually painted
by her husband while abroad, he having given
“LAKE ONTARIO DUNES”
BY HOMER MARTIN
258
(By permission of Otto Heinigke, Esq.)
ordinary when we consider the upbringing of
Homer Martin and the art ideals of his contem-
poraries. Even as far back as 1859-60 his pictures
show a distinct advance over the work that was
being done about him ; an advance in poetry, in
colour and in composition. In 1870 he painted
a picture of Lake Sanford in the Adirondack
Mountains, which clearly stands alone among the
landscapes of that date. Its colour is marvellously
brilliant, and even if it is not painted in as free
and broad a stroke as later, yet it is certainly broad
and free enough to make almost every other
picture of the same year seem, in comparison, like
a coloured photograph, for it is the general result
achieved that should count.
In the winter of 1862-3, Homer Martin with his
young wife settled in New York. His first trip to
Europe took place in 1876, where he first met
Whistler, who promptly recognised his quality as a
painter and invited him to work in his studio. This
acquaintance with Whistler ripened still further
into friendship during Martin’s next visit to Europe,
in 1881, a visit which lasted for five years. While
Homer Martin was one of the first to place Whistler
where he really belonged, yet he was too strong an
individuality to show in his work the influence of
any painter, however profoundly admired. He was
one of the very first to appreciate the charm and
poetry of Corot, even from such examples as he
could see in America, yet no one could say that
there is even a note in his canvases that suggests
Corot.
There are certain pictures by Martin which we
know were painted in Whistler’s studio, and
certain touches here and there make one feel
that he had gained in seeing for a while with
Whistler’s eyes, but there is absolutely nothing
that for a moment suggests imitation. Look
about the pictures that are hung to-day at the
exhibitions, and it will be seen that it is not
easy at once to admire Whistler and not reflect
him. It would be interesting to know what
canvases of Martin’s were seen by Whistler. I
know of one wonderful green glowing night pic-
ture that was painted in Whistler’s studio, and one
might be tempted to see in the jewel-like quality of
it something of Whistler’s own manner, only the
strange thing is that I have seen another night
picture by Martin painted many years before in
New York and possessing the same glowing,
almost iridescent quality.
According to the recollection of Mrs. Homer
Martin very little of importance was actually painted
by her husband while abroad, he having given
“LAKE ONTARIO DUNES”
BY HOMER MARTIN
258
(By permission of Otto Heinigke, Esq.)