See also:

• WINSLOW, EDWARD (1595-1655)

WINSLOW See also:

• WINSLOW HOMER (1836-191o)

HOMER (1836-191o)  , See also:

• AMERICAN

American painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• BOSTON
• BOSTON, THOMAS (1676-1732)

Boston, U.S.A., on the 24th of See also:

• FEBRUARY

February 1836 . At the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of nineteen he was apprenticed to a lithographer . Two years later he opened a studio in Boston, and devoted much of his See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time to making drawings for See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood-engravers . In 1859 he re-moved to New See also:

• YORK
• YORK (HOUSE OF)
• YORK, EDMUND OF LANGLEY, DUKE OF (1341-1402)
• YORK, EDWARD
• YORK, FREDERICK AUGUSTUS, DUKE OF (1763-1827)
• YORK, RICHARD, DUKE

York, where he studied in the See also:

• NIGHT

night-school of the See also:

• NATIONAL

National See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy of See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

Design . During the American See also:

• CIVIL

Civil See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

War he was with the troops at the front, and contributed sketches to Harper's Weekly . The war also furnished him with the subjects for the first two pictures which he exhibited (1863), one of which was " See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

Home, Sweet Home." His " Prisoners from the Front "—perhaps his most generally popular picture—was exhibited in New York in 1865, and also in See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris in 1867, where he was spending the See also:

• YEAR

year in study . Among his other paintings in oil are " Snap the See also:

• WHIP

Whip " (which was exhibited at the See also:

• PHILADELPHIA

Philadelphia Centennial See also:

• EXHIBITION

Exhibition of 1876, and, in See also:

• COMPANY

company with " The See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

Country Schoolroom," at the Paris See also:

• SALON

Salon the following year), " Eating See also:

• WATER

Water-See also:

• MELON (Late Lat. melo, shortened form of Gr. p XoaEawv, a kind of gourd; µijXov, apple, and a- brow, ripe)

melon," " The See also:

• COTTON
• COTTON (Fr. coton; from Arab. qutun)
• COTTON, CHARLES (163o–1687)
• COTTON, GEORGE EDWARD LYNCH (1813–1866)
• COTTON, JOHN (1585–1652)
• COTTON, SIR ROBERT BRUCE

Cotton Pickers," " Visit from the Old See also:

• MISTRESS

Mistress . See also:

• SUNDAY

Sunday See also:

• MORNING

Morning," " The See also:

• LIFE

Life-See also:

• LINE

Line " and " The Coming of the See also:

• GALE
• GALE, THEOPHILUS (1628-1678)
• GALE, THOMAS (?1636-17o2)

Gale." His See also:

• GENIUS (from Lat. genere, gignere)

genius, however, has perhaps shown better in his See also:

• WORKS

works in water-See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour, among which are his marine studies painted at See also:

• GLOUCESTER
• GLOUCESTER (abbreviated as pronounced Glo'ster)
• GLOUCESTER, EARLS AND DUKES OF
• GLOUCESTER, GILBERT DE CLARE, EARL OF (1243-1295)
• GLOUCESTER, RICHARD DE CLARE, EARL OF (1222-1262)
• GLOUCESTER, ROBERT, EARL OF (d. 1147)
• GLOUCESTER, THOMAS OF WOODSTOCK, DUKE

Gloucester, See also:

• MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa)
• MASS, IN

Mass., and his " Inside the See also:

• BAR
• BAR (0. Fr. barre, Late Lat. barra, origin unknown)
• BAR, CONFEDERATION OF
• BAR, FRANCOIS DE (1538-1606)
• BAR, THE

Bar," The See also:

• VOICE (Fr. voix, from Lat. vox)

Voice from the Cliffs " (pictures of See also:

• ENGLISH

English fisherwomen), See also:

• TYNEMOUTH

Tynemouth," " Wrecking of a See also:

• VESSEL (O. Fr. vaissel, from a rare Lat. vascellum, dim. of vas, vase, urn)

Vessel " and " Lost on theGrand See also:

• BANKS, GEORGE LINNAEUS (1821-1881)
• BANKS, NATHANIEL PRENTISS (1816–1894)
• BANKS, SIR JOSEPH
• BANKS, THOMAS (1735-1805)

Banks." His See also:

• WORK

work, which principally consists of genre pictures, is characterized by strength, rugged directness and unmistakable freshness and originality, rather than by technical excellence, See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace of line or beauty of colour . He was little affected by See also:

• EUROPEAN

European influences . His types and scenes, apart from his few English pictures, are distinctly American—soldiers in See also:

• BLUE (common in different forms to most European languages)

blue, New See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England See also:

• CHILDREN, LAW RELATING TO

children, negroes in the See also:

• LAND

land of cotton, Gloucester fishermen and stormy See also:

• ATLANTIC

Atlantic seas . Besides being a member of the Society of Painters in Water-color, New York. he was elected in 1864 an See also:

• ASSOCIATE (Lat. associates, from ad, to, and sociare to join)

associate and the following year a member of the National Academy of Design .