id:			135323
accession number:	1958.33
share license status:	CC0
url:			https://clevelandart.org/art/1958.33
updated:		2023-03-09 12:48:09.864000

White Mare, c. 1868. Winslow Homer (American, 1836–1910). Oil on panel; framed: 32.5 x 45 x 4.5 cm (12 13/16 x 17 11/16 x 1 3/4 in.); unframed: 20 x 32.6 cm (7 7/8 x 12 13/16 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna, Jr. 1958.33

title:				White Mare
title in original language:	
series:				
series in original language:	
creation date:			c. 1868
creation date earliest:		1863
creation date latest:		1873
current location:		
creditline:			Bequest of Leonard C. Hanna, Jr.
copyright:			

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culture:	America, 19th century
technique:	oil on panel
department:	American Painting and Sculpture
collection:	American - Painting
type:		Painting
find spot:	
catalogue raisonne: 

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CREATORS

* Winslow Homer (American, 1836–1910)  - artist

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measurements: Framed: 32.5 x 45 x 4.5 cm (12 13/16 x 17 11/16 x 1 3/4 in.); Unframed: 20 x 32.6 cm (7 7/8 x 12 13/16 in.)
state of the work:	
edition of the work: 	

support materials:


inscriptions:

	inscription:	no signature
	translation:	
	remark:		

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CURRENT EXHIBITIONS

	title:		Winslow Homer: Portrait of America
	opening date:   1965-11-10T05:00:00
	<i>Winslow Homer: Portrait of America</i>. The Cleveland Museum of Art, Cleveland, OH (November 10, 1965-May 16, 1966).

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LEGACY EXHIBITIONS

* Louisville, KY, J. B. Speed Memorial Museum (13 February-5 March 1944).<br>Williamstown, MA, Sterling and Francine Clark Art Institute, A Selection of Six: American Paintings from the Clark Collection (17 November 1990-13 January 1991).

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PROVENANCE

	Carnegie Institute, Pittsburg (purchased from the artist); (Valentine Gallery, New York, 12 January 1942); Leonard C. Hanna, Jr.
	date: 
	footnotes: 	
	citations: 	


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fun fact:


digital description:


wall description:
In August 1868 Winslow Homer, then working as a free-lance illustrator, visited the White Mountains of New Hampshire. As early as the 1820s, American artists used the White Mountains as a setting for landscape paintings. Unlike Thomas Cole (1802-1848) and Asher Durand (1796-1886), who focused on the unspoiled wilderness, Homer turned his attention to other tourists. He made this oil sketch as a study for the horse in a large oil painting The Bridal Path, White Mountains (1868; Sterling and Francine Clark Art Institute, Williamstown, Massachusetts).
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RELATED WORKS

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CITATIONS

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IMAGES

web:	https://openaccess-cdn.clevelandart.org/1958.33/1958.33_web.jpg
print:	https://openaccess-cdn.clevelandart.org/1958.33/1958.33_print.jpg
full:	https://openaccess-cdn.clevelandart.org/1958.33/1958.33_full.tif