Homer, Winslow (1883). Returning Fishing Boats [watercolor and white gouache over graphite on white paper]. The Fogg Art Museum, Harvard University Art Museums.

Homer uses dense values to define the subject, surrounding it with higher-than-midtone values to give it a sense of unbalanced, bobbing motion. The entire canvas is infused with steady and irresistible energy. The global application of color (reds in particular) is easy to overlook but is one of the major strengths in this work in how it simultaneously adds tension and harmonizes. | 

A small fishing boat occupies the canvas, treated with a sense of isolation, mass and shifting motion. The entire composition feels uneasy. Elementally, this piece is exceptional; there are several expertly blended elements and strategies at work. If I had to select one as the lead, it would be tone. Value defines the subject, does more than any other single element to saturate it in energy, and the full range is richly used. Curved edges support the particular kind of movement inherent in the subject. While dirty, color is also used effectively: Warm reds and yellows reside peacefully next to cool blues and greens. A textural pattern is beautifully embedded in the sea water. 

Spatial depth is plastic and would sink into infinity if not for the wall of haze and smoke Homer renders. There, atmospheric perspective and a restriction of values to the middle-range create the background. There is not much color purity to be found, but all of it is located in the foreground. The value contrast between subject and its surroundings does the most to define foreground depth. The slight elevation of the horizon line and tension in the subject element block “push” the balance point to the left and up, resulting in a sense of asymmetric balance.

Two shape types battle for attention: edge-defined and amorphous. Intuitive value contrast defines the former; the character of air, smoke and water the later. Hue, and less so color purity, do much for this composition, but are subordinate and harmonizing elements. The viewer is positioned on the surface of the water, looking outward into the scene. The picture frame too is subordinate, divided laterally nearly in half. This brings attention more to the middle of the canvas and away from its edges.

The most pleasing aspect to this work is arguably its amazing organization and arrangement of spatial order, which is surprisingly simple. Value deserves special mention for it’s full use and seamless support of the entire composition. Returning Fishing Boats is a truly masterful work.