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Drawing, Bridle Path, White Mountains
This is a Drawing. It was created by Winslow Homer. It is dated August 24, 1868 and we acquired it in 1912. Its medium is graphite on cream wove paper . It is a part of the Drawings, Prints, and Graphic Design department.
Winslow Homer’s White Mountains images, in contrast to those by
Frederic Church or Daniel Huntington (hanging nearby), focused not on the spiritual in nature, but rather on a secular landscape activated by tourists. Homer came to the White Mountains in 1868 and 1869 on assignment from Harper’s Weekly to prepare illustrations of the latest travel spots that would appeal to its fashionable female readers. A graphic
designer as well as a painter, Homer learned to “multitask,” using the same drawings for both illustrations and paintings. This study of the horse and saddle of the central rider in the Bridal Path, White Mountains (1868), which Homer had traced from an earlier study, was used again for the painting Mount Washington and the illustration The Summit of Mount Washington (1869).
Wall Label from exhibition, "Frederic Church, Winslow Homer, and Thomas Moran: Tourism and the American Landscape," Smithsonian Cooper-Hewitt, National Design Museum, New York, NY.
This object was
donated by
Charles Savage Homer, Jr..
It is credited Gift of Charles Savage Homer, Jr..
Its dimensions are
Sheet: 16.8 x 24.3 cm (6 5/8 x 9 9/16 in.)
It is inscribed
Inscribed in graphite, at lower right corner: Mt. Washington / Aug. 24, 1868.
Cite this object as
Drawing, Bridle Path, White Mountains; Winslow Homer (American, 1836–1910); USA; graphite on cream wove paper ; Sheet: 16.8 x 24.3 cm (6 5/8 x 9 9/16 in.); Gift of Charles Savage Homer, Jr.; 1912-12-221
This object was previously on display as a part of the exhibition Frederic Church, Winslow Homer & Thomas Moran: Tourism and the American Landscape.