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Painting for Money: Winslow Homer as Entrepreneur

Kevin M. Murphy
Winterthur Portfolio
Vol. 37, No. 2/3 (Summer/Autumn 2002), pp. 147-160
DOI: 10.1086/379950
Stable URL: http://www.jstor.org/stable/10.1086/379950
Page Count: 14
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Painting for Money
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Abstract

Early in his career, Winslow Homer eschewed commissions, choosing instead to put his faith in and direct his efforts toward the growing speculative market for American paintings. Denying himself the income from patrons, he worked tirelessly to manage his artistic production for maximum gain through a matrix of venues: galleries, academies, clubs, and expositions. His efforts to sell his work have trickled down to our experience of it. Homer consistently reworked or cropped paintings that proved difficult to sell, leaving visible traces of his marketing process. These traces are as visible as his creative and formal processes and remain inseparable from them.

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