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Largely self-taught, Homer began his career working as a commercial illustrator. He subsequently took up oil painting and produced major studio works characterized by the weight and density he exploited from the medium. He also worked extensively in watercolor, creating a fluid and prolific oeuvre, primarily chronicling his working vacations.
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A redemptive feature is bountiful wheat—a northern crop—which could connote the Union's victory. Referring to death and life, Homer's iconic composition offers a powerful meditation on America's sacrifices and its potential for recovery. By 1900, Homer finally reached financial stability, as his paintings fetched good prices from museums and he began to receive rents from real estate properties. He also became free of the responsibilities of caring for his father, who had died two years earlier. Homer continued producing excellent watercolors, mostly on trips to Canada and the Caribbean. Other late works include sporting scenes such as Right and Left, as well as seascapes absent of human figures, mostly of waves crashing against rocks in varying light.
After General Robert E. Lee's surrender at Appomattox in April 1865, the Union and Confederate armies were peacefully disbanded. The wheat has grown high, and the field stretches all the way to the horizon; an unusually bountiful crop had, in fact, marked the end of the war. The farmer's military jacket and canteen lie discarded in the foreground, almost covered by fallen stalks of grain. When the painting was first shown, it was criticized as an inaccurate depiction of farming. Homer, however, may have deliberately simplified the scene to emphasize symbolic themes, such as the return to pre-war ideals of manly independence. The solitary, emotionless veteran may also imply that the soldiers will be forever marked by the experience of the Civil War.
Winslow Homer
Having been sold privately soon after being finished, the piece would eventually be gifted to the museum, allowing the general public to see it in person. This composition is among Homer's simplest, showing the veteran as the sole figure in a field of grain, holding a scythe. The only pieces of evidence that the figure is a Civil War veteran are the jacket and canteen in the lower right hand corner, in the downed wheat.
Despite what he’s gone through, despite the fact that a new, endless field of grain may be daunting, he drops his uniform, picks up the scythe and carries on. The image of a soldier returning to his farm would have reassured Homer's audience that life went on. Even in the aftermath of the worst disasters, the artist seems to say, life has the capacity to restore itself. When The Veteran in a New Field was first exhibited in 1865, it received generally negative reviews. It was said to be painted quickly and sloppily, particularly in the field and in the suggested trees. Critics also objected to the way that the veteran harvests the grain.
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The Veteran in a New Field refers both to the desolation caused by the war and the country's hope for the future. It summons up the conflicting emotions that took hold of American's relief that the Civil War was over, and grief for the many lives that had been lost. Nor did the loss of lives end on the battlefield; only days after Appomattox came the assassination of Abraham Lincoln, and the nation sank into a collective state of mourning. The Veteran in a New Field thus takes on another dimension, as an expression of despair over the senseless death of a great president.
As a result of disappointments with women or from some other emotional turmoil, Homer became reclusive in the late 1870s, no longer enjoying urban social life and living instead in Gloucester. For a while, he even lived in secluded Eastern Point Lighthouse (with the keeper's family). In re-establishing his love of the sea, Homer found a rich source of themes while closely observing the fishermen, the sea, and the marine weather. After 1880, he rarely featured genteel women at leisure, focusing instead on working women.
The Veteran in a New Field has also been interpreted as an elegy to Abraham Lincoln, who was assassinated the year the painting was finished. The painting's focus on the North and Union, along with its melancholy tone have led art historians such as Nancy Rash to theorize that the painting itself was made in order to honor Lincoln and his legacy. The harvest and death had often been linked in art from earlier eras.
His subjects more universal and less nationalistic, more heroic by virtue of his unsentimental rendering. Although he moved away from the spontaneity and bright innocence of the American paintings of the 1860s and 1870s, Homer found a new style and vision which carried his talent into new realms. Throughout the 1870s, Homer continued painting mostly rural or idyllic scenes of farm life, children playing, and young adults courting, including Country School and The Morning Bell . In 1875, Homer quit working as a commercial illustrator and vowed to survive on his paintings and watercolors alone.
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Many of the paintings from the English coast have as subjects working men and women from the area. Pastoral landscapes and lifestyle is a genre of literature, art and music that depicts shepherds herding livestock around open areas of land according to seasons and the changing availability of water and pasturage. Homer died in 1910 at the age of 74 in his Prouts Neck studio and was interred in the Mount Auburn Cemetery in Cambridge, Massachusetts. His painting, Shooting the Rapids, Saguenay River, remains unfinished. After the war, Homer turned his attention primarily to scenes of childhood and young women, reflecting nostalgia for simpler times, both his own and the nation as a whole. Before moving to New York in 1859, Homer lived in Belmont, Massachusetts with his family.
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