Fox Hunt - Winslow Homer
Archival giclée
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Description
A stark, realistic depiction of a red fox struggling through deep snow, pursued by a flock of crows, painted by Winslow Homer in 1893.
Fox Hunt, painted in 1893, is the largest work in the career of Winslow Homer. It depicts a red fox struggling through deep snow, pursued by a flock of hungry crows. The composition is stark, with the fox positioned in the lower foreground, its body angled away from the viewer as it attempts to escape the birds circling above. The palette is dominated by the cold, blue-white tones of a winter day, contrasted against the dark plumage of the crows and the russet fur of the fox.
Homer painted this work at his studio in Prout's Neck, Maine. He observed the local wildlife closely, often sketching the movements of birds and animals in the surrounding area. The painting captures a moment of natural struggle, stripped of sentimentality. The horizon line is low, which forces the viewer to focus on the immediate tension between the predator and the prey. The crows, painted with broad, dark strokes, loom over the fox, creating a sense of impending threat.
This piece reflects the artist's interest in the harsh realities of the natural world. Unlike many animal paintings of the nineteenth century, which often anthropomorphised their subjects, Homer presents the scene with objective clarity. The fox is not a character in a fable, but a creature caught in a difficult environment. The painting was acquired by the Pennsylvania Academy of the Fine Arts shortly after its completion, where it remains a significant example of American Realism. The work demonstrates Homer's ability to convey narrative through minimal elements, relying on the interplay of light, shadow, and movement to communicate the severity of the winter setting.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Fox Hunt - Winslow Homer
Artist Biography
Winslow Homer
He moved from illustration to painting without formal training, learning oil technique largely by observation. His early paintings are genre scenes of rural American life: children playing, women on croquet lawns, the kind of post-war pastoral that the public wanted. They sold well. He was dissatisfied with them.
In 1881 he went to Cullercoats, a fishing village in northeast England, and spent two years painting the women who waited on the shore for the fishing boats to return. The Cullercoats paintings are darker, more dramatic, and more serious than anything he had made before. The sea became his subject.
He moved to Prouts Neck, Maine, in 1883 and lived there, mostly alone, for the rest of his life. The Maine paintings, The Gulf Stream, Northeaster, Right and Left, are about the confrontation between human beings and the ocean. The figures are small. The water is enormous. The light is cold. He painted the sea the way Constable painted clouds: from direct observation, over years, until he understood its behaviour.
His watercolours, made on fishing trips to the Adirondacks, Florida, and the Bahamas, are freer and more experimental than the oils. Tropical sunlight and clear water brought out colours he did not use in Maine. He died in 1910, at seventy-four.
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