Mount Washington - Winslow Homer
Archival giclée
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Description
A detailed 1869 oil painting by Winslow Homer depicting a group of tourists on horseback navigating the rocky slopes of Mount Washington.
Painted in 1869, this work captures a group of tourists on horseback navigating the rugged terrain of Mount Washington in New Hampshire. Winslow Homer, known for his keen observation of American life, depicts the party amidst the rocky, uneven ground of the mountain slope. The composition places the riders in the middle distance, their forms silhouetted against the expansive, cloud-filled sky. The horses stand in various positions, some facing the viewer and others turned away, creating a sense of natural, unposed movement.
The colour palette is dominated by muted earth tones, reflecting the granite surfaces and the overcast atmosphere of the high altitude. Homer employs a realistic approach to the textures of the stone and the tack on the horses, providing a clear sense of the physical environment. The figures, dressed in the contemporary attire of the late nineteenth century, appear small in comparison to the vastness of the mountain, suggesting the scale of the natural world. This piece reflects the growing interest in domestic travel and the exploration of the American wilderness during the post-Civil War era.
Unlike his later, more dramatic maritime works, this painting focuses on the social activity of mountain tourism. The light is diffused, typical of a cloudy day, which softens the shadows and allows for a focus on the interaction between the riders and their mounts. The work remains a precise record of a specific moment in time, documenting both the fashion and the recreational habits of the period. It is a study of human presence within a challenging, untamed environment, rendered with the technical precision that defined Homer's early career.
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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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Manufacturing
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
Mount Washington - 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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