In this case, Homer gets away with using such nontraditional artistic devises because he has set up interesting dynamic tensions and a strong sense of movement. In addition, Homer has cut the painting in half with two very strong horizontal lines. But even this invitation into the middle area of the painting is situated uncomfortably far to the left and leads us away from the main focal point: the white sailboat. The vertical opening into the cool tropical greens and blues of the water’s edge provides the only relief. The obtrusive wall not only dominates the lower half of the painting it also is simple and untextured. Far from a typical scenic panorama, Homer has blocked the classic view of the shoreline with a thick gray wall. To be sure, the scene is filled with lush tropical colors and striking Caribbean light, but the viewpoint is very unusual. But in his watercolor, A Wall, Nassau, Homer doesn’t give the viewer the classic picture postcard view. Popular for its beautiful setting and temperate climate, this Bahamas port was a fashionable resort even then. In the winter of 1885-86, Winslow Homer (1836-1910) painted a number of striking watercolors while on holiday in Nassau.
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