plate no. 5854
Incoming Tide, Scarboro Maine
Winslow Homer, 1883
recreation guide
Winslow Homer’s *Incoming Tide, Scarborough Maine* (1883) represents a pivotal moment in the artist’s career, marking his transition from the genteel, illustrative style of his earlier years to a more monumental and sober realism focused on the power of nature. Created shortly after his move to Prouts Neck, Maine, this work belongs to a period where Homer began painting 'monumental sea scenes' that depicted figures enduring the 'forces and vagaries of nature' (Source 1). The artwork is distinctive for its departure from the 'spontaneity and bright innocence' of his 1860s–1870s American paintings, adopting instead a 'constrained and sober' palette and a more deliberate execution (Source 2). It reflects his status as a 'hermit with a brush' who found emotional sustenance in the raw observation of the sea rather than urban social life (Source 1).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| High-quality cold-pressed watercolor paper | Homer worked extensively in watercolor, creating a 'fluid and prolific oeuvre' (Source 3). The paper must support wet-on-wet techniques and lifting without pilling. | 300lb (425gsm) cotton cold-pressed paper, such as Arches or Saunders Waterford. |
| Professional-grade watercolor paints | Homer’s technique was 'natural, fluid and confident' (Source 2). High-pigment loads are necessary to achieve the 'solidity and sobriety' noted in his later works (Source 2). | Tube watercolors (e.g., Daniel Smith, Winsor & Newton Cotman/Professional). |
| Hake brushes and round sable brushes | For broad washes of sky and sea, and detailed work on figures or rocks. Homer’s impact on the medium was 'revolutionary' due to his confident handling (Source 2). | Natural hair or high-quality synthetic equivalents. |
| White gouache or opaque watercolor | To create highlights on breaking waves or foam. While Homer primarily used transparent washes, the 'science of painting' notes that body colors can be mixed with transparent washes for solidity (Source 6). | Opaque white watercolor or gouache. |
| Kneaded eraser and lifting tools | To remove pigment for highlights, a common technique in watercolor realism. | Standard kneaded eraser. |
preparation
surface prep
Homer’s watercolors were typically executed on paper without heavy gessoing, allowing the white of the paper to serve as the light source. The paper should be stretched or taped down to prevent buckling during the 'fluid' application of washes (Source 2). No specific ground preparation is mentioned in the sources, implying a standard watercolor practice of using the paper’s natural tooth.
underdrawing
Homer was a trained illustrator, and his early career involved commercial illustration (Source 3). While specific underdrawing methods for this 1883 piece are not detailed, his background suggests a likely use of light pencil or ink lines to establish composition before applying washes. However, his later watercolors are noted for being 'deliberately conceived and executed' (Source 2), suggesting a strong initial design phase. If the artist prefers a looser approach, they may skip detailed underdrawing, relying on the 'natural, fluid' confidence described in Source 2.
underpainting
In watercolor, the 'underpainting' is effectively the first layer of transparent washes. Homer’s technique involved building up layers. The sources note that his watercolors varied from 'highly detailed' to 'broadly impressionistic' (Source 2). For this realistic sea scene, a light initial wash to establish values is recommended, consistent with the 'transparent water-colour' process described in Source 6, where transparency increases with the quantity of medium.
color palette
Sober Blues and Greens
Ultramarine Blue, Phthalo Green, Sap Green
The sea and sky. Homer’s palette became 'constrained and sober' in this period (Source 2), moving away from bright innocence.
Earth Tones (Greys, Browns)
Burnt Umber, Raw Umber, Paynes Grey
Rocks and shadows. The 'solidity and sobriety' of his Cullercoats and Prouts Neck period works suggests muted, naturalistic tones (Source 2).
White (Paper)
None (reserved paper)
Highlights on waves and foam. Watercolor relies on the white of the paper for the brightest lights.
Opaque White
Titanium White (Gouache)
Final highlights on breaking surf, if necessary. Source 6 discusses the use of body colors for solidity.
composition
The composition likely emphasizes the 'weight and authority' of the natural elements, similar to his later works like *Undertow* where figures are dwarfed by nature (Source 1). Homer’s subjects in this period are 'universal and less nationalistic, more heroic by virtue of his unsentimental rendering' (Source 2). The arrangement should avoid 'genteel women at leisure' and instead focus on the 'working bees' or the raw power of the tide (Source 2). The visual path should guide the eye through the turbulent water, using line and value to create a sense of movement and struggle (Source 7).
step by step
underdrawing→first pass→refining→finishing
underdrawing
step 01
Lightly sketch the horizon line, major rock formations, and the direction of the tide. Keep lines minimal to avoid muddying the watercolor.
Tip — Ensure the composition reflects the 'solidity' of the scene (Source 2).
Pencil underdrawing
first pass
step 02
Apply a light, transparent wash to establish the sky and the general value of the sea. Use a large hake brush for broad areas.
Tip — Homer’s technique was 'fluid and confident' (Source 2). Avoid overworking the paper.
Wet-on-wet wash
refining
step 03
Build up darker values in the shadows of the rocks and the deeper parts of the sea. Use the 'constrained and sober' palette (Source 2).
Tip — Allow each layer to dry completely to maintain transparency (Source 6).
Layering transparent washes
step 04
Define the breaking waves and foam. Use lifting techniques or opaque white for highlights if necessary.
Tip — Homer’s later works show a 'deliberate' execution (Source 2). Be precise with the water’s edge.
Lifting and glazing
finishing
step 05
Add final details to the rocks and any figures. Ensure the 'weight and authority' of the natural elements is conveyed (Source 1).
Tip — Avoid 'smallness' or over-modeling; keep the broad masses intact (Source 5).
Detail work
critical techniques
Fluid Watercolor Application
Homer’s watercolor technique was 'natural, fluid and confident' (Source 2). This requires a good understanding of water-to-pigment ratios to achieve the desired transparency and flow.
Sober Palette
In the 1880s, Homer’s palette became 'constrained and sober' (Source 2). Avoid bright, cheerful colors; focus on muted blues, greens, and earth tones to convey the 'solidity and sobriety' of the scene.
Transparency and Layering
Watercolor relies on transparency. Source 6 explains that as the quantity of medium increases, transparency increases. Use this to build depth in the sea without losing luminosity.
common pitfalls
- →Overworking the paper: Homer’s technique was 'confident' (Source 2). Excessive brushing can damage the paper tooth and muddy the colors.
- →Using a bright palette: Homer’s later works are 'sober' (Source 2). Avoid the 'bright innocence' of his earlier period (Source 2).
- →Losing the 'broad masses': Source 5 warns against 'smallness' and over-modeling. Keep the large shapes of the sea and sky dominant.
- →Ignoring the 'weight' of nature: The figures and elements should have 'weight and authority' (Source 1). Do not make the scene feel light or trivial.
what the sources don't tell us
Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.
- ·Specific pigment names used by Homer in 1883 are not listed in the sources.
- ·The exact dimensions of the paper for *Incoming Tide, Scarborough Maine* are not provided.
- ·Detailed information on Homer’s specific brush types for this period is not available, though general watercolor brushes are inferred.
- ·The specific compositional layout of *Incoming Tide* (e.g., placement of figures) is not described in the sources, so general compositional principles are applied.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Science of Painting — CHAPTER XII↗
- Chapter XII — applied to Technique of transparency and layering in watercolor.
The Practice of Oil Painting — ON COPYING↗
- On Copying — applied to Advice on avoiding 'smallness' and maintaining broad masses.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Winslow Homer — part 7↗
- Part 7 — applied to Context of the 1883 period, move to Prouts Neck, and the 'weight and authority' of natural elements.
Wikipedia bio — Winslow Homer — part 6↗
- Part 6 — applied to Watercolor technique, 'fluid and confident' style, 'sober' palette, and 'solidity'.
Wikipedia bio — Winslow Homer — part 1↗
- Part 1 — applied to General career context and transition to watercolors.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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