Not currently on view
In the collection of Art Institute of Chicago, Chicago · as of July 2026
FROM THE ART INSTITUTE OF CHICAGO’S CATALOG
Philip Beam has identified the site for Prout’s Neck, Breaking Wave as “the shoreline a little above water’s edge in the vicinity of Cannon Rock, looking toward High Cliff,” adding that Homer “fished from this point almost daily during the summer and fall and must have seen such waves "a thousand times" (Beam 1966, n.p.). Homer’s familiarity with the site is born out by the techniques that he used to capture the relentless churning movement of the massive wave. Although he used very little graphite in this work, he mapped out the frothy whites of the wave by making staccato marks with resist , probably using chalk for this purpose. Homer used almost every trick he knew to achieve the varied textures of water, shore, and sky, including layering, blotting, rewetting, and scraping. Although carefully planned and carried out, the final effect is vigorous and immediate.
Be the first to share your thoughts.
Sign in to join the discussion.
Winslow Homer (American, 1836–1910) — Early Morning After a
Gustave Courbet — Marine: The Waterspout
William Henry Drake (American, 1856–1926) — Tail Piece for C
John Glover — Barren Coast and Slight Storm
Eduard Hildebrandt — Stormy Sea
Thomas Moran — The Resounding Sea
Anthony Vandyke Copley Fielding (British, 1787–1855) — Marin
Gustave Courbet — The Sea
Anton Melbye — Fishing Boat at Sea
John Constable|David Lucas — Weymouth Bay
Eugène Isabey — A Storm off the Normandy Coast
Hendrik Willem Mesdag — Lighthouse in Breaking Waves