The Veteran in a New Field

The Veteran in a New Field
The Veteran in a New Field
Artist	Winslow Homer
Year	1865
Medium	Oil on canvas
Dimensions	61.3 cm × 96.8 cm (24.1 in × 38.1 in)
Location	Metropolitan Museum of Art, New York City
Accession	67.187.131

The Veteran in a New Field is a mid 19th-century oil-on-canvas painting by American artist Winslow Homer.^[1] It is set in the aftermath of the American Civil War and embodies the postwar reality of American society. The painting depicts a farmer harvesting wheat in a field with a scythe. The farmer in the painting is identified as a former Union Soldier from his discarded jacket and canteen in the right foreground of the painting.^[2] This painting was one of several Homer did on the American Civil War, including his previous works Home, Sweet Home and Prisoners from the Front.^[3] The Veteran in a New Field is a transitionary work in Homer's discography, that comments on the post-war return of soldiers after the Civil War, and the history of death they bring along with them. It uses biblical themes and emotional responses while also establishing a thematic connection to classical history and nature.

Homer finished the painting in 1865, the concluding year of the American Civil War.^[1] The painting was eventually donated to the Metropolitan Museum of Art as part of the bequest of Adelaide Milton de Groot in 1867. This is where it currently resides, although it is not on view.^[2]

Description and Background

This painting is decidedly simpler than other paintings Homer made at this time. It instead focuses on the veteran as the sole figure in a field of grain, holding a simple scythe.^[4] It is not outwardly obvious that the farmer is a veteran of the American Civil War, the only evidence being the jacket and canteen in the lower right hand corner of the painting— sitting in the downed wheat.^[5] Additionally, the painting embraces a symbolic nature, formality, and expressive change, which were new techniques for Homer.^[3] The use of new techniques and styles created a distinct painting within his discography.

In this work, Homer employs the use of the Rückenfigur, which is the figure seen from behind. This allows the veteran to be a stand in for any soldier that fought for the Union.^[4] The presence of the jacket and canteen identify the veteran as a former Union soldier, specifically from the division that Homer served in during his time in the American Civil War. The presence of wheat is also used to symbolize the North. Wheat is a northern crop, and was often used on patriotic images during the Civil War period. Additionally, during this time, the North was often said to be "as good as wheat," establishing a connection to the North.^[6] Homer's inclusion of wheat— a pronouncedly Northern crop— references the Union's victory over the South.^[7]

The Veteran in a New Field has been proposed to be an elegy to Abraham Lincoln, who was assassinated the year the painting was finished. The painting's focus on the North and Union, along with its melancholy tone have led art historians such as Nancy Rash to theorize that the painting itself was made in order to honor Lincoln and his legacy.^[6]

Analysis

Death

One of the important aspects of the painting is the scythe the veteran holds. This scythe creates a comparison with the Grim Reaper, the famous harbinger of death. This emphasizes the farmer's past as a soldier, and their deep connection to death. The presence of the of the veteran harvesting the wheat parallels the massive loss of life in the American Civil War, and the "harvesting" of bodies that took place. The veterans time at war has prepared him for his time in the field, making him more successful at harvesting.^[5]

Additionally, the use of wheat as a crop is an important aspect of the painting. Wheat has in the past been placed on coffins, creating a deep connection between the crop and death. The veteran is surrounded by wheat, showing how the veteran has been surrounded by death during his time at war.^[3]

The presence of the harvest and of death— through the scythe and the connotations of wheat— in the same scene establish a connection between death and the harvest itself. This embodies the cultural intertwining of death and the harvest, which can often be seen in art throughout the ages.^[8]

Biblical Themes

Homer's scene in The Veteran in a New Field references multiple verses from the Bible. Within the New and Old Testaments, there is the claim that "all flesh is grass". This phrase gives the actions of the veteran a double meaning, as he is cutting down wheat— a form of grass. The veteran is cutting down grass as he once cut down flesh in war, making him both a farmer and a killer.^[3]

The painting also references Isaiah 2:4, which speaks of peace after war. The verse calls for former soldiers to "beat their swords into plowshares", in order to no longer participate in war. This verse parallels the actions of the Veteran in the painting, who has stopped participating in war with the end of the American Civil War, and instead turned to farming. The veteran has turned in his sword for a scythe, a farming tool like the plowshare. The comparison to Isaiah 2:4, creates a call for peace, one which was often seen in the beginnings of the Civil War.^[9]

Post-War Return

When the painting was released, it was criticized for the lack of accuracy when it came to the work in the field. However, Homer chose to focus on the figure at work instead of adhering to accuracy in relation to farming practices. The solitary figure shows the return to pre-war ideals in the post-war time, such as the ideal of manly independence.^[5] The solitary, emotionless figure also adds context to the state of soldiers in their post-war return. The "emotionless" veteran may possibly be implying that the soldiers will be forever colored by the Civil War.^[4] The painting also references a popular homecoming scene at the time, of a soldier returning from war to his family and farm. The veteran continues to work on his field in the post-war era, showing a renewed sense of purpose for man as American society tries to come to grips with death and war.^[10]^[11]

Emotional Response

The Veteran in a New Field emphasizes a feeling of hopefulness and overwhelming atmosphere. The veteran is a reminder of the pain and suffering of the Civil War, which is contrasted to the hard work that he is doing in harvesting wheat. The veteran's pain and toil creates the ability to harvest the wheat, leading to the rebirth of nature around him. This painting shows that there is hope for the rebirth of the nation after the horrors of the American Civil War. It is a hopeful scene, offering solace for the future to come.^[4] The solitary figure of the veteran also establishes a sense of melancholy throughout the painting.^[6] The veteran feels haunted, and overwhelmed by their surroundings.^[4]

Nature

There is also the juxtaposition of the veteran and the surrounding nature. The veteran represents the violence of war, and the surrounding nature represents peace. By placing the somber former soldier within the tranquil scene of nature, the art piece shows the reunion of a violent past with a peaceful present and the reunion of man with nature.^[11]

Additionally, the painting could be a commentary on the overwhelming struggle of humanity versus nature. The veteran is surrounded on all sides by wheat, alone, emphasizing the sense of being overwhelmed by nature.^[4]

Comparisons

Home, Sweet Home and Other Civil War Works by Homer

Homer is a well-known American artist that often made pieces focused on the Civil War. Homer's works often focused on the soldiers of the Civil War. The Veteran in a New Field is a piece from the end of the Civil War which emphasizes the role of soldiers. A similar work by Homer, Home, Sweet Home was produced 2 years later, focusing on the same theme. Both of these works maintain a sense of thoughtfulness, although both works do have their differences. In the two years between Home, Sweet Home and The Veteran in a New Field, Homer's work went from maintaining a sense of loquaciousness to gaining a sense of simplicity and minimalism. The Veteran in a New Field shows Homer's change in style and shift in statement and represents a transitory period in Homer's artistic career.^[3]

The Veteran in a New Field also maintains similarities to Prisoners from the Front, another painting that references the soldiers of the Civil War. Prisoners from the Front was painted a year after The Veteran in a New Field, and exemplifies Homer's new tradition of symbolism. Both paintings also engage in the current culture of the time, embracing current ideological and political consciousnesses pertaining to the Civil War. However, Prisoners from the Front became Homer's greatest work, and the standard for his other paintings.^[3]

Classical History

The Veteran in a New Field establishes a comparison between the veteran in the scene and Cincinnatus, a famous Roman soldier and politician. Cincinnatus, like the veteran, was called for duty to his country. Cincinnatus was called to lead the Roman Empire, and only maintained control until he was no longer needed. He peacefully left his post, going back to work on his farm. This directly parallels the life of the veteran within the painting. The veteran was called to fulfill his duty to his country, and to fight for its survival. After the veteran served his state, he left in order to work on his farm, which is pictured within the painting. The veteran is equated to Cincinnatus, the legendary figure of honor and integrity who was held to high esteem for the Romans.^[3]

Critical Reception

When The Veteran in a New Field debuted in 1865, it received a critical reception by the public. It was said to be painted quickly and sloppily, particularly in the field and in the suggested trees. There was also criticism in how the veteran is harvesting the grain. In order to harvest grain correct, a scythe and a cradle is needed, but only a scythe is pictured in the painting. This spawned criticisms on the inaccuracies of the painting. Homer's work would continue to garner criticism after this painting as well, with most of the criticism focused on his style.^[3]

References

^ ^a ^b Weinberg, H. Barbara (October 2004). "Winslow Homer (1836–1910)". The Met Museum. Retrieved 2020-10-22.{{cite web}}: CS1 maint: url-status (link)
^ ^a ^b "The Veteran in a New Field". The MET Museum. Retrieved 2020-10-22.{{cite web}}: CS1 maint: url-status (link)
^ ^a ^b ^c ^d ^e ^f ^g ^h Cikovsky, Jr., Nicolai (September 27, 1995). Winslow Homer (1st ed.). Washington, DC, United States of America: Yale University Press. pp. 24–26. ISBN 978-0300065558.{{cite book}}: CS1 maint: year (link)
^ ^a ^b ^c ^d ^e ^f Conn, Steven (2002). "Narrative Trauma and Civil War History Painting, or Why Are These Pictures so Terrible?". History and Theory. 41 (4): 40–41. ISSN 0018-2656.
^ ^a ^b ^c Casey, John A. (2015). New Men: Reconstructing the Image of the Veteran in Late-Nineteenth-Century American Literature and Culture. Fordham University Press. pp. 51–53. doi:10.2307/j.ctt13x0c5g.7.
^ ^a ^b ^c Rash, Nancy. “A Note on Winslow Homer’s ‘Veteran in a New Field’ and Union Victory.” American Art 9, no. 2 (1995): 88–90.
^ Salinger, Margaretta M.; N.Y.), Metropolitan Museum of Art (New York (1986). Masterpieces of American Painting in the Metropolitan Museum of Art. Metropolitan Museum of Art. ISBN 978-0-87099-472-2.
^ Wilson, Christopher Kent (1985). "Winslow Homer's "The Veteran in a New Field": A Study of the Harvest Metaphor and Popular Culture". American Art Journal. 17 (4): 16–21. doi:10.2307/1594424. ISSN 0002-7359.
^ Wilson, Christopher Kent (1985). "Winslow Homer's "The Veteran in a New Field": A Study of the Harvest Metaphor and Popular Culture". American Art Journal. 17 (4): 15. doi:10.2307/1594424. ISSN 0002-7359.
^ Wilson, Christopher Kent (1985). "Winslow Homer's "The Veteran in a New Field": A Study of the Harvest Metaphor and Popular Culture". American Art Journal. 17 (4): 5. doi:10.2307/1594424. ISSN 0002-7359.
^ ^a ^b Wilson, Christopher Kent (1985). "Winslow Homer's "The Veteran in a New Field": A Study of the Harvest Metaphor and Popular Culture". American Art Journal. 17 (4): 11-12. doi:10.2307/1594424. ISSN 0002-7359

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