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  • <i>Winter Landscape</i>, ca. 1630
    • Birdman, Atlanta, 2008
    • Birdman, Atlanta, 2008
    • Birdman, Atlanta, 2008
    • Birdman, Atlanta, 2008
    • Birdman, Atlanta, 2008
    • Birdman, Atlanta, 2008
    • Birdman, Atlanta, 2008
    • Birdman, Atlanta, 2008
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    Winter Landscape, ca. 1630

    Hendrick Avercamp's winter scene conveys a message about democratic social values: various classes – rich and poor, old and young, male and female – are bound together through leisure. Nevertheless, kolf was connected to elite status in seventeenth-century Dutch society, here evidenced by the players' colorful, elegant clothing. The copper support, unusual for Avercamp, provides a smooth surface appropriate to the gemlike quality of the depiction. Two thin tree trunks enclosed in the ice provide the goal for the group of four kolfers in the right foreground.

    Hendrick Avercamp (Dutch, 1585-1634), Winter Landscape, ca. 1630, oil on copper, 11 1/4 x 16 3/4 inches.  Scottish National Gallery.

    The Art of Golf


    Organized by the High Museum of Art and the National Galleries of Scotland, The Art of Golf explores how European and American artists have depicted the royal and ancient game for more than four centuries.

    From the seventeenth-century landscapes of Hendrick Avercamp to Andy Warhol's portrait of Jack Nicklaus, artists have approached golf from a diverse range of perspectives. In Scotland—the birthplace of the modern game—Charles Lees presented his masterpiece The Golfers in a heroic scale usually reserved for history painting, while in the United States, impressionistic landscapes by Childe Hassam and James McNeill Whistler underscored the relationship between golf, modern ideas about recreation, and genteel manners. Photographer Harold Edgerton dissected the game from a methodical, technological perspective, paralleling the revolution in equipment design and innovations in golf instruction, and Norman Rockwell's illustrations for The Saturday Evening Post poked gentle fun at the foibles experienced by a new generation of middle-class golfers. Finally, native Atlantan Robert Tyre "Bobby" Jones, Jr., was one of the game's most beloved players and deserves credit for popularizing the game on both sides of the Atlantic. Jones was a favored subject for artists throughout most of the twentieth century, having served as a bridge between the United States and Scotland—an ambassador, of sorts, beloved by both countries for his dedication, integrity, and love for the game.

    The Art of Golf brings together extraordinary, rare, and even whimsical works of art to celebrate what Jones called "a game of considerable passion."

    Charles Lee, The Golfers, 1847 
    Charles Lees (Scottish, 1800–1880), The Golfers, 1847. Oil on canvas, 51½ x 84¼ inches.
    Scottish National Portrait Gallery, purchased with the assistance of the Heritage Lottery Fund,
    The Art Fund and the Royal and
    Ancient Golf Club, 2002, PG 3299.


    Margaret Browne, Portrait of Bobby Jones 
    Margaret Fitzhugh Browne
    (American, 1884-1972)
    Portrait of Bobby Jones, 1928.
    Oil on canvas, 37 x 31 inches
    High Museum of Art, Atlanta, 28.26



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