Eastman Johnson

Eastman Johnson
Eastman Johnson self-portrait, 1863.jpg
Self-portrait of Eastman Johnson, 1863
Born(1824-07-29)July 29, 1824
Lovell, Maine
DiedApril 5, 1906(1906-04-05) (aged 81)
NationalityAmerican
Known forPainting

Jonathan Eastman Johnson (July 29, 1824 – April 5, 1906)[1] was an American painter and co-founder of the Metropolitan Museum of Art, New York City, with his name inscribed at its entrance. He was best known for his genre paintings, paintings of scenes from everyday life, and his portraits both of everyday people and prominent Americans such as Abraham Lincoln, Nathaniel Hawthorne, Ralph Waldo Emerson, and Henry Wadsworth Longfellow. His later works often show the influence of the 17th-century Dutch masters, whom he studied in The Hague in the 1850s; he was known as The American Rembrandt in his day.[2]

Life

Eastman Johnson, 1890s, albumen print (cabinet card) by Edwin S. Bennett, Department of Image Collections, National Gallery of Art Library, Washington, DC
Eastman Johnson's portrait of his brother, Commodore Philip Carrigan Johnson, oil on canvas, 21 × 25 in., 1876

Johnson was born in Lovell, Maine, the eighth and last child of Philip Carrigan Johnson and Mary Kimball Chandler (born in New Hampshire, October 18, 1796, married 1818). His elder siblings were Philip, sisters Harriet, Judith, Mary, Sarah, and Nell, and brother Reuben. (His eldest brother Philip became a Commodore in the United States Navy and father of Vice Admiral Alfred Wilkinson Johnson.)

Eastman grew up in Fryeburg and Augusta, where the family lived at Pleasant Street and later at 61 Winthrop Street.[3] His father was the owner of several businesses, and active in fraternal organizations: he was Grand Secretary of the Grand Lodge of Maine (ancient Free and Accepted Masons) (1836–1844). He was appointed in 1840 as Secretary of State for Maine, serving two years.[2]

Comparison of Cranberry Pickers, Nantucket (1879) and The Cranberry Harvest, Island of Nantucket (1880). Both are oil on canvas

Career

Eastman Johnson's career as an artist began when his father apprenticed him in 1840 to a Boston lithographer. After his father's political patron, the Governor of Maine John Fairfield, entered the US Senate, the senior Johnson was appointed by US President James Polk in the late 1840s as Chief Clerk in the Bureau of Construction, Equipment, and Repair of the Navy Department. The family moved to Washington, DC and first lived in rental housing. In 1853, they bought a new rowhouse at 266 F Street, between Thirteenth and Fourteenth streets and a few blocks from the White House and the Navy Department offices, which became their permanent home.[2] Although the young Johnson lived for a time in Boston, and studied in Europe, he used this home as his base until moving to New York City in the late 1850s.[2]

The young Johnson moved to Washington, D.C. at about age 20, supporting himself by making crayon portraits, including John Quincy Adams, and Dolly Madison, and likely helped by his father's political connections.[2] He returned to New England, settling in Boston in 1846 at the age of 22.[4]

In 1849, Johnson went overseas to Germany, for further studies at the Kunstakademie Düsseldorf. This had become a new center where many artists, including many Americans, studied art.[5][6] They took part in the Düsseldorf school of painting.

In January 1851, Johnson was accepted into the studio of Emanuel Gottlieb Leutze,[7][8] a German who had lived in the United States for a while before returning to Germany.[5] His major work completed there is his portrait of Worthington Whittredge.[9]

Henry Wadsworth LongfellowNathaniel HawthorneRalph Waldo Emerson, crayon and chalk on paper, each 21 × 19 in. oval, 1846

Johnson moved to The Hague, where he studied 17th-century Dutch and Flemish masters. He ended his European travels in Paris, studying with the academic painter Thomas Couture in 1855 before returning to the United States that year due to the death of his mother.

In 1856, he visited his sister Sarah and her family in Superior, Wisconsin.[10] His mixed-race guide Stephen Bonga, who was Ojibwe and African-American, took Johnson among the native Anishinaabe (Ojibwe) in the areas around Superior. Throughout 1857 Johnson frequently painted them in intimate, casual poses.[8] According to the Wisconsin Historical Society, Johnson traveled with Bonga to the areas today known as Grand Portage National Monument, Apostle Islands National Monument, and Isle Royale National Park.[11]

By 1859, Johnson had returned to the East and established a studio in New York City. He secured his reputation as an American artist that year with an exhibit at the National Academy of Design featuring his painting, Negro Life at the South (1859) or, as it was popularly called, Old Kentucky Home. It was set in the urban back yards of Washington, DC rather than on a plantation.[12][13] That year Johnson was elected into the National Academy of Design as an Associate member and became a full Academician in 1860.

Johnson also became a member of the Union League Club of New York, which holds many of his paintings. In 1869, at the age of 55, he married for the first time, to Elizabeth Buckley. They had one daughter, Ethel Eastman Johnson, born in 1870. Ethel married Alfred Ronalds Conkling (nephew of Senator Roscoe Conkling) in 1896.

On his death in 1906, Eastman Johnson was buried at Green-Wood Cemetery in Brooklyn, New York.

Style

Ojibwe Wigwam at Grand Portage, oil on canvas, 1857, 10 × 15 in. Courtesy of the St. Louis County Historical Society, Duluth, MN.

Johnson's style is largely realistic in both subject matter and in execution. His charcoal sketches were not strongly influenced by period artists, but are informed more by his lithography training. Later works show influence by the 17th-century Dutch and Flemish masters, and also by Jean-François Millet. Echoes of Millet's The Gleaners can be seen in Johnson's The Cranberry Harvest, Island of Nantucket, although the emotional tone of the work is far different.

His careful portrayal of individuals rather than stereotypes enhances the realism of his paintings. Ojibwe artist Carl Gawboy notes that the faces in the 1857 portraits of Ojibwe people by Johnson are recognizable in people in the Ojibwe community today.[14] Some of his paintings, such as Ojibwe Wigwam at Grand Portage, are highly realistic, with details seen in the later photorealism movement.[15]

His careful attention to light sources contributes to the realism. Portraits, Girl and Pets and The Boy Lincoln, make use of single light sources in a manner that is similar to the 17th-century Dutch Masters whom he had studied in The Hague in the 1850s.

Subject matter

Portraits

Johnson's subject matter included portraits of the wealthy and influential, from the President of the United States, to literary figures, to unnamed individuals. He is best known for his paintings of everyday people in everyday scenes. Johnson often repainted the same subject changing style or details.

New England

His works of New England life, such as The Cranberry Harvest, Island of Nantucket, The Old Stagecoach, Husking Bee, Island of Nantucket, The Sap Gatherers, and Sugaring Off at the Camp, Fryeburg, Maine, established him as a genre painter. Over the course of five years, he made many sketches and smaller paintings of the processing of maple sap into maple sugar, but never completed the larger work he had started.[16]

In contrast, he developed the much celebrated Old Stagecoach mostly in his studio, and he carefully planned its composition. The stage coach was based on an abandoned coach which he had come across and sketched while hiking in the Catskills. He used local children recruited as models from near his Nantucket studio. Despite this artifice, the painting was celebrated as wholesome, natural and bucolic.[17]

Ojibwe

Kay be sen day way We Win, charcoal and crayon on paper, 1857, 11 × 14 in. Courtesy of the St. Louis County Historical Society, Duluth, MN.

In 1856–1857, Johnson visited his sister Sarah and brother in Superior on the western frontier of Wisconsin at Lake Superior. He was aided in traveling in the area and in meeting Ojibwe people by Stephen Bonga, an interpreter and guide of Ojibwe/African-American parents.[11]

Carl Gawboy, a modern-day Ojibwe artist, speculates that Johnson's time with Bonga and his mixed-race family (Bonga had an Ojibwe wife as well as mother) changed his approach to painting.[14] Certainly Johnson was successful in getting many Ojibwe to sit for him as subjects. In his drawings and paintings, Johnson portrayed Ojibwe people in a more intimate and relaxed manner than was usual for paintings of that period. Also unusual was that he often included the subject's names in the titles of the works. He did not focus solely on individual portraits, but also did paintings and sketches of scenes which include Ojibwe dwellings, St. Louis Bay, and other groupings of Ojibwe in everyday activities.[14][15]

Johnson left Wisconsin due to a widespread financial panic, which rendered his real estate investments there worthless. He moved to Cincinnati, Ohio to earn money by portrait commissions, and never returned to the subject of the Ojibwe.[17] His paintings and sketches of the Ojibwe remained unsold during his lifetime. They are now owned by the St. Louis County Historical Society in Duluth, Minnesota.[18]

Slavery

Negro Life at the South, oil on canvas, 1859, 36 × 45 in.

Negro Life at the South (1859), completed shortly before the Civil War began, is considered Johnson's masterpiece. Because of its complexity, it has been analyzed and interpreted at length by scholars.[19][20] The painting depicts an urban "back street" scene of slaves in Washington, DC, although it became popularly known from that year as Old Kentucky Home (based on the song "My Old Kentucky Home" by Stephen Foster) and was referred to as showing plantation life.[2][12] The painting shows a range of domestic activities behind a dilapidated house, with a house of better condition to the right. (The setting is the backyard of slave quarters near Johnson's father's house in Washington.)[12]

On the left in the foreground are a young black man and light-skinned woman courting,[2] in the middle is a banjo player making music, where an adult woman dances with a child, as others look on. At the right edge, a young white woman in a refined white dress steps over a threshold from the house next door into this world, with another black figure behind her. (She is Johnson's sister.[12]) An adult black woman looks out an upstairs window as she steadies a small light-skinned child sitting on the partially collapsed roof. The woman dancing with the child in the middle foreground has the darkest skin; nearly each individual is painted with a different skin tone.

These variations among "people of color" reflect African-American society of the Upper South, but also invite the viewer to contemplate the mixed racial ancestry of those portrayed.[2] Several elements hint at or symbolize relations to an unseen wealthier white father—the mulatto children, the ladder from the Negro quarters up to a larger house next door and, symbolically, the rooster high in the tree near the taller house and hen on the Negroes' house roof.[20] Both proponents and detractors of slavery perceived this painting as supporting their world views, because the Negroes seem cheerful enough, but their house is dilapidated.[2][20]

A Ride for Liberty – The Fugitive Slaves, oil on paperboard, ca. 1862, Brooklyn Museum

A Ride for Liberty – The Fugitive Slaves (1862), which depicts a slave family riding at dawn to freedom, also invites interpretation. Johnson places the slave family squarely in the center of the work, acting as agents of their own destiny.[21] It appears to be dawn and in the distance is light on bayonets, indicating Union lines.[21] A man rides with a child in front of him; behind him, a woman holds an infant close to her chest. She looks behind her as if worried about pursuers, or wondering what she left behind.[21] Curator Eleanor Harvey writes the painting "captures the moment when the full scope of the slavery question begins to loom. Johnson placed these people squarely in the foreground and, in doing so, elevated their plight in the national debate."[21]

Johnson noted at the time that the painting is based on his observations during the Civil War Battle of Manassas.[13]

His work, The Lord is My Shepherd (1863), shows an African-American man reading from the Bible, presumably from Psalm chapter 23, given the name of Eastman's work. Here he sits against a blue jacket that may indicate service in the Union army. It was painted soon after the announcement of the Emancipation Proclamation, by which many blacks made their exodus from slavery to freedom. Reading was seen as key to the ability of freedmen to make progress.[22]

Gallery

Notes

  1. ^ Hills, Patricia (2000). "Johnson, Eastman (1824-1906), genre and portrait painter". American National Biography. doi:10.1093/anb/9780198606697.article.1700460. ISBN 978-0-19-860669-7.
  2. ^ a b c d e f g h i John Davis, "Eastman Johnson's Negro Life at the South and Urban Slavery in Washington, D.C.", Art Bulletin, March 1998, at JSTOR, accessed January 26, 2014
  3. ^ "University of Maine". Retrieved July 9, 2007.
  4. ^ Hills 1972, pp. 6–9.
  5. ^ a b "Emanuel Gottlieb Leutze". Archived from the original on March 21, 2006. Retrieved August 19, 2006.
  6. ^ "Edward Beyer". Archived from the original on July 19, 2006. Retrieved August 19, 2006.
  7. ^ Hills 1972, p. 11.
  8. ^ a b "Eastman Johnson: Painting America". Traditional Fine Arts Organization, Inc. Retrieved August 19, 2006.
  9. ^ Hills 1972, p. 17.
  10. ^ Hills 1972, p. 21.
  11. ^ a b "Portrait of Stephen Bonga", Wisconsin Historical Images, accessed January 23, 2014
  12. ^ a b c d "Negro Life at the South". New-York Historical Society. Archived from the original on February 8, 2013. Retrieved February 15, 2013.
  13. ^ a b "A Ride for Liberty – The Fugitive Slaves". Retrieved August 19, 2006.
  14. ^ a b c Stephanie Hemphill (July 4, 2006). "Eastman Johnson's legacy in art". Minnesota Public Radio. Retrieved August 19, 2006.
  15. ^ a b "Civil War Symbolism". Carnegie Museum Magazine. January–February 1997. Archived from the original on December 30, 2005. Retrieved August 19, 2006.
  16. ^ "Sugaring Off". Archived from the original on August 12, 2006. Retrieved August 19, 2006.
  17. ^ a b Carbone, Teresa A. (1999). Eastman Johnson: Painting America. Patricia Hills (first ed.). Italy: Brookly Museum of Art.
  18. ^ Eastman Johnson's Ojibwe works, St. Louis County Historical Society
  19. ^ Patricia Hills. "Painting Race: Eastman Johnson's Pictures of Slaves, Ex-Slaves, and Freedmen", In Teresa A. Carbone and Patricia Hills, ed., Eastman Johnson: Painting America, 1999, Brooklyn Museum of Art.
  20. ^ a b c Eleanor Jones Harvey. 2012. The Civil War in American Art. Yale University Press.ISBN 9780300187335. (at google books)
  21. ^ a b c d "The Civil War and American Art: A Ride for Liberty?", Eye Level blog, Smithsonian American Art Museum, February 21, 2013
  22. ^ Harvey, Eleanor Jones (October 30, 2013), "Painting Freedom", New York Times, retrieved October 31, 2013

References

Attribution
  • Hills, Patricia (1972). Eastman Johnson. New York: C. N. Potter, in association with the Whitney Museum of American Art.

External links

Media files used on this page

Eastman Johnson by Edwin S. Bennett.jpg
Eastman Johnson, 1890s, albumen print (cabinet card) by Edwin S. Bennett
Eastman Johnson self-portrait, 1863.jpg
Eastman Johnson self-portrait, 1863
Jay Gould by Eastman Johnson.jpg
Jay Gould

Artist

   Eastman Johnson, 29 Jul 1824 - 5 Apr 1906

Sitter

   Jay Gould, 27 May 1836 - 2 Dec 1892

Date

   1896

Type

   Painting

Medium

   Oil on canvas

Dimensions

   Stretcher: 153.7 x 102.6cm (60 1/2 x 40 3/8")
   Frame: 198.1 x 149.9 x 17.8cm (78 x 59 x 7")

Credit Line

   Current Owner: Grey Art Gallery, New York University
   Website: www.nyu.edu/greyart/

Object number

   L/NPG.4.77

Exhibition Label

   Born Roxbury, New York
   Jay Gould had one of the most turbulent, controversial, and significant business careers in the nineteenth century. Largely self-taught, incredibly strong-willed and intelligent, Gould made his first fortune with his masterful understanding of finance during the Civil War. Postwar, he came to public attention in his protracted financial “war” against Cornelius Vanderbilt over the Erie Railroad. Gould’s dizzying financial maneuvering and his attempt to corner the market in gold cemented his reputation as a predatory capitalist or robber baron. But Gould’s talents and achievements were greater than this caricature. During the second half of his career, he established himself as an innovative and creative businessman, reviving the moribund Union Pacific Railroad and turning it into an efficient and profitable transportation system. Ruthless but never a mere speculator, Gould’s wide-ranging influence on business, from the financial markets to modern management techniques, helped shape the modern American economy.

Data Source

   Catalog of American Portraits

See more items in

   Catalog of American Portraits 

Exhibition

   American Origins 

On View

NPG, East Gallery 123
Eastman Johnson - Ojibwe Wigwam at Grand Portage - ebj - fig 22 pg 41.jpg
Eastman Johnson - Ojibwe Wigwam at Grand Portage - Oil on canvas 10.25 x 15.2 - 1857 - Scanned from
A Ride for Liberty -- The Fugitive Slaves (recto) Eastman Johnson.jpg
Author/Creator: Eastman Johnson, Licence: No restrictions
Eastman Johnson (American, 1824-1906). A Ride for Liberty -- The Fugitive Slaves (recto), ca. 1862. Oil on paperboard, 21 15/16 x 26 1/8 in. (55.8 x 66.4 cm). Brooklyn Museum, Gift of Gwendolyn O. L. Conkling, 40.59a-b
MD John Call Dalton by Eastman Johnson.png
MD John Call Dalton

Artist

   Eastman Johnson, 29 Jul 1824 - 5 Apr 1906

Sitter

   John Call Dalton, M.D., 1825 - 1889

Date

   1886

Type

   Painting

Medium

   Oil on canvas

Dimensions

   114.3cm x 86.3cm (45" x 34")

Credit Line

   Current Owner: Columbia University, Art Properties
   Website: library.columbia.edu/locations/avery/art-properties.html

Object number

   COO.453 CU

Data Source

   Catalog of American Portraits

See more items in

   Catalog of American Portraits 

Place

United States\New York\Kings\New York
Frederick Augustus Porter Barnard by Eastman Johnson.png
Frederick Augustus Porter Barnard

Artist

   Eastman Johnson, 29 Jul 1824 - 5 Apr 1906

Sitter

   Frederick Augustus Porter Barnard, 1809 - 1889

Date

   1886

Type

   Painting

Medium

   Oil on canvas

Dimensions

   124.5cm x 100.3cm (49" x 39 1/2"), Accurate

Credit Line

   Current Owner: Columbia University, Art Properties
   Website: library.columbia.edu/locations/avery/art-properties.html

Object number

   COO.110 CU

Data Source

   Catalog of American Portraits

See more items in

Catalog of American Portraits
Eastman Johnson - Longfellow Hawthorne Emerson - ebj - figs 3 4 5 pg14.jpg
Eastman Johnson - Henry Wadsworth Longfellow - Nathanel Hawthorne - Ralph Waldo Emerson - each Crayon and Chalk on Paper 21 x 19 in. oval - 1846 - Scanned from Eastman Johnson: Painting America - figs 3 4 5 pg14
Stephen Grover Cleveland by Eastman Johnson.png
Stephen Grover Cleveland

Attribution

   Eastman Johnson, 29 Jul 1824 - 5 Apr 1906

Sitter

   Stephen Grover Cleveland, 18 Mar 1837 - 24 Jun 1908

Date

   c. 1890-1900

Type

   Painting

Medium

   Oil on canvas

Dimensions

   61.4cm x 51.2cm (24 3/16" x 20 3/16"), Accurate

Credit Line

   Current Owner: New York State Office of Parks, Recreation and Historic Preservation
   Website: nysparks.state.ny.us/

Object number

   PM1972.49

Data Source

   Catalog of American Portraits

See more items in

Catalog of American Portraits
Eastman Johnson - The Cranberry Harvest, Island of Nantucket - ejb - figs 59 60 - pg 102-3.jpg
  • Eastman Johnson - Cranberry Pickers, Nantucket, Oil on on canvas - 19 x 43.5 in - 1879 - Scanned from Eastman Johnson: Painting America -- fig 59 - pg 102
  • Eastman Johnson - The Cranberry Harvest, Island of Nantucket - Oil on on canvas - 27.375 x 54.5 in - 1880 - Scanned from Eastman Johnson: Painting America - fig 60 - pg 103
Chester Alan Arthur by Eastman Johnson.png
Chester Alan Arthur

Artist

   Eastman Johnson, 29 Jul 1824 - 5 Apr 1906

Sitter

   Chester Alan Arthur, 5 Oct 1829 - 18 Nov 1886

Date

   1887?

Type

   Painting

Dimensions

   134.5cm x 98.6cm (52 15/16" x 38 13/16"), Sight

Credit Line

   Current Owner: Union League Club of New York

Object number

   NY270002

Data Source

   Catalog of American Portraits

See more items in

Catalog of American Portraits
John Howard Van Amringe by Eastman Johnson.png
John Howard Van Amringe

Artist

   Eastman Johnson, 29 Jul 1824 - 5 Apr 1906

Sitter

   John Howard Van Amringe, 1835 - 1915

Date

   1900

Type

   Painting

Medium

   Oil on canvas

Dimensions

   106.4 x 83.4cm (41 7/8 x 32 13/16")

Credit Line

   Current Owner: Columbia University, Art Properties
   Website: library.columbia.edu/locations/avery/art-properties.html

Object number

   COO.509 CU

Data Source

   Catalog of American Portraits

See more items in

Catalog of American Portraits
1880, Johnson, Eastman, Study for A Glass with the Squire.jpg
Eastman Johnson, American, 1824–1906

Study for A Glass with the Squire, ca. 1880 Oil on paper board 64.5 x 53 cm. (25 3/8 x 20 7/8 in.) frame: 88.9 × 76.6 × 7.8 cm (35 × 30 3/16 × 3 1/16 in.) Gift of Stuart P. Feld, Class of 1957, and Sue K. Feld, in commemoration of the Fiftieth Reunion of the Class of 1957 2006-825

Following study in Europe, including three years in The Hague absorbing the color and naturalism of the seventeenth-century Dutch masters, Eastman Johnson settled in New York and launched a successful career in genre painting. His images of rural, regional America were in the tradition of homespun painters like William Sidney Mount, but his painterly sophistication was such that he was called "the American Rembrandt." Beginning about 1870, Johnson summered annually on Nantucket, where he created some of his most ambitious and carefully considered compositions. Preceded by numerous sketches and studies going back as early as 1873, this major preparatory work for A Glass with the Squire of 1880 is fully realized yet also appealingly loose and immediate. A subtle tableau of class distinctions, the work depicts Jim Folsom and retired sea captain Charles Myrick, local Nantucket residents known to Johnson, standing before an arrangement of the artist’s antique furnishings. The humbler Folsom, at left, is set off against the taller and more erect "Squire" Myrick, whose proprietary status is underscored by his slightly more central pictorial placement. Among the last genre paintings Johnson produced before turning full-time to portraiture, the image constructs a world of provincial social types that was fast losing currency in the increasingly complex social fabric of Gilded Age America.
Eastman Johnson - Kay be sen day way We Win - ejb - fig 101 - pg 225.jpg
Kay be sen day way We Win - Charcoal and Crayon on Paper - 10.75 x 14 in
Joseph Wesley Harper by Eastman Johnson.png
Joseph Wesley Harper

Artist

   Eastman Johnson, 29 Jul 1824 - 5 Apr 1906

Sitter

   Joseph Wesley Harper, 1830 - 1896

Date

   c. 1880

Type

   Painting

Medium

   Oil on canvas on pressed wood

Dimensions

   74.8 x 62.2cm (29 7/16 x 24 1/2")

Credit Line

   Current Owner: Columbia University, Art Properties
   Website: library.columbia.edu/locations/avery/art-properties.html

Object number

   COO.523 CU

Data Source

   Catalog of American Portraits

See more items in

Catalog of American Portraits
Eastman Johnson - The Nantucket School of Philosophy - Walters 37311.jpg
Like a number of his fellow genre painters, the Boston artist Eastman Johnson trained abroad in Düsseldorf and later at The Hague, where he became familiar with Dutch 17th-century art. Between 1870 and 1887, Johnson spent the summer and autumn months working in Nantucket. In this work, his last dated genre painting, a number of elderly men, seated around a stove in a cobbler's shop, reminisce about the past. Two years after the picture was completed, Johnson identified the philosophers: Captain Haggerty, the shoemaker; Captain Moore, the talker; and, on the left-hand side leaning on his hand, Captain Ray. The other captains, he noted, were already dead.
Benjamin Harrison by Eastman Johnson.png
Benjamin Harrison

Attribution

   Eastman Johnson, 29 Jul 1824 - 5 Apr 1906

Sitter

   Benjamin Harrison, 20 Aug 1833 - 13 Mar 1901

Date

   c. 1890-1900

Type

   Painting

Medium

   Oil on canvas

Dimensions

   61.3cm x 51.2cm (24 1/8" x 20 3/16"), Accurate

Credit Line

   Current Owner: New York State Office of Parks, Recreation and Historic Preservation
   Website: nysparks.state.ny.us/

Object number

   PM1972.47

Data Source

   Catalog of American Portraits

See more items in

Catalog of American Portraits
The Young Sweep Eastman Johnson 1863.jpeg
"The Young Sweep," by the American artist Eastman Johnson. 12.25" x 9.38". Private collection. Photograph courtesy of The Atheneum.
Eastman Johnson - Negro Life at the South - ejb - fig 67 - pg 120.jpg
Negro Life at the South - Oil on canvas - 36 x 45.25 in
Seth Low by Eastman Johnson.png
Seth Low

Artist

   Eastman Johnson, 29 Jul 1824 - 5 Apr 1906

Sitter

   Seth Low, 1850 - 1916

Date

   c. 1890

Type

   Painting

Medium

   Oil on canvas

Dimensions

   67.5 x 54.7cm (26 9/16 x 21 9/16")

Credit Line

   Current Owner: Columbia University, Art Properties
   Website: library.columbia.edu/locations/avery/art-properties.html

Object number

   COO.214 CU

Data Source

   Catalog of American Portraits

See more items in

Catalog of American Portraits