Eastman Johnson

Infobox Artist
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name = Eastman Johnson

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caption = Photograph of Eastman Johnson, 1895
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birthdate = birth date |1824|7|29|
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deathdate = death date and age |1906|5|5|1824|7|29|
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nationality = American
field = Painting
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Eastman Johnson (July 29, 1824 - April 5, 1906) was an American painter, and Co-Founder of the Metropolitan Museum of Art, New York City, with his name inscribed at its entrance. Best known for his genre paintings, paintings of scenes from everyday life, and his portraits both of everyday people, he also painted portraits of 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 while living in The Hague, and he was even known as "The American Rembrandt" in his day.cite web|url=http://www.tfaoi.com/aa/4aa/4aa53.htm|title=Sugaring Off: The Maple Sugar Paintings of Eastman Johnson]

Biographic information

, where the family lived at Pleasant Street and later at 61 Winthrop Street. cite web |url=http://dll.umaine.edu/historytrail/site30.html|title=University of Maine|accessdate=2007-07-09] His career as an artist began when his father, the owner of several businesses, Grand Secretary of the Grand Lodge of Maine (ancient Free and Accepted Masons) (1836-1844), Secretary of State for Maine (1840) was appointed by US President James Polk, after his patron the Governor of Maine John Fairfield entered the US Senate, as Chief Clerk in the Bureau of Construction, Equipment, and Repair of the Navy Department. From 1853, the family lived at 266 F Street, between Thirteenth and Fourteenth Streets and just a few blocks from the White House and the Navy Department Offices. (Washington DC, cite web |url=http://www.askart.com/askart/artist.aspx?artist=1135850|title=Eastman Johnson|accessdate=2006-08-19] apprenticed him in 1840 to a Boston lithographer. In 1849 he moved to Düsseldorf, Germany where many artists, including many Americans, studied Art,cite web |url=http://www.andrews.edu/MDLG/german/german-american/notable/L/leutze_emanu/leutze-e.html|title=Emanuel Gottlieb Leutze|accessdate=2006-08-19] cite web|url=http://www.vmfa.state.va.us/beyer/beyer_intro.html|title=Edward Beyer|accessdate=2006-08-19] and there was accepted into the studio Emanuel Gottlieb Leutze,cite web|url=http://www.tfaoi.com/newsm1/n1m212.htm|title=Eastman Johnson: Painting America|accessdate=2006-08-19] a German who had lived in the United States for a while before returning to Germany. Johnson then moved to The Hague and studied 17th century Dutch and Flemish masters. He ended his European travels in Paris, studying with the academic painter Thomas Couture in 1855. After returning to America in 1855 due to the death of his mother. In 1857 he lived and painted among the native Anishinaabe (Ojibwe) near Superior, Wisconsin.In 1859, he established a studio in New York city and secured his reputation as an American artist with an exhibition featuring his painting "Negro Life at the South" or as it is more popularly known "Old Kentucky Home".cite web|url=http://www.pbs.org/wgbh/aia/part4/4h1555.html|title=A Ride for Liberty — The Fugitive Slaves|accessdate=2006-08-19]

He was also a member of the Union League Club of New York, which holds many of his paintings.

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

tyle

Johnson's style is largely realistic in both subject matter and in execution. His original photorealistic 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.cite web|url=http://minnesota.publicradio.org/display/web/2006/06/30/eastmanjohnson/|title=Eastman Johnson's legacy in art|date=2006-07-04|accessdate=2006-08-19] cite web|url=http://www.carnegiemuseums.org/cmag/bk_issue/1997/janfeb/feat3.htm/|title=Civil Civil War Symbolism|accessdate=2006-08-19] Some of his paintings such as "Ojibwe Wigwam at Grand Portage" display near photorealism long before the photorealism movement but in keeping with the American tradition of realism that can be seen in the works of Charles Willson Peale whose painting "The Stairway Group" is said to have fooled George Washington.

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 echoes the 17th Century Dutch Masters.

ubject matter

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

New England

His depictions 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 solidly as a genre painter. Over the course of five years, he made many sketches and smaller paintings depicting the process of turning maple sap into maple sugar, but never completed the larger work he had started.cite web|url=http://www.huntington.org/ArtDiv/Johnson2004/Johnson2004.html|title=Sugaring Off|accessdate=2006-08-19]

In contrast, the much celebrated "Old Stagecoach" was mostly staged in his studio and its composition carefully planned. The stage coach itself originated as an abandoned coach that he encountered and sketched while hiking in the Catskils. The children were painted from local children recruited from near his Nantucket Studio. Despite this artifice, the painting was celebrated as wholesome, natural and bucolic.

Ojibwe

, and other groupings of Ojibwe in everyday activities.

Johnson left Wisconsin due to wide spread financial panic that rendered his real estate investments there worthless. He left there for Cincinnati, Ohio to make money via portrait commissions and did not return to the subject of the Ojibwe.cite book |last=Carbone |first=Teresa A.|others=Patricia Hills |title=Eastman Johnson: Painting America |origyear=1999|edition=first|publisher=Brookly Museum of Art |location=Italy ] His paintings and sketches of the Ojibwe remained unsold during his lifetime and now are in the possession of the Tweed Museum of Art on the campus of University of Minnesota Duluth.cite web|url=http://www.d.umn.edu/tma/exhibitionevents.html|title=Exhibitions|work=Tweed Museum of Art|access date= [September 9] , 2006]

lavery

"Negro Life at the South" is considered Johnson's masterpiece. Although this painting was popularly known as "Old Kentucky Home" nearly from the beginning, it depicts a scene from Washington, D.C.

The painting is a domestic scene behind a dilapidated house. On the right in the foreground is a couple courting, in the middle there is a banjo player playing while an adult woman dances with a child as others look on. One of the onlookers, far to the right is a young white woman in an elegant white dress. Above the scene, an adult woman looks out a window as she steadies a small child sitting on the partially collapsed roof. Skin tones vary in the scene from person to person. Aside from the white observer on the far right, the palest person in the scene is the young woman being courted. The darkest skin belongs to the woman dancing with the child in the middle foreground. Some have viewed this as simple realism, others see it as an invitation to the viewer to contemplate the mixed racial heritage of those portrayed. Both proponents and detractors of slavery have seen this painting as defending their positions.cite web|url=http://www.findarticles.com/p/articles/mi_m0422/is_1_80/ai_54073918|title=Eastman Johnson's 'Negro Life at the South' and urban slavery in Washington, D.C|accessdate=2006-08-19|work=The Art Bulletin|author=John Davis|date=March 1998]

Another painting of Johnson's is less open to interpretation. "A Ride for Liberty — The Fugitive Slaves" painted in 1862, depicts a slave family riding to freedom. This painting is based on Johnson's observations during the Civil War battle of Manassas.

References

External links

* [http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=3289 Eastman Johnson at Find-A-Grave]
* [http://www.aaa.si.edu/collectionsonline/johneast/ Eastman Johnson letters online at the Smithsonian Archives of American Art]