105

Marshall Joseph Smith, Jr.

American/Louisiana, 1854-1923

"St. Tammany Plantation"

oil on canvas
indistinctly monogrammed lower left, stretcher monogrammed "MJS, Jr." and localized "St. Tammany", canvas with "Frost & Adam" supplier's label en verso.
Framed.
12" x 15-3/4", framed 16-1/2" x 20-1/4"

  • Provenance: Purchased New Orleans gallery, ca. 1960, thence by descent.
  • Notes: Marshall Joseph Smith, Jr., one of the most talented 19th century landscape artists of southern Louisiana, trained under Adolphe Jacquet, then Richard Clague, Jr.- the city of New Orleans' foremost landscape painter. Smith, along with fellow pupil William H. Buck, accompanied Clague into the rural bayous, swamps and fields, often inaccessible by road, to record the landscape and daily life of tenant farmers and fishermen. Their broad expanses with low horizons, executed through plein-air lighting, and keen attention to detail, redefined French Barbizon painting in a distinct Southern American-style called the Bayou School. Following in the path of his mentor, Smith studied abroad, particularly in Clague's native France, returning to the United States in 1876 and to New Orleans in 1877/1878, just before Clague prematurely died. Upon his death, Smith inherited Clague's sketchbooks and his legacy- recreating and painting anew Clague's sketches from both draft and in situ, often frequenting his favorite locales in St. Tammany Parish along the banks of Lake Ponchartrain and the Tchefuncte River. Smith founded the Southern Art Union in 1880 and the Proteus Carnival Organization in 1882 to further advocate the landscape genre of the Bayou School. Marshall J. Smith, Jr.'s landscapes of daily life of innocuous flora and fauna, much like the sketch offered here are as rich in tradition as are the families and parades through which they have passed. This work, likely executed on his return (given the Boston canvas supplier stamp), is an homage to the late Clague- in stagnant heat of the setting hours of daylight, a woman of color with a scarlet tignon, leads her cattle homeward toward a small cabin in a clearing of Live Oaks laden in moss. A diminutive scene on a diminutive scale aggrandized by the immense horizon and dominion of the land recalls so many other Smith shanties like "Uncle Toby's Cabin" that graced Griswold's show window in April of 1877: "The rude and rustic habitation [offset]….in the distance is an oak tree remarkable for the truthfulness of color and the and the river view is really striking as a study of perspective"- New Orleans Daily Democrat 30 April 1877, p.8
  • Condition: **The painting appears to be in original, un-restored condition. Scattered craquelure, small puncture/tear in mid-left (trees), soiling, accretions, a few minor losses exposing the darker underpainting. Period, probably original, frame (with later plaque), with scattered losses, marks, nicks, abrasions and wear to the gilding.

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December 5, 2020 10:00 AM CST
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