264

Worthington (Thomas) Whittredge

(American, 1820-1910)

"Boys Fishing in a Pasture Stream", 1868

oil on canvas
signed and dated lower right, inventory number "15" label from Albany Institute of History and Art Exhibition and handwritten label inscribed "G084" en verso, a "Goupil/Broadway" canvas stamp.
Framed.
19-1/2" x 30-1/2", framed 27-1/2" x 38-3/4"

  • Provenance: Hirschl & Adler Galleries, New York, New York; Private collection, Thibodaux, Louisiana.

    Exhibition: Munson-Williams-Proctor Institute, Utica, New York; Albany Institute of History and Art, Albany, New York; Cincinnati Art Museum, Cincinnati, Ohio, 1969-1970, Worthington Whittredge Retrospective, no. 15; Hirschl & Adler, New York, New York, 1972-1973, Faces and Places: Changing Images of 19th Century America.
  • Literature: Hirschl & Adler, New York, New York, 1972-1973, Exhibition Catalogue, Faces and Places: Changing Images of 19th Century America, no. 95, illus.; Howat, John K., et al, American Paradise-The World of the Hudson River School (New York: Metropolitan Museum of Art, 1987); Jenson, Anthony F., Worthington Whittredge - Cambridge Monographs of American Art (Cambridge: Cambridge University Press, New York, 1989), pp 105-108, illus. #77 p 107.


    It was impossible for me to shut out from my eyes the works of the great landscape painters which I had so recently seen in Europe, while I knew well enough that if I was to succeed I must produce something new and which might claim to be inspired by my home surroundings…Sure, however, that if I turned to nature I should find a friend…
    I hid myself for months in the recesses of the Catskills. But how different was the scene before me from anything I had been looking at for many years! The forest was a mass of decaying logs and tangled brushwood, no peasants to pick up every vestige of fallen sticks to burn in their miserable huts, no well-ordered forests, nothing but the primitive woods with their solemn silence reigning everywhere.

    Worthington Whittredge

    A painter of the second generation of the Hudson River School, Whittredge's journey to his ultimate position as a leading American landscape artist of the 19th century was one of dogged determination. He was born in a log cabin by the little Miami River in Ohio in 1820 to a poor farming family that originally hailed from Massachusetts; he was the youngest child by far and the only one born after the family relocated to the Midwest. He had virtually no formal education, instead working as a trapper to supplement his family's meager income. At 17, he moved to Cincinnati to learn a trade, apprenticing with his brother-in-law as a house and sign painter. Discovering he had an aptitude for this type of artistic work, Whittredge began to paint portraits, traveling across the country seeking commissions. He was ultimately dissatisfied with the results and, realizing he was more of a colorist than a draughtsman, he turned to landscape painting, training by copying popular prints of the day. By 1864, he had his first landscape painting accepted for exhibition by the National Academy of Design in New York. The then president of the Academy, Asher B. Durand (one of the first generation of Hudson River School artists), recognized the young artist's talent and sent a personal letter of encouragement to Whittredge.

    Cincinnati during these years was a thriving cultural and artistic hub of the United States, and Whittredge had no difficulty in finding patrons and supporters amongst its citizens, most significantly the wealthy and influential Nicholas Longworth. Longworth, along with several other patrons, arranged for numerous commissions for Whittredge to enable him to travel to Europe.

    In 1849, Whittredge began what would ultimately be a decade long tour of Europe, spending time in London, Paris, Belgium, Rome and Dusseldorf. While in Dusseldorf, he studied with Emanuel Leutze and Andreas Achenbach of the Kunstakademie Dusseldorf (Dusseldorf Academy of Art), though he was never formally enrolled as a student of the academy. The German-born and Philadelphia-raised Leutze often used the young man as a sitter for his paintings - most notably for George Washington in his epic Washington Crossing the Delaware. It was during this time that Whittredge befriended fellow young artist Albert Bierstadt. This period would prove crucial to his development as a landscape artist.

    Upon his return to the United Stated in 1859, he settled in New York City, renting space at the Tenth Street Studio along with such prominent artists as William Haseltine, Winslow Homer, William Merritt Chase, and his old friend from Germany, Albert Bierstadt. Amidst this vibrant creative and supportive community, Whittredge created the landscapes for which he would soon become so lauded. While in France, Whittredge had visited with the Barbizon School artists but was not initially taken with their works; "I liked the spirit of the young men, but I did not think much of their pictures. I think better of them now." Ironically, he was later to incorporate aspects of the Barbizon approach into his paintings, creating works which separated him stylistically from the older artists of the Hudson River School. Deftly combining the techniques he had acquired during his study in Europe - including plein air painting - with the distinct American geography, the resulting landscapes were more personal and intimate than the grand panoramas of so many of the earlier Hudson River School painters. These works met with immediate critical acclaim and were popular with collectors.

    The painting offered here is representative of Whittredge's work just as he was becoming associated with the Hudson River School. It is a small-scale depiction of an unidentified yet recognizably north-eastern American location. The interplay of shadow and light is exceptionally rendered; the center of the composition glows with golden sun-light while the flanking foliage is dappled with areas of bronzy-orange where the rays are attempting to penetrate the barricade of leaves. Interestingly, the central figures of the two boys are to the left of center, in a more shaded area; they are clearly not the true subject of the painting, as the atmospheric landscape dominates.

    The recipient of numerous honors and awards, Whittredge was elected an associate of the National Academy of Design in 1860, being named a full Academician in 1862. He would serve as president of the revered institution from 1874-1875. His works are in the permanent collections of such institutions as the Louvre Museum, Metropolitan Museum of Art and the Smithsonian American Art Museum.


    References: Bauer, John I., ed., Brooklyn Museum Journal , "The Autobiography of Worthington Whittredge" (New York: Brooklyn Museum of Art, 1942.), pp 7-66; The Aldine, 1879, Vol. 9, No. 12, pp 372-374, 377.
  • Condition: **Previously restored and relined. Small, scattered areas of inpainting by the edges. Areas of inpainting upper center (sky and tree trunk). Toning of the varnish layer. Abrasions along the edges from contact with the frame.
    Modern frame, distressed to look aged, with surface marks, nicks and abrasions.


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