Portrett av Eastman Johnson

Eastman Johnsons malerier: De 100 mest kjente, sett gjennom et galleris øyne

Oppdatert November 2026 · rangert etter vår popularitetsscore (søk, besøk og bestillinger for hvert verk) · 208 verk av Eastman Johnson i vår katalog

Kort fortalt

Etter galleriets vurdering er Eastman Johnsons mest kjente maleri William Hayes Fogg (1817-1884) (1887), hvis original henger i Harvard Art Museums, Cambridge. In the Hayloft (1877) og Grover Cleveland (1891) fullfører trioen som alle kjenner igjen. Av de 208 verkene til Eastman Johnson i vår katalog, presenterer galleriet de 100 mest kjente nedenfor; hvert originalverk med årstall, museum og hva som gjør det unikt.

1824 – 1906, Lovell American realism Flest verk: National Gallery of Art

Galleriets 10 beste malerier av Eastman Johnson

1
William Hayes Fogg (1817-1884) (1887) av Eastman Johnson

William Hayes Fogg (1817-1884)

1887 · Oil On Canvas · Harvard Art Museums, Cambridge

The room feels quiet, held in a heavy, dignified stillness. An elderly man, William Hayes Fogg, sits before us, his gaze drifting toward the upper left as if caught in a moment of private reflection. He is a figure of authority, draped in the somber weight of a dark frock coat that absorbs the light, leaving only the crisp white of his collar to catch the eye. His face, etched…

2
In the Hayloft (1877) av Eastman Johnson

In the Hayloft

1877 · Oil On Canvas

The painting "In the Hayloft" by Jonathan Eastman Johnson is a remarkable piece of art that showcases the artist's skill in capturing everyday life scenes. Created in 1877, this oil on canvas painting is currently located at the San Diego Museum of Art in the United States. Painting Description The painting depicts a group of people standing on a wooden platform or bridge within a barn. Some individuals are engaged…

3
Grover Cleveland (1891) av Eastman Johnson

Grover Cleveland

1891 · Oil · Metropolitan Museum of Art, New York

The face emerges from a heavy, dark void. In this 1891 oil portrait, Grover Cleveland sits caught in a sharp beam of light that carves his features out of the gloom. The background remains indistinct, a deep well of blacks and muted ochres that pushes the subject forward. His gaze is direct, meeting the viewer with a steady, unblinking weight. There is no movement here, only the stillness of a…

4
Amos Adams Lawrence (1814-1886) (1887) av Eastman Johnson

Amos Adams Lawrence (1814-1886)

1887 · Oil On Canvas · Harvard Art Museums, Cambridge

A formal three-quarter length portrait, this oil on canvas presents an older man emerging from a dark, atmospheric void. The composition centers the subject against a somber, monochromatic background of charcoal and deep brown, a choice that directs all visual attention to the face. Light falls with dramatic precision upon the forehead, cheeks, and nose, utilizing a chiaroscuro-like technique to sculpt the features from the shadows. The subject is dressed…

5
Parke Godwin (1880) av Eastman Johnson

Parke Godwin

1880 · Oil · National Portrait Gallery, Washington, D.C.

This 1880 oil portrait, titled Parke Godwin, presents a formal and dignified medium close-up of an elderly man. The subject is depicted from the waist up, positioned against a dark, indistinct background that emphasizes the somber and classical aesthetic of the composition. The lighting, appearing to originate from the upper left, casts a soft glow across the man's forehead, his white hair, and his full, bushy white beard, while leaving…

6
Girl in the Woods [verso of On the Hillside] (1877) av Eastman Johnson

Girl in the Woods [verso of On the Hillside]

1877 · Oil · Yale University Art Gallery, New Haven

In "Girl in the Woods [verso of On the Hillside]", Eastman Johnson places us in a quiet, shadowed realm. The composition centers entirely on a young girl, a solitary figure positioned within a dense and dark woodland. This placement creates an immediate, intimate connection, as the eye-level perspective brings the viewer directly in front of the child. There is a certain stillness here, a sense of solitude that borders on…

7
The Little Convalescent (1872) av Eastman Johnson

The Little Convalescent

1872 · Oil · Museum of Fine Arts, Boston

A woman sits in a bed, her attention anchored by a book. Beside her, a child rests, sharing in the stillness of the room. The scene is composed of scattered volumes and a single bottle resting on a nearby surface, creating an atmosphere of intimate, quiet recovery. This 1872 work captures a private moment of connection, where the act of reading provides a gentle anchor for both mother and child.

8
Grover Cleveland (1884) av Eastman Johnson

Grover Cleveland

1884 · Oil On Canvas · National Portrait Gallery, Washington, D.C.

In this portrait of Grover Cleveland, Eastman Johnson employs a close-up bust view that brings the viewer into an immediate, quiet proximity with the subject. The composition is intentionally intimate, positioning the man slightly off-center to create a sense of natural presence rather than rigid formality. He is turned toward the right of the frame, his gaze directed away from the viewer, which lends the work a contemplative quality. This…

9
Portrait of Mrs. Eastman Johnson (1888) av Eastman Johnson

Portrait of Mrs. Eastman Johnson

1888 · Oil On Canvas · Smithsonian American Art Museum, Washington, D.C.

In Portrait of Mrs. Eastman Johnson, Jonathan Eastman Johnson employs a close-up, three-quarter view to establish an intimate perspective. The composition focuses tightly on the subject's head, shoulders, and hands, drawing the viewer into a contemplative state. This proximity creates a sense of quiet introspection, pulling the observer into the subject's private, melancholic mood.

10
Eastman Johnson Self-Portrait (1877) av Eastman Johnson

Eastman Johnson Self-Portrait

1877 · Oil On Board · National Portrait Gallery, Washington, D.C.

We are looking at the Eastman Johnson Self-Portrait, a painting executed by the artist Jonathan Eastman Johnson in 1877. This work is a self-portrait, a genre in which the artist turns his gaze inward to capture his own likeness. In this specific instance, the subject of the work is the artist himself, Jonathan Eastman Johnson.

Eastman Johnson sine malerier, rangert fra 11 til 100

11The Young Sweep (1863) av Eastman JohnsonThe Young Sweep1863 · Detroit Institute of Arts 12Little Brown Boy (1863) av Eastman JohnsonLittle Brown Boy1863 · Rhode Island School of Design Museum of Art 13The Sugar Camp (also known as Making Maple Sugar or Susan Ray’s Maple Sugaring Kitchen) (1863) av Eastman JohnsonThe Sugar Camp (also known as Making Maple Sugar or Susan Ray’s Maple Sugaring Kitchen)1863 · Yale University Art Gallery 14Home and Warmth (1863) av Eastman JohnsonHome and Warmth1863 · Museum of Fine Arts, Houston 15Southern Courtship (1859) av Eastman JohnsonSouthern Courtship1859 · Museum of Fine Arts, Houston 16Writing to Father (1863) av Eastman JohnsonWriting to Father1863 · Museum of Fine Arts 17Knitting for the Soldiers (1861) av Eastman JohnsonKnitting for the Soldiers1861 · New York Historical Society 18The Field Hospital (1867) av Eastman JohnsonThe Field Hospital1867 · Museum of Fine Arts 19Maine Interior - Man with Pipe (1865) av Eastman JohnsonMaine Interior - Man with Pipe1865 20Dinah, Portrait of a Negress (1866) av Eastman JohnsonDinah, Portrait of a Negress1866 · Gibbes Museum of Art 21Copy after Jules Breton's 'Le Depart les Champs' (1865) av Eastman JohnsonCopy after Jules Breton's 'Le Depart les Champs'1865 22A Prisoner of the State (1874) av Eastman JohnsonA Prisoner of the State1874 23Lambs, Nantucket (1874) av Eastman JohnsonLambs, Nantucket1874 · National Gallery of Art 24Back from the Orchard (1876) av Eastman JohnsonBack from the Orchard1876 25Grover Cleveland (1837-1908) (1885) av Eastman JohnsonGrover Cleveland (1837-1908)1885 · New York Historical Society 26Augustus Schell (1812–1884) (1885) av Eastman JohnsonAugustus Schell (1812–1884)1885 · New York Historical Society 27James McCosh (1811-1894) (1883) av Eastman JohnsonJames McCosh (1811-1894)1883 28Sanford Robinson Gifford (1880) av Eastman JohnsonSanford Robinson Gifford1880 · Metropolitan Museum of Art 29Joseph Wesley Harper, Jr. (1885) av Eastman JohnsonJoseph Wesley Harper, Jr.1885 · National Gallery of Art 30Seth Low (1850–1916) (1890) av Eastman JohnsonSeth Low (1850–1916)1890 · New York Historical Society 31David Dows (1814-1890) (1891) av Eastman JohnsonDavid Dows (1814-1890)1891 · New York Historical Society 32Rev. Lyman Hotchkiss Atwater (1813-1883) (1888) av Eastman JohnsonRev. Lyman Hotchkiss Atwater (1813-1883)1888 33Grover Cleveland (1891) av Eastman JohnsonGrover Cleveland1891 34Benjamin Harrison (1895) av Eastman JohnsonBenjamin Harrison1895 35Ice Skater (study) (also known as Child Warming Hands in Studio (study)) (1879) av Eastman JohnsonIce Skater (study) (also known as Child Warming Hands in Studio (study))1879 36The Right Reverend Henry Codman Potter (1835–1908) (1899) av Eastman JohnsonThe Right Reverend Henry Codman Potter (1835–1908)1899 · New York Historical Society 37The Mother (1870) av Eastman JohnsonThe Mother1870 · Fine Arts Museums of San Francisco 38Christmas-Time, The Blodgett Family (1864) av Eastman JohnsonChristmas-Time, The Blodgett Family1864 · Metropolitan Museum of Art 39Lunchtime (1865) av Eastman JohnsonLunchtime1865 40Tasting the Sugar (1861) av Eastman JohnsonTasting the Sugar1861 · Los Angeles County Museum of Art 41The Toilet (1873) av Eastman JohnsonThe Toilet1873 · National Gallery of Art 42A Ride for Liberty - The Fugitive Slaves (1862) av Eastman JohnsonA Ride for Liberty - The Fugitive Slaves1862 · Virginia Museum of Fine Arts 43The Pets (1856) av Eastman JohnsonThe Pets1856 · National Gallery of Art 44Corn-Shelling (1864) av Eastman JohnsonCorn-Shelling1864 · Toledo Museum of Art 45Sunday Morning (aka The Evening Paper) av Eastman JohnsonSunday Morning (aka The Evening Paper) 46In the Fields (1878) av Eastman JohnsonIn the Fields1878 · Detroit Institute of Arts 47The Chimney Corner (1863) av Eastman JohnsonThe Chimney Corner1863 48The Old Stagecoach (1871) av Eastman JohnsonThe Old Stagecoach1871 49Corn Husking (1860) av Eastman JohnsonCorn Husking1860 50Thy Word is a Lamp unto My Feet and a Light unto My Path (1880) av Eastman JohnsonThy Word is a Lamp unto My Feet and a Light unto My Path1880 · Nelson-Atkins Museum of Art 51The Picture Book (1855) av Eastman JohnsonThe Picture Book1855 52The Card Players (1853) av Eastman JohnsonThe Card Players1853 53Man with a Hat (also known as Self Portrait) (1853) av Eastman JohnsonMan with a Hat (also known as Self Portrait)1853 54The Counterfeiters (1853) av Eastman JohnsonThe Counterfeiters1853 55The Confab av Eastman JohnsonThe Confab 56Sugaring Off (1863) av Eastman JohnsonSugaring Off1863 · Rhode Island School of Design Museum of Art 57Hannah (1859) av Eastman JohnsonHannah1859 58Hiawatha (1857) av Eastman JohnsonHiawatha1857 59Warming Her Hands (1862) av Eastman JohnsonWarming Her Hands1862 60The Freedom Ring (1860) av Eastman JohnsonThe Freedom Ring1860 61Lighting His Pipe (1860) av Eastman JohnsonLighting His Pipe1860 62Sarah Osgood Johnson Newton (1856) av Eastman JohnsonSarah Osgood Johnson Newton1856 63The Young Musicians (1862) av Eastman JohnsonThe Young Musicians1862 64The Pension Claim Agent (1867) av Eastman JohnsonThe Pension Claim Agent1867 · Fine Arts Museums of San Francisco 65A Child's Menagerie (1859) av Eastman JohnsonA Child's Menagerie1859 66Self Portrait with Bottle of Champagne (1863) av Eastman JohnsonSelf Portrait with Bottle of Champagne1863 67Street Musicians (1861) av Eastman JohnsonStreet Musicians1861 68The Back Fence (1870) av Eastman JohnsonThe Back Fence1870 · Yale University Art Gallery 69A Different Sugaring Off (1865) av Eastman JohnsonA Different Sugaring Off1865 · Fine Arts Museums of San Francisco 70Sugaring Off (1865) av Eastman JohnsonSugaring Off1865 · De Young-museet 71The Brown Family (1869) av Eastman JohnsonThe Brown Family1869 · National Gallery of Art 72The Truants (1870) av Eastman JohnsonThe Truants1870 · National Gallery of Art 73The Early Scholar (1865) av Eastman JohnsonThe Early Scholar1865 · National Gallery of Art 74The Sleigh Ride (1866) av Eastman JohnsonThe Sleigh Ride1866 75Fiddling His Way (1866) av Eastman JohnsonFiddling His Way1866 76Sunday Morning (1866) av Eastman JohnsonSunday Morning1866 · New York Historical Society 77Interior of a Farm House in Maine (1865) av Eastman JohnsonInterior of a Farm House in Maine1865 78Cranberry Picker (1878) av Eastman JohnsonCranberry Picker1878 · Yale University Art Gallery 79On Their Way to Camp (1873) av Eastman JohnsonOn Their Way to Camp1873 · National Gallery of Art 80The New Bonnet (1876) av Eastman JohnsonThe New Bonnet1876 · Metropolitan Museum of Art 81Girl in Barn (also known as Sarah May) (1877) av Eastman JohnsonGirl in Barn (also known as Sarah May)1877 82A Quiet Hour (1873) av Eastman JohnsonA Quiet Hour1873 83Hollyhocks (1874) av Eastman JohnsonHollyhocks1874 · New Britain Museum of American Art 84Winnowing Grain (1877) av Eastman JohnsonWinnowing Grain1877 · Museum of Fine Arts 85Harriet Hubbard Ayer (1881) av Eastman JohnsonHarriet Hubbard Ayer1881 · National Gallery of Art 86Portrait of a Woman (1881) av Eastman JohnsonPortrait of a Woman1881 87Old Man, Seated (1880) av Eastman JohnsonOld Man, Seated1880 88Worthington Whittredte (1854) av Eastman JohnsonWorthington Whittredte1854 · Detroit Institute of Arts 89Shoemaker Haberty's Shop (1887) av Eastman JohnsonShoemaker Haberty's Shop1887 90The Voice of the Harp av Eastman JohnsonThe Voice of the Harp 91Lewis einstein av Eastman JohnsonLewis einsteinMetropolitan Museum of Art 92Dr. Bracht av Eastman JohnsonDr. Bracht 93Samuel W. Rowse av Eastman JohnsonSamuel W. RowseCleveland Museum of Art 94Woman in a White Dress av Eastman JohnsonWoman in a White Dress 95Watering Flowers av Eastman JohnsonWatering Flowers 96A Fisherman av Eastman JohnsonA FishermanMetropolitan Museum of Art 97Camp Scene at Grand Portage av Eastman JohnsonCamp Scene at Grand Portage 98Winter, Portrait of a Child av Eastman JohnsonWinter, Portrait of a ChildBrooklyn Museum 99Feeding the Turkey av Eastman JohnsonFeeding the TurkeyMetropolitan Museum of Art 100A Day Dream av Eastman JohnsonA Day Dream

Eastman Johnsons berømte malerier, periode for periode

Motivene som fanget Eastman Johnsons blikk

De fire motivene som går igjen hyppigst i disse originalverkene, hver med sitt fremste eksempel.

Museene som har Eastman Johnsons originalverk

De 8 museene som innehar flest av maleriene på denne siden.

Museum By Verker av Eastman Johnson Malerier fra denne listen
National Gallery of Art, WashingtonNational Gallery of Art Washington 10 Lambs, Nantucket, Joseph Wesley Harper, Jr., The Toilet
Metropolitan Museum of Art, New YorkMetropolitan Museum of Art New York 11 Grover Cleveland, Sanford Robinson Gifford, Christmas-Time, The Blodgett Family
New York Historical Society, New York CityNew York Historical Society New York City 8 Knitting for the Soldiers, Grover Cleveland (1837-1908), Augustus Schell (1812–1884)
Museum of Fine Arts, BostonMuseum of Fine Arts Boston 5 The Little Convalescent, Writing to Father, The Field Hospital
Yale University Art Gallery, New HavenYale University Art Gallery New Haven 4 Girl in the Woods [verso of On the Hillside], The Sugar Camp (also known as Making Maple Sugar or Susan Ray’s Maple Sugaring Kitchen), The Back Fence
Detroit Institute of Arts, DetroitDetroit Institute of Arts Detroit 5 The Young Sweep, In the Fields, Worthington Whittredte
Fine Arts Museums of San Francisco, San FranciscoFine Arts Museums of San Francisco San Francisco 4 The Mother, The Pension Claim Agent, A Different Sugaring Off
National Portrait Gallery, Washington, D.C.National Portrait Gallery Washington, D.C. 3 Parke Godwin, Grover Cleveland, Eastman Johnson Self-Portrait

Eastman Johnson, ett signaturmaleri per tiår

Verk per tiår

Velg et tiår for å se originalverket som definerer det.

Eastman Johnsons malerier: galleriets svar

Hvilket maleri av Eastman Johnson er det mest kjente av alle?Avslør svaret

William Hayes Fogg (1817-1884) (1887), Harvard Art Museums, Cambridge. Deretter følger In the Hayloft (1877) og Grover Cleveland (1891).

Hvor gammel var Eastman Johnson da William Hayes Fogg (1817-1884) ble ferdigstilt?Avslør svaret

63 år gammel: William Hayes Fogg (1817-1884) er fra 1887, og Eastman Johnson ble født i 1824.

Hvilke er de 10 beste maleriene til Eastman Johnson?Avslør svaret

William Hayes Fogg (1817-1884), In the Hayloft, Grover Cleveland, Amos Adams Lawrence (1814-1886), Parke Godwin, Girl in the Woods [verso of On the Hillside], The Little Convalescent, Grover Cleveland, Portrait of Mrs. Eastman Johnson og Eastman Johnson Self-Portrait. Rangeringen ovenfor viser årstall og museum for hvert verk.

Hvor mange verk skapte Eastman Johnson?Avslør svaret

Vår katalog inneholder 208 verk av Eastman Johnson, datert fra 1853 til 1899.

Hvor henger de mest kjente originalverkene til Eastman Johnson?Avslør svaret

Hovedsakelig i National Gallery of Art (Washington), Metropolitan Museum of Art (New York) og New York Historical Society (New York City). Museumslisten ovenfor viser alle.

Når malte Eastman Johnson sine mest kjente malerier?Avslør svaret

I 1860s: 33 av de 100 verkene på denne siden ble laget da, The Young Sweep av dem.

Hvilke er Eastman Johnsons tidligste og nyeste berømte verk?Avslør svaret

På denne siden er det eldste The Card Players (1853) og det nyeste The Right Reverend Henry Codman Potter (1835–1908) (1899).

Hvilke motiver vendte Eastman Johnson oftest tilbake til?Avslør svaret

Man (23), White collar (10) og Dark background (9), fordelt på 100 verk på denne siden.

Hvilket medium arbeidet Eastman Johnson mest med?Avslør svaret

Oil On Canvas, for 31 av de 100 verkene på denne siden.

Hvilken kunstretning er Eastman Johnson tilknyttet?Avslør svaret

American realism, basert på originalene på denne siden.

Hvilke originalverk av Eastman Johnson har National Gallery of Art i sin samling?Avslør svaret

Lambs, Nantucket, Joseph Wesley Harper, Jr. og The Toilet: National Gallery of Art, Washington har 9 av verkene på denne siden.

Eastman Johnson: kunstneren

A Life Etched in American Realism

Jonathan Eastman Johnson, a name that echoes with the quiet dignity of 19th-century America, was more than simply a painter; he was a visual storyteller, meticulously documenting his era through the lens of everyday life. Born in Lovell, Maine, in 1824, his artistic journey wasn’t one of immediate fanfare but rather a gradual unfolding shaped by familial connections, rigorous training, and an unwavering dedication to portraying the world as he perceived it – with honesty, nuance, and a touch of melancholic beauty. His father, Philip Carrigan Johnson, held positions in business and fraternal organizations, instilling in young Eastman a deep sense of community engagement that would later find its expression through his art. Early experiences in Fryeburg and Augusta, Maine, provided the foundational bedrock for his understanding of American existence – an understanding he translated onto canvas with remarkable sensitivity. His formal artistic education began as an apprenticeship with a Boston lithographer in 1840, marking the initial step on a path defined by meticulous observation and technical skill. A move to Washington D.C., alongside his family due to his father’s naval appointment, broadened his horizons considerably, exposing him to diverse subjects and experiences that subtly influenced his artistic vision.

From Dutch Masters to American Scenes

Johnson's artistic development was a fascinating interplay of influences. Initially drawn to portraiture, he swiftly expanded his repertoire to encompass genre painting – scenes depicting the ordinary lives of Americans. This wasn’t merely about representation; it was about capturing the essence of American society, offering glimpses into the experiences of individuals often overlooked by grander historical narratives. A pivotal moment arrived during the 1850s when Johnson traveled to The Hague and immersed himself in the works of 17th-century Dutch masters. This encounter proved transformative. He absorbed their mastery of composition, lighting, and realism, earning him a moniker that would forever be associated with his work: “The American Rembrandt.” This influence is strikingly evident in his paintings – a subdued palette, dramatic chiaroscuro (strong contrasts between light and dark), and an almost photographic attention to detail characterize his mature style. However, Johnson didn’t simply imitate; he synthesized these European techniques with his uniquely American sensibility, creating works that were both technically brilliant and deeply rooted in the social fabric of his time. He aligned himself firmly with the burgeoning Realist movement, rejecting idealized representations in favor of accurate depictions of everyday life – a commitment that would define his artistic legacy.

Bearing Witness to an Era

Johnson’s oeuvre is remarkably diverse, encompassing portraits of prominent figures like Abraham Lincoln, Nathaniel Hawthorne, Ralph Waldo Emerson, and Henry Wadsworth Longfellow alongside intimate scenes of domesticity and rural life. Yet, certain works stand out as particularly significant for their social commentary and artistic innovation. Negro Life at the South (1859) remains one of his most celebrated – and controversial – paintings. Depicting African Americans enjoying leisure time in a carefully constructed tableau, it sparked intense debate regarding race relations and the realities of slavery in the antebellum South. The ambiguity inherent in the scene – was it a romanticized portrayal or a subtle critique? – fueled discussions that resonated far beyond the art world. His response to the Civil War was equally poignant. Rather than focusing on battlefield heroics, Johnson turned his attention to the impact of conflict on civilian life, creating haunting images of anxious families and scenes away from the front lines. Ride For Liberty (1862), depicting an enslaved family escaping to freedom, is a powerful testament to his commitment to social justice – a scene rendered with both heartbreaking vulnerability and quiet dignity. His depictions of New England rural life – maple sugar harvesting, cranberry picking – celebrated traditional American values and craftsmanship with a quiet reverence.

A Legacy Beyond the Canvas

Beyond his artistic achievements, Johnson played a crucial role in shaping the American art landscape. His dedication to genre painting elevated it as a respected form of artistic expression, challenging prevailing notions of what constituted “high art.” He wasn’t merely an artist; he was a cultural advocate. His commitment extended beyond his own practice, culminating in his co-founding of the Metropolitan Museum of Art in New York City – a testament to his belief in the power of art to educate and inspire. His name is inscribed above its entrance, a permanent recognition of his significant contribution to the nation’s artistic heritage. Johnson's influence on American Realism is undeniable; his dedication to depicting everyday life with honesty and detail paved the way for future generations of artists who sought to capture the complexities of the human experience. He died in New York City in 1906, leaving behind a body of work that continues to captivate and inspire, ensuring his enduring recognition as a significant figure in American art history.

Enduring Significance

Johnson’s legacy extends far beyond specific paintings or institutional contributions. He was a pioneer in bridging the gap between European artistic traditions and uniquely American subject matter. His ability to imbue ordinary scenes with profound meaning, his willingness to engage with complex social issues, and his unwavering commitment to realism cemented his place as a pivotal figure in 19th-century American art. He wasn’t simply recording life; he was interpreting it, prompting viewers to reflect on their own values and beliefs. His work serves as a powerful reminder that true artistry lies not just in technical skill but also in the ability to connect with the human spirit and illuminate the world around us.