伊士曼.约翰逊Eastman Johnson（1824年7月29日——1906年5月5日），美国画家。
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亨利。沃兹渥斯。朗费罗——纳撒尼尔·霍桑——拉尔夫·瓦尔多·爱默生,蜡笔在纸上和粉笔,每21×19。椭圆形,1846
伊士约翰逊的画像他哥哥,海军准将Carrigan菲利普•约翰逊油画,21日×25。,1876年
约翰逊出生在缅因州洛弗尔卡里根的第八个孩子菲利普约翰逊和玛丽金博钱德勒(1796年出生在新罕布什尔州,10月18日,1818)结婚。他的兄弟姐妹是菲利普姐妹哈丽特,朱迪丝,玛丽,莎拉和内尔,哥哥鲁本。(他的大哥菲利普成为海军准将在美国海军和海军中将的父亲阿尔弗雷德·威尔金森约翰逊.)
伊士曼长大弗莱伯和奥古斯塔,住在舒适的街头,后来在温斯洛普街61号。[2]他的父亲是几个企业的所有者,活跃在兄弟组织:他的大秘书大缅因小屋(古代自由和接受共济会)(1836 - 1844)。在1840年他被任命为国务卿缅因州,服役两年。
蔓越莓的比较器,楠塔基特岛(1879)和蔓越莓收获,楠塔基特岛(1880)。两者都是油画
伊士曼约翰逊的职业生涯作为一个艺术家在1840年开始当他父亲跟他波士顿石印工。在他父亲的政治靠山,缅因州州长约翰·费尔菲尔德进入美参议院,高级约翰逊是由美国总统任命詹姆斯。波尔克在1840年代后期担任首席职员在局建设,海军部门的设备,和维修。全家搬到了华盛顿特区和第一住在租赁住房。1853年,他们买了一个新的rowhouse F大街266号,13和14之间的街道和白宫几个街区和海军部门办公室,成为永久的家园。虽然年轻的约翰逊在波士顿住一段时间,和研究在欧洲,他使用这个家基地迁到纽约在1850年代末。
年轻的约翰逊搬到华盛顿特区。大约20岁,支持自己通过蜡笔肖像画,包括约翰·昆西·亚当斯,多莉麦迪逊,可能得益于父亲的政治关系。他回到了新英格兰,结算波士顿1846年,22岁的。
1849年,约翰逊去海外杜塞尔多夫,德国,进行进一步的研究。这已经成为一个新的中心,许多艺术家,包括许多美国人来说,学习艺术。他们参加了杜塞尔多夫绘画学院。1851年1月,约翰逊接受的工作室伊曼纽尔Gottlieb Leutze,一个德国人在美国生活了一段时间回到德国。他的主要完成的工作有他的肖像沃辛顿Whittredge.
约翰逊搬到海牙,在那里他学习了17世纪的荷兰和佛兰德的主人。他结束了他的欧洲旅行在巴黎,与学术研究画家托马斯时装1855年返回美国之前,由于他母亲的死亡。
1856年,他访问了他的姐姐莎拉和她的家人优越,威斯康辛州.[9]他的混血指南Stephen Bonga,他是Ojibwe约翰逊和非裔美国人,在本机Anishinaabe (Ojibwe在周边地区优越。在1857年约翰逊经常画的亲密,随意的姿势。[7]根据威斯康辛州历史学会,约翰逊今天被称为与Bonga前往的地区大运输国家纪念碑,使徒岛屿国家纪念碑,皇家岛国家公园.
到1859年,约翰逊已经回到东部和建立了工作室纽约。那年他获得了声誉作为一个美国艺术家的展览国家设计学院他的画,黑人生活在南方(1859)或者,通常被称为,老肯塔基州的家。设置在城市的后院华盛顿特区而不是在一个种植园。当年约翰逊当选为国家设计学院以准成员,并在1860年成为一个完整的院士。
约翰逊也成为的一员纽约联合俱乐部,他的许多画作。1869年,55岁,他第一次结婚,伊丽莎白·巴克利。他们有一个女儿,埃塞尔伊士曼约翰逊,生于1870年。埃塞尔阿尔弗雷德·罗纳多康克林(参议员的侄子结婚康克林1896年)。
约翰逊在1906年去世,伊士曼葬生材公墓在纽约布鲁克林.
大Portage Ojibwe棚屋,油画,1857年,10.25×15.2
约翰逊的风格在很大程度上是现实题材和执行。他木炭草图没有强烈影响时期的艺术家,但了解更多他的光刻技术培训。后来作品展示的影响,这个口是17世纪的荷兰和佛兰德的大师,也让小米。小米的回声拾穗中可以看到约翰逊的蔓越莓收获,楠塔基特岛,虽然工作是截然不同的感情基调。
他仔细描述个体而不是刻板印象提高了他的现实主义绘画。Ojibwe艺术家卡尔Gawboy指出,在1857年由约翰逊Ojibwe人的肖像辨认的人今天在Ojibwe社区。[13]他的一些作品,如Ojibwe棚屋在大运输,非常真实,细节以后照相现实主义运动。
他小心注意光源有助于现实主义。肖像,男孩女孩和宠物,林肯,利用单一光源的方式类似于17世纪的荷兰大师他研究了1850年代在海牙。
约翰逊的主题包括有钱有势的画像,从美国总统,文学人物,不知名的人。他每天最出名的是他的画的人在日常的场景。约翰逊经常重新粉刷同一主题改变风格和细节。
新英格兰生活的作品,如蔓越莓收获,楠塔基特岛,旧的公共马车,剥壳蜜蜂,楠塔基特岛,Sap采集者,和糖渍在营地,弗莱伯,缅因州,确立了他作为一个流派的画家。在过去的五年里,他做了许多较小素描和油画枫树液处理的枫糖,但从未完成更大的他开始工作。
相比之下,他开发很多著名的老Stagecoach主要在他的工作室,他精心策划的成分。舞台是基于一个废弃的教练,他已经遇到,勾勒出虽然徒步旅行卡茨基尔。他用当地儿童招募从楠塔基特岛附近的工作室作为模型。尽管这个技巧,这幅画被誉为健康,自然和田园。
凯是森天我们赢,木炭和蜡笔在纸上,1857,10.75×14。
在1856 - 1857年,约翰逊访问他的姐姐莎拉和弟弟优越的在西方的前沿威斯康辛州在苏必利尔湖。他帮助在该地区旅游和会议Ojibwe人斯蒂芬·Bonga译员和指导Ojibwe /非裔美国人的父母。
卡尔Gawboy现代Ojibwe艺术家,推测,约翰逊的时间与Bonga和他的混血家庭(Bonga Ojibwe妻子和母亲)改变了他的绘画方法。[14]当然约翰逊就能够成功地获得许多Ojibwe坐他为主题。约翰逊在他的素描和油画,描绘Ojibwe人更亲密和放松的方式比平时的绘画。也不寻常的是,他经常包括标题的作品主题的名字。他并不只关注个人肖像,但也绘画和素描的场景包括Ojibwe住所,圣路易斯湾和其他组Ojibwe在日常活动。[13][14]
约翰逊离开了威斯康辛州由于广泛的金融恐慌,使他的房地产投资价值。他搬到俄亥俄州辛辛那提肖像佣金赚钱,再也没有回到Ojibwe的主题。[16]他的油画和素描Ojibwe仍未售出的一生。他们现在所拥有的圣路易斯县历史的社会明尼苏达州德卢斯.
黑人生活在南方,1859岁的油画36×45.25英寸。
黑人生活在南方(1859),完成在内战爆发前不久,被认为是约翰逊的杰作。因为它的复杂性,它已经被学者详细分析和解释。这幅画描绘了一个城市“小街”场景的奴隶在华盛顿DC,尽管它成为普遍从那一年被称为老肯塔基州(基于一首歌斯蒂芬。福斯特),被称为种植园生活。这幅画展示了一系列国内活动背后一所破烂的房子,房子的更好的条件。(奴隶的设置是后院季度约翰逊的父亲的家在华盛顿附近。)
左边的前景是一个年轻的黑人,浅肤色的女人求爱.中间是一个班卓琴的球员做音乐,成年女人与一个孩子共,其他人看。在正确的边缘,一个年轻的白人妇女在一个精致的白色礼服的步骤从隔壁的房子超过一个阈值到这个世界上,与另一个黑色的图在她身后。(她是约翰逊的妹妹。成年黑人妇女从楼上的窗口,她在一个小持平浅肤色的孩子坐在屋顶部分倒塌。女人和孩子在中间跳舞前景最黑暗的皮肤,几乎每个人都涂上不同的肤色。[需要引证]
这些变化在“有色人种”反映了非裔美国人社会上层,也邀请观众考虑混合种族血统的描绘。几个元素暗示或象征关系一个看不见的富裕白人父亲混血孩子,梯子从黑人季度到隔壁的一个更大的房子,象征性的,公鸡母鸡高在房子附近的树高和黑人的房子屋顶。[19][pageneeded]奴隶制的支持者和反对者都认为这幅画是支持他们的世界观,因为黑人似乎足够开朗,但是他们的房子是破旧的。[pageneeded]
一程为自由——逃亡的奴隶(1862),描绘了一个奴隶家庭自由骑在黎明时分,还邀请解释。约翰逊把奴隶家庭直接的中心工作,作为代理自己的命运。它似乎是黎明和距离是刺刀,表明联盟。一个男人与一个孩子骑在他的面前,在他身后,一个女人拥有一个婴儿接近她的胸部。她看起来在她身后,好像担心追求者,或想知道她留下。馆长埃莉诺·哈维写道这幅画“捕捉那一刻的全部范围奴隶制问题开始织机。约翰逊把这些人直接在前台,在这一过程中,提升他们的困境的全国性辩论。”[20]当时约翰逊指出,这幅画是根据他在内战期间的观察马纳萨斯战役.
他的工作,耶和华是我的牧者(1863),显示了一个非裔美国人在早期阅读圣经(可能《出埃及记》的书),坐在蓝夹克,在联邦军队可能表明服务。这是画的宣布后不久解放奴隶宣言,许多黑人逃离奴隶自由。阅读被视为自由人的能力取得进步的关键。
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 AdmiralAlfred Wilkinson Johnson.)
Eastman grew up in Fryeburg and Augusta, where the family lived at Pleasant Street and later at 61 Winthrop Street.[2] 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.[1]
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.[1] 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.[1]
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.[1] He returned to New England, settling in Boston in 1846 at the age of 22.[3]
In 1849, Johnson went overseas to Düsseldorf, Germany, for further studies. This had become a new center where many artists, including many Americans, studied art.[4][5] They took part in the Düsseldorf school of painting. In January 1851, Johnson was accepted into the studio of Emanuel Gottlieb Leutze,[6][7] a German who had lived in the United States for a while before returning to Germany.[4] His major work completed there is his portrait of Worthington Whittredge.[8]
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.His mixed-race guide Stephen Bonga, who wasOjibwe 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. 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.
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. 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.
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.[13] Some of his paintings, such as Ojibwe Wigwam at Grand Portage, are highly realistic, with details seen in the later photorealism movement.[14]
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.
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.
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
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.[16]
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.
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.[13][14]
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.[16] His paintings and sketches of the Ojibwe remained unsold during his lifetime. They are now owned by the St. Louis CountyHistorical Society in Duluth, Minnesota.[17]
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.[18][19] The painting depicts an urban "back street" scene of slaves in Washington, DC, although it became popularly known from that year asOld Kentucky Home (based on a song by Stephen Foster) and was referred to as showing plantation life.[1][11] 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.)[11]
On the left in the foreground are a young black man and light-skinned woman courting,[1]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.[11]) 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.[citation needed]
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.[1] 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.[19][page needed] 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.[1][19][page needed]
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.[20]It appears to be dawn and in the distance is light on bayonets, indicating Union lines.[20] 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.[20] 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."[20] Johnson noted at the time that the painting is based on his observations during the Civil War Battle of Manassas.[12]
His work, The Lord is My Shepherd (1863), shows an African-American man reading in the early part of a Bible (possibly theBook of Exodus), while sitting 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.[21]
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