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Inscription

lower right: T DOUGHTY / BOSTON / 1834

Provenance

Possibly William Warner Hoppin [1807-1890], Providence, until 1855 or later.[1] Private collection, near Sheffield, Massachusetts; acquired summer 1963 by (Lois W. Spring, Sheffield, Massachusetts); sold 1963 to (Vose Galleries, Boston);[2] purchased 9 October 1963 by NGA.

Exhibition History
1834
Possibly Artist's Exhibition, Harding's Gallery, Boston, 1834, no. 24 (View of the Rhine), no. 26 (A Swiss Scene), no. 39 (Swiss Scene), or no. 41 (Source of the Rhine).
1855
Possibly Second Exhibition, Rhode Island Art Association, Providence, 1855, 10, no. 87, as Landscape.
1968
Arts of the Young Republic; The Age of William Dunlap, William Hayes Ackland Memorial Art Center, Chapel Hill, North Carolina, 1968, 49, no. 104.
1969
In Memoriam, Ailsa Mellon Bruce, National Gallery of Art, Washington, D.C., 1969, unnumbered checklist.
1973
Thomas Doughty 1793-1856: An American Pioneer in Landscape Painting, Pennsylvania Academy of the Fine Arts, Philadelphia; Corcoran Gallery of Art, Washington, D.C.; Albany Institute of History and Art, New York, 1973-1974, no. 28.
1976
The Gothic Revival Style in America, 1830-1870, Museum of Fine Arts, Houston, 1976, 81, no. 169.
Bibliography
1969
Goodyear, Frank, Jr. "Life and Art of Thomas Doughty." M.A. thesis, University of Delaware, 1969: vi, 38, 77, repro. 39.
1970
American Paintings and Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1970: 48, repro.
1971
Walker, John Alan. "Thomas Doughty: Chronology and Checklist." Fine Art Source Material Newsletter 1 (January 1971): 5, no. 41.
1973
Goodyear, Frank, Jr. Thomas Doughty 1793-1856: An American Pioneer in Landscape Painting. Exh. cat. Pennsylvania Acad. of the Fine Arts, Philadelphia; Corcoran Gallery of Art, Washington, D.C.; Albany Inst. of History & Art. Phil., 1973: 17, 26, no.28.
1974
Howat, John K. "The Thomas Doughty Exhibition." American Art Review 1 (January-February 1974): color repro. 103, 106.
1974
Moore, James C. "The Storm and the Harvest: The Image of Nature in Mid-Nineteenth Century American Landscape Painting." Ph.D. dissertation, Indiana University, Bloomington, 1974: 45, color fig. 28.
1975
Walker, John. National Gallery of Art, Washington. New York, 1975: 551, no. 835, color repro.
1980
American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 144, repro.
1980
Wilmerding, John. American Masterpieces from the National Gallery of Art. National Gallery of Art, Washington, D.C., 1980: 84, no. 23, color repro.
1981
Williams, William James. A Heritage of American Paintings from the National Gallery of Art. New York, 1981: 110, repro. 111.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 547, no. 826, color repro.
1988
Wilmerding, John. American Masterpieces from the National Gallery of Art. Rev. ed. National Gallery of Art, Washington, D.C., 1988: 98, no. 26, color repro.
1992
American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 160, repro.
1996
Kelly, Franklin, with Nicolai Cikovsky, Jr., Deborah Chotner, and John Davis. American Paintings of the Nineteenth Century, Part I. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1996: 131-134, color repro.
Technical Summary

The support is a plain-weave fabric that has been lined, but the original tacking margins are intact. The ground, applied prior to stretching, is a white or pale gray layer of moderate thickness, allowing some of the weave texture to show through. Textured and relatively full-bodied paint describes the sky and the cliffs at left; thinner paint and glazes are found in the cliff at right and the darker areas. The leaves are highlighted with dabs of bright yellow. There are no significant losses, but there is minor inpainting scattered throughout the lower section of the painting. The varnish has not discolored.