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Inscription

lower left: E.J.

Provenance

The artist, New York.[1] F. Reside; his estate; (sale, Silo's Galleries, New York, 21 February 1931, no. 274); Chester Dale [1883-1962], New York;[2] bequest 1963 to NGA.

Exhibition History
1937
An Exhibition of American Paintings from the Chester Dale Collection, The Union League Club, New York, 1937, no. 24.
1940
Eastman Johnson, 1824-1906: An American Genre Painter, Brooklyn Museum, 1940, no. 95
1965
The Chester Dale Bequest, National Gallery of Art, Washington, D.C., 1965, unnumbered checklist.
Bibliography
1940
L., J.W. [probably Lane, James W.] "The Brown Decades Seen by Eastman Johnson." Art News 38 (3 February 1940): 20.
1965
Paintings other than French in the Chester Dale Collection. National Gallery of Art, Washington, 1965: 36, repro.
1970
American Paintings and Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1970: 74, repro.
1980
American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 184, repro.
1980
Wilmerding, John. American Masterpieces from the National Gallery of Art. National Gallery of Art, Washington, D.C., 1980: 72, repro.
1981
Williams, William James. A Heritage of American Paintings from the National Gallery of Art. New York, 1981: 148-149, repro.
1987
Link, William A. "'Rough Times': Rural Education in Late-Nineteenth-Century Virginia." Virginia Cavalcade 37 (Summer 1987): color repro. 21.
1988
Wilmerding, John. American Masterpieces from the National Gallery of Art. Rev. ed. National Gallery of Art, Washington, D.C., 1988: 82, repro.
1992
American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 212, 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: 373-376, color repro.
1997
Southgate, M. Therese. The Art of JAMA: One Hundred Covers and Essays from The Journal of the American Medical Association. St. Louis, 1997: 54-55, color repro.
Technical Summary

The support consists of a thin (0.3 cm) cardboard panel mounted to a medium-weight, coarsely woven fabric. The ground layer is thin and buff-colored and is largely covered by a warm, transparent brown glaze that serves as the middle tone of the painting. Thicker applications of the same brown paint create the darker shadows. Extensive underdrawing, probably pencil, is visible throughout. The highlighted areas and the lighter background region appear to have been painted last, with a thicker, more opaque paint. The thick coat of varnish is milky and has discolored. The painting is extensively abraded across its entire surface. This abrasion has been inpainted. Many of the major lines of the composition have been reinforced by inpainting.