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Inscription

lower center in ligature: JWC. / 57.

Provenance

Possibly Jonathan Sturges [1802-1874], New York, and Fairfield, Connecticut;[1] his son, Frederick Sturges [d. 1917], New York, and Fairfield, Connecticut; his son, Frederick Sturges, Jr. [1876-1977], New York, and Fairfield, Connecticut;[2] gift 1978 to NGA.

Exhibition History
1945
The Hudson River School and the Early American Landscape Tradition, The Art Institute of Chicago; Whitney Museum of American Art, New York, 1945, 116, no. 21, as Heart of the Catskills.
1946
One Hundred Years, 1846-1946, M. Knoedler and Co., New York, 1946, no. 18, as Heart of the Catskill Mountains.
1998
American Light: Selections from the National Gallery of Art, Art Museum of Western Virginia, Roanoke, May-August 1998, no cat.
1998
Treasures of Light: Paintings from the National Gallery of Art, Dixon Gallery and Gardens, Memphis, March-April 1998, no cat.
2006
Extended loan for use by Vice President and Mrs. Richard Cheney, Vice President's Residence, Washington, D.C., 2006-2009.
Bibliography
1980
American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 32, repro.
1980
Wilmerding, John. American Masterpieces from the National Gallery of Art. National Gallery of Art, Washington, D.C., 1980: 92, repro.
1981
Williams, William James. A Heritage of American Paintings from the National Gallery of Art. New York, 1981: 116, repro. 116-117.
1988
Wilmerding, John. American Masterpieces from the National Gallery of Art. Rev. ed. National Gallery of Art, Washington, D.C., 1988: 106, repro.
1992
American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 38, 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: 51-54, repro.
Technical Summary

The support is a medium-weight, plain-weave fabric that has been lined. The original tacking margins have been removed, but cusping is visible along all four edges. The ground is thin and white. \rUnderdrawing is visible in the trees at the left, and infrared reflectography reveals further underdrawing along the contour of the mountains. Using a fairly elaborate layering system, the paint was applied thinly in the sky and lake and thicker in the mountains and foreground. A pentimento in the lake has been heavily inpainted. There are scattered small losses throughout, and the surface of the lake appears abraded and worn. The widespread traction crackle and wrinkling of the paint film are due to the artist's technique. In 1978 the painting was relined, discolored varnish was thinned, and the painting was restored. The varnish has become yellowed and milky.