No overview available.
Marks and Labels
Possibly Jonathan Sturges [1802-1874], New York, and Fairfield, Connecticut; his son, Frederick Sturges [d. 1917], New York, and Fairfield, Connecticut; his son, Frederick Sturges, Jr. [1876-1977], New York, and Fairfield, Connecticut; bequest 1978 to NGA.
- American Light: The Luminist Movement, 1850-1875, National Gallery of Art, Washington, D.C., 1980, 86, 115, 212, pl. 2, fig. 2, as Beach at Newport.
- John Frederick Kensett: An American Master, Worcester Art Museum, Massachusetts; Los Angeles County Museum of Art; The Metropolitan Museum of Art, New York, 1985-1986, 135, 176, pl. 35, as Beach at Newport.
- American Paradise: The World of the Hudson River School, The Metropolitan Museum of Art, New York, 1987, 158-159, as Beach at Newport.
- Loan for display with permanent collection, The Detroit Institute of Arts, 1989-1990.
- American Sublime: Landscape Painting in the United States 1820-1880, Tate Britain, London; Museum of American Art of the Pennsylvania Academy of the Fine Arts, Philadelphia; Minneapolis Institute of Arts, 2002, no. 76, repro. (shown only in London).
- American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 186, repro.
- Wilmerding, John. American Masterpieces from the National Gallery of Art. National Gallery of Art, Washington, D.C., 1980: 11, 90, 92, no. 27, color repro., as Beach at Newport.
- Williams 1981, 118, 120, repro. 120, as Beach at Newport
- Garrett, Elayne Genishi. "The British Sources of American Luminism." Ph.D. diss., Case Western Reserve University, 1982: 3, repro. 244, as Beach at Newport.
- Lynes, Russell. "Putting Artists in Their Places." Architectural Digest (November 1982): color repro. 64, as Beach at Newport.
- Driscoll, John Paul, and John Howat. John Frederick Kensett: An American Master. Exh. cat. Worcester Art Mus.; Los Angeles County Mus. of Art; Metropolitan Mus. of Art, New York. Worcester and New York, 1985: 135, 176, pl. 35, as Beach at Newport.
- Radaker, Kevin. "'A Separate Intention of the Eye': Luminist Eternity in Thoreau's 'A Week on the Concord and Merrimack River.'" The Canadian Review of American Studies 18 (1987): 47, repro. 48, as Beach at Newport.
- Wilmerding, John. American Marine Painting. Rev. ed. of A History of American Marine Painting, 1968. New York, 1987: 53, color repro. 54, as Beach at Newport.
- Wilmerding, John. American Masterpieces from the National Gallery of Art. Rev. ed. National Gallery of Art, Washington, D.C., 1988: 106, no. 30, color repro.
- Bennewitz, Kathleen Motes. "John F. Kensett at Beverly, Massachusetts." The American Art Journal 21 (1989): 47, 59, 60, repro. 48.
- American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 218, repro.
- 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: 394-397, color repro.
- Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 326-327, no. 264, color repro.
The support is a medium-weight, plain-weave fabric that has been lined. The ground layer is white and was used as a visible part of the design layers in some areas, showing through in the sky and the water. Underdrawing, probably graphite, is visible to the eye in the area where the beach meets the rocks; additional underdrawing in the rocks and a horizon line is visible through infrared reflectography. The paint was applied with a variety of strokes, from very wet, fluid brushwork to dry stipple. The painting is generally in good condition, with a few scattered small losses and only minimal abrasion. The varnish has discolored.