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Robert Torchia, “Walt Kuhn/Wisconsin/1936,” American Paintings, 1900–1945, NGA Online Editions, https://purl.org/nga/collection/artobject/51088 (accessed October 05, 2024).

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Overview

In addition to his depictions of circus performers, Walt Kuhn completed several paintings representing the quality of American ruggedness during the 1930s. These were intended to be character studies rather than portraits of specific individuals. Kuhn portrayed the model for Wisconsin, actor George Fitzgerald, in two other guises: The Man from Eden (1930, Albright-Knox Art Gallery, Buffalo, New York) and The Camp Cook (1931, Munson-Williams-Proctor Arts Institute, Utica, New York). The title of the former references Fitzgerald’s birthplace of Eden, Wisconsin.

Kuhn’s records report that Wisconsin was the “biggest all around success” when it was first exhibited at the Marie Harriman Gallery in 1937. A critic commented that it captured “a deeper characterization and a much more sweeping rhythm” than some of his circus subjects.

Entry

The subject of this painting is actor George Fitzgerald, who also served as the model for Walt Kuhn’s The Man from Eden [fig. 1] and The Camp Cook [fig. 2].[1] Kuhn’s biographer, Philip Rhys Adams, stated that Fitzgerald was represented by a booking agency that had “an intuitive sense of Kuhn’s requirements and sent him many useful models over the years.”[2] In the book that he wrote with Paul Bird in 1940, Kuhn recalled that the “Lincolnian figure” in The Man from Eden was “not from the Garden of Eden, but Eden, Wisconsin where he grew up as a farm boy. He drifted with the show business to New York, and eventually to the artist’s studio. He is a loyal admirer of art and artists and enjoys posing for such reflective pictures.”[3] Fitzgerald and the Kuhn family remained in touch between the execution of the three compositions, which spanned six years. Fitzgerald sent the artist a postcard from Santa Fe, New Mexico, in February 1933, signing it “the Camp Cook & Man From Eden.”[4]

In Wisconsin, as in The Man from Eden, Kuhn portrayed Fitzgerald with a blank expression, his lips slightly parted midsentence or lost in thought. Fitzgerald faces and stares to the left of the viewer. By reducing the scale from the half-length of the previous paintings of Fitzgerald to the bust-length of Wisconsin, Kuhn centered and placed greater emphasis on the sitter’s face. His sunken cheeks and the dark circles under his eyes imply the toll of physical labor. He wears a wide-brimmed hat—despite the indoor setting—and a simple shirt with an open collar. Wisconsin was not intended as a portrait of a specific individual but as a study of American ruggedness. Kuhn completed other bust-length paintings exploring this theme, including The Guide (1931, Sheldon Museum of Art, University of Nebraska–Lincoln) and Woodsman (1933, private collection). The artist spent summers in Ogunquit, Maine, where he may have taken inspiration from the townspeople to work on such a project.[5]

Kuhn and his wife, Vera, kept meticulous records, and they recorded that Wisconsin was the “biggest all around success” when it was first shown at the Marie Harriman Gallery in 1937. In a review of the exhibition, critic Margaret Breuning remarked that both Wisconsin and Juggler [fig. 3] showed “a penetration of character that passes far beyond the realism of literal record into the fusing of subjective values and factual statement. The significance that the artist found in these subjects is interspersed with simplicity and power in a thoroughly personal idiom.”[6] That same year another critic praised Kuhn’s penetrating insight into human character and concluded that in both the “serene records of the Wisconsin countryman” and Dryad, also in the National Gallery’s collection, the artist had achieved “far deeper characterization and a much more sweeping rhythm” than in some of his circus subjects.[7] A trustee of the Wichita Art Museum considered purchasing Wisconsin in 1940 but did not do so, the Kuhns speculated, because it “did not have enough glamour.”[8] The painting remained in the collection of the artist’s family until his daughter, Brenda Kuhn, donated it to the National Gallery in 1968.

Robert Torchia

July 24, 2024

Inscription

lower right: Walt Kuhn / 1936

Provenance

The artist [1877-1949]; his daughter, Brenda Kuhn [1911-1993], Cape Neddick, Maine; gift 1968 to NGA.

Associated Names

Kuhn, Brenda

Exhibition History

1937
Walt Kuhn, Marie Harriman Gallery, New York, 1937, no. 11.
1960
Walt Kuhn 1877-1949: A Memorial Exhibition, Cincinnati Art Museum, 1960, no. 68.
1964
Walt Kuhn: Paintings, Drawings, Carvings, Nasson College, Springvale, Maine, 1964, no. 10.
1966
Painter of Vision: A Retrospective Exhibition of Oils, Watercolors and Drawings by Walt Kuhn, 1877-1949, The University of Arizona Art Gallery, Tucson, 1966: no. 81, repro.
1967
Walt Kuhn 1877-1949, Kennedy Galleries, Inc., New York, 1967, no. 17, repro.
1974
Selected American Paintings from the National Gallery of Art, University Center Gallery, University of Tennessee, Chattanooga, 1974, no cat.
1978
Walt Kuhn: A Classic Revival, Amon Carter Museum of Western Art, Fort Worth: Joslyn Art Museum, Omaha; Wichita Art Museum; Colorado Springs Fine Arts Center, 1978-1979, no. 30.
2008
Face Forward: American Portraits from Sargent to the Present, Vero Beach Museum of Art, 2008, no catalogue.

Technical Summary

The unlined plain-weave fabric support remains mounted on its original stretcher. The intact tacking margins, painted to the edges in tones not used in the current portrait, indicate the presence of another painting under the visible composition. Evidently the artist reused this canvas, possibly by cutting down a larger composition. Neither the x-radiograph nor the infrared examination revealed any of the qualities of the underlying composition. 

In the visible composition, the artist applied paint with a fairly thick and fluid consistency over an off-white ground. The painting was probably executed over a long period of time, because the artist worked over well-dried layers of paint. The painting is in good condition. The surface is coated with a layer of natural resin varnish that is slightly uneven in gloss.

Michael Swicklik

July 24, 2024

Bibliography

1970
American Paintings and Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1970: 76, repro.
1978
Adams, Philip Rhys. Walt Kuhn, Painter: His Life and Work. Columbus, OH, 1978: 264, no. 350.
1980
American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 191, repro.
1981
Williams, William James. A Heritage of American Paintings from the National Gallery of Art. New York, 1981: 225, repro. 228.
1992
American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 223, repro.

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