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      Jonathan Eastman Johnson, 1824 – 1906

      Jonathan Eastman Johnson: 100-те най-известни картини

      От всички картини на Jonathan Eastman Johnson, William Hayes Fogg (1817-1884) (1887) е най-известната; тя се намира в Harvard Art Museums, Кеймбридж. След тях непосредствено следват Grover Cleveland (1891) и Amos Adams Lawrence (1814-1886) (1887). Сред 208 произведения на Jonathan Eastman Johnson в нашия каталог, тези 100 са най-известните, всяко от тях представенo с неговата дата, музея и историята си.

      Класирани според нашия коефициент за популярност, който съчетава търсенията, посещенията и поръчките за всяко произведение. Обновено Октомври 2026. Всяка картина на тази страница може да бъде поръчана като ръчно рисувано маслено репродукция върху ленен хол или като висококачествен арт принт, изработен според избран от Вас размер.

      Портрет на Jonathan Eastman Johnson
      Jonathan Eastman Johnson · 1824 – 1906
      Роден · починал
      1824 – 1906, Ловъл
      Движение
      American realism
      Работи в нашия каталог
      208
      Най-известни
      William Hayes Fogg (1817-1884) (1887)
      Най-много творби в
      Национална галерия на изкуствата

      10-те най-известни картини на Jonathan Eastman Johnson

      William Hayes Fogg (1817-1884) (1887) на Jonathan Eastman Johnson
      1

      William Hayes Fogg (1817-1884)

      1887 · Oil On Canvas · Harvard Art Museums, Кеймбридж

      The room feels quiet, held in a heavy, dignified stillness. An elderly man, William Hayes Fogg, sits before us, his gaze drifting toward the upper left as if caught in a moment of private reflection. He is a figure of authority, draped in the somber weight of a dark frock coat that absorbs the light, leaving only the crisp white of his collar to catch the eye. His face, etched…

      Ръчно рисувана маслена репродукция от $178 26 × 38 cm
      Grover Cleveland (1891) на Jonathan Eastman Johnson
      2

      Grover Cleveland

      The face emerges from a heavy, dark void. In this 1891 oil portrait, Grover Cleveland sits caught in a sharp beam of light that carves his features out of the gloom. The background remains indistinct, a deep well of blacks and muted ochres that pushes the subject forward. His gaze is direct, meeting the viewer with a steady, unblinking weight. There is no movement here, only the stillness of a…

      Ръчно рисувана маслена репродукция от $178 27 × 37 cm
      Amos Adams Lawrence (1814-1886) (1887) на Jonathan Eastman Johnson
      3

      Amos Adams Lawrence (1814-1886)

      1887 · Oil On Canvas · Harvard Art Museums, Кеймбридж

      A formal three-quarter length portrait, this oil on canvas presents an older man emerging from a dark, atmospheric void. The composition centers the subject against a somber, monochromatic background of charcoal and deep brown, a choice that directs all visual attention to the face. Light falls with dramatic precision upon the forehead, cheeks, and nose, utilizing a chiaroscuro-like technique to sculpt the features from the shadows. The subject is dressed…

      Ръчно рисувана маслена репродукция от $178 26 × 38 cm
      Parke Godwin (1880) на Jonathan Eastman Johnson
      4

      Parke Godwin

      1880 · Oil · National Portrait Gallery, Вашингтон, окръг Колумбия

      This 1880 oil portrait, titled Parke Godwin, presents a formal and dignified medium close-up of an elderly man. The subject is depicted from the waist up, positioned against a dark, indistinct background that emphasizes the somber and classical aesthetic of the composition. The lighting, appearing to originate from the upper left, casts a soft glow across the man's forehead, his white hair, and his full, bushy white beard, while leaving…

      Ръчно рисувана маслена репродукция от $178 29 × 35 cm
      Girl in the Woods [verso of On the Hillside] (1877) на Jonathan Eastman Johnson
      5

      Girl in the Woods [verso of On the Hillside]

      In "Girl in the Woods [verso of On the Hillside]", Eastman Johnson places us in a quiet, shadowed realm. The composition centers entirely on a young girl, a solitary figure positioned within a dense and dark woodland. This placement creates an immediate, intimate connection, as the eye-level perspective brings the viewer directly in front of the child. There is a certain stillness here, a sense of solitude that borders on…

      Ръчно рисувана маслена репродукция от $178 27 × 37 cm
      Grover Cleveland (1884) на Jonathan Eastman Johnson
      7

      Grover Cleveland

      1884 · Oil On Canvas · National Portrait Gallery, Вашингтон, окръг Колумбия

      In this portrait of Grover Cleveland, Eastman Johnson employs a close-up bust view that brings the viewer into an immediate, quiet proximity with the subject. The composition is intentionally intimate, positioning the man slightly off-center to create a sense of natural presence rather than rigid formality. He is turned toward the right of the frame, his gaze directed away from the viewer, which lends the work a contemplative quality. This…

      Ръчно рисувана маслена репродукция от $178 28 × 35 cm
      Portrait of Mrs. Eastman Johnson (1888) на Jonathan Eastman Johnson
      8

      Portrait of Mrs. Eastman Johnson

      1888 · Oil On Canvas · Smithsonian American Art Museum, Вашингтон, окръг Колумбия

      In Portrait of Mrs. Eastman Johnson, Jonathan Eastman Johnson employs a close-up, three-quarter view to establish an intimate perspective. The composition focuses tightly on the subject's head, shoulders, and hands, drawing the viewer into a contemplative state. This proximity creates a sense of quiet introspection, pulling the observer into the subject's private, melancholic mood.

      Ръчно рисувана маслена репродукция от $178 27 × 37 cm Размер като оригинала $289 58 × 80 cm Поръчайте в оригиналния размер →
      Eastman Johnson Self-Portrait (1877) на Jonathan Eastman Johnson
      9

      Eastman Johnson Self-Portrait

      1877 · Oil On Board · National Portrait Gallery, Вашингтон, окръг Колумбия

      We are looking at the Eastman Johnson Self-Portrait, a painting executed by the artist Jonathan Eastman Johnson in 1877. This work is a self-portrait, a genre in which the artist turns his gaze inward to capture his own likeness. In this specific instance, the subject of the work is the artist himself, Jonathan Eastman Johnson.

      Ръчно рисувана маслена репродукция от $178 32 × 32 cm

      Картини на Jonathan Eastman Johnson, подредени от 11 до 100

      Най-често рисувано от Jonathan Eastman Johnson

      Четирите найчесто срещани сюжета на тези платна, всеки с най-обичания си пример.

      Къде са изложени картините на Jonathan Eastman Johnson

      8 музея, които притежават най-голям брой от картините на тази страница.

      Музеи Град Творения на Jonathan Eastman Johnson Картини от този списък
      Национална галерия на изкуствата, УокшънтънНационална галерия на изкуствата Уокшънтън 10 Lambs, Nantucket, Joseph Wesley Harper, Jr., The Toilet
      Метрополитън Музей на изкуствата, Ню ЙоркМетрополитън Музей на изкуствата Ню Йорк 11 Grover Cleveland, Sanford Robinson Gifford, Christmas-Time, The Blodgett Family
      New York Historical Society, Ню ЙоркNew York Historical Society Ню Йорк 8 Knitting for the Soldiers, Grover Cleveland (1837-1908), Augustus Schell (1812–1884)
      Детройтският институт за изкуства, ДетройтДетройтският институт за изкуства Детройт 6 The Young Sweep, In the Fields, Mrs. Allan Shelden
      Музей на изкуствата във Бостън, БостънМузей на изкуствата във Бостън Бостън 5 The Little Convalescent, Writing to Father, The Field Hospital
      Художествена галерия на Йейлския университет, Ню ХейвънХудожествена галерия на Йейлския университет Ню Хейвън 4 Girl in the Woods [verso of On the Hillside], The Sugar Camp (also known as Making Maple Sugar or Susan Ray’s Maple Sugaring Kitchen), The Back Fence
      Fine Arts Museums of San Francisco, Сан ФранцискоFine Arts Museums of San Francisco Сан Франциско 4 The Mother, The Pension Claim Agent, A Different Sugaring Off
      National Portrait Gallery, Вашингтон, окръг КолумбияNational Portrait Gallery Вашингтон, окръг Колумбия 3 Parke Godwin, Grover Cleveland, Eastman Johnson Self-Portrait

      Десетилетие по десетилетие: най-значимите платна на Jonathan Eastman Johnson

      1. 1850s
        Southern Courtship (1859) на Jonathan Eastman Johnson
        Платно 14 от 100

        Southern Courtship

        Възраст 26 – 35 · Музеят на изкуствата в Хюстън
      2. 1860s
        The Young Sweep (1863) на Jonathan Eastman Johnson
        Класиран 10 от 100

        The Young Sweep

        Възраст 36 – 45 · Детройтският институт за изкуства
      3. 1870s
        Girl in the Woods [verso of On the Hillside] (1877) на Jonathan Eastman Johnson
        Класиран 5 от 100

        Girl in the Woods [verso of On the Hillside]

        Възраст 46 – 55 · Художествена галерия на Йейлския университет

        In "Girl in the Woods [verso of On the Hillside]", Eastman Johnson places us in a quiet, shadowed realm. The composition centers entirely on a young girl, a…

      4. 1880s
        William Hayes Fogg (1817-1884) (1887) на Jonathan Eastman Johnson
        Платно 1 от 100

        William Hayes Fogg (1817-1884)

        Възраст 56 – 65 · Harvard Art Museums

        The room feels quiet, held in a heavy, dignified stillness. An elderly man, William Hayes Fogg, sits before us, his gaze drifting toward the upper left as if…

      5. 1890s
        Grover Cleveland (1891) на Jonathan Eastman Johnson
        Класиран 2 от 100

        Grover Cleveland

        Възраст 66 – 75 · Метрополитън Музей на изкуствата

        The face emerges from a heavy, dark void. In this 1891 oil portrait, Grover Cleveland sits caught in a sharp beam of light that carves his features out…

      Вашите въпроси относно картините на Jonathan Eastman Johnson, отговорени

      Коя е най-известната картина на Jonathan Eastman Johnson?Прочетете отговора

      William Hayes Fogg (1817-1884) (1887), Harvard Art Museums, Кеймбридж. Следват Grover Cleveland (1891) и Amos Adams Lawrence (1814-1886) (1887).

      На каква възраст е бил Jonathan Eastman Johnson по време на създаването на William Hayes Fogg (1817-1884)?Прочетете отговора

      Jonathan Eastman Johnson, роден в 1824, е на 63 години: William Hayes Fogg (1817-1884) е от 1887 г.

      С кои десет картини е най-известен Jonathan Eastman Johnson?Прочетете отговора

      William Hayes Fogg (1817-1884), Grover Cleveland, Amos Adams Lawrence (1814-1886), Parke Godwin, Girl in the Woods [verso of On the Hillside], The Little Convalescent, Grover Cleveland, Portrait of Mrs. Eastman Johnson, Eastman Johnson Self-Portrait и The Young Sweep. Всяко платно в горната класация е придружено с годината на създаване и музея, в който се намира.

      Колко са известните картини на Jonathan Eastman Johnson?Прочетете отговора

      В нашия каталог са включени 208 произведения на Jonathan Eastman Johnson, датирани от 1853 до 1899.

      В кои музеи се съхраняват най-известните картини на Jonathan Eastman Johnson?Прочетете отговора

      Предимно в Национална галерия на изкуствата (Уокшънтън), Метрополитън Музей на изкуствата (Ню Йорк) и New York Historical Society (Ню Йорк); списъкът по-горе изброява всеки музей и неговите платна.

      В кои години Jonathan Eastman Johnson е създал най-известните си шедьоври?Прочетете отговора

      В 1860s, който включва 33 от 100 произведения на тази страница, The Young Sweep сред тях.

      Кои са първото и последното известни картини на Jonathan Eastman Johnson?Прочетете отговора

      Най-старото платно тук е от The Card Players (1853); най-новото е от The Right Reverend Henry Codman Potter (1835–1908) (1899).

      Кои теми се повтарят най-често в картините на Jonathan Eastman Johnson?Прочетете отговора

      Man (8), Dark background (7) и Portrait (4), разпределени в 100 произведения на тази страница.

      С какво обикновено е рисувал Jonathan Eastman Johnson?Прочетете отговора

      Oil On Canvas, използван в 11 от 100 произведения на тази страница.

      Към коهoто художествено направление принадлежи Jonathan Eastman Johnson?Прочетете отговора

      American realism, както показват картините на тази страница.

      Какво мога да видя от Jonathan Eastman Johnson в Национална галерия на изкуствата?Прочетете отговора

      В Национална галерия на изкуствата, Уокшънтън се съхраняват 9 от произведенията на тази страница, сред които са Lambs, Nantucket, Joseph Wesley Harper, Jr. и The Toilet.

      Мога ли да поръчам ръчно рисувана копия на картина от Jonathan Eastman Johnson?Прочетете отговора

      Да. Всяка картина на тази страница може да бъде поръчана от нейната собствена страница като ръчно рисувано маслено репродукция или като висококачествен арт-принт в избран от Вас размер.

      Jonathan Eastman Johnson: историята на художника

      A Life Etched in American Realism

      Jonathan Eastman Johnson, a name that resonates with the quiet dignity of 19th-century American life, was far more than simply a painter; he served as a visual chronicler of his era. Born in Lovell, Maine, in 1824, his artistic journey wasn’t one of immediate acclaim but rather a gradual unfolding shaped by familial connections, rigorous training, and an unwavering dedication to portraying the world with honesty, nuance, and a touch of melancholic beauty. His father, Philip Carrigan Johnson, held positions in business and fraternal organizations, instilling in young Eastman a deep sense of community engagement – a value that would profoundly influence his artistic subjects. Early experiences in Fryeburg and Augusta, Maine, provided the foundational bedrock for his understanding of everyday existence, an understanding he meticulously translated onto canvas with remarkable sensitivity. His formal training began as an apprenticeship with a Boston lithographer in 1840, marking the initial step on a career defined by meticulous observation and technical skill. A move to Washington D.C. alongside his family, prompted by his father’s naval appointment, broadened his horizons considerably, exposing him to diverse subjects and experiences that subtly shaped his artistic vision.

      From Dutch Masters to American Scenes

      Johnson's artistic development was a fascinating interplay of influences. Initially drawn to portraiture, he swiftly expanded his repertoire to encompass genre painting – scenes depicting the vibrant tapestry of everyday life in America. This wasn’t merely about representation; it was about capturing the *essence* of American society, offering glimpses into the lives of ordinary people often overlooked by grander historical narratives. A pivotal moment arrived during the 1850s when Johnson embarked on a journey to The Hague and immersed himself completely in the works of 17th-century Dutch masters. This encounter proved transformative. He absorbed their mastery of composition, lighting, and realism with an almost reverent intensity, earning him the affectionate moniker “The American Rembrandt.” This influence is palpably evident in his paintings – a subdued palette, dramatic chiaroscuro (the use of strong contrasts between light and dark), and an almost photographic attention to detail characterize his mature style. However, Johnson didn’t simply imitate; he skillfully synthesized these European techniques with his uniquely American sensibility, creating works that were both technically brilliant and deeply rooted in the social fabric of his time. He aligned himself firmly with the burgeoning Realist movement, rejecting idealized representations in favor of accurate depictions of everyday life – a commitment that would define his artistic legacy for decades to come.

      Bearing Witness to an Era

      Johnson’s oeuvre is remarkably diverse, encompassing portraits of prominent figures like Abraham Lincoln, Nathaniel Hawthorne, Ralph Waldo Emerson, and Henry Wadsworth Longfellow alongside intimate scenes of domesticity and rural life. Yet, certain works stand out as particularly significant for their social commentary and artistic innovation. *Negro Life at the South* (1859) remains one of his most celebrated – and controversial – paintings. Depicting African Americans enjoying leisure time in a carefully constructed tableau, it sparked intense debate regarding race relations and the realities of slavery in the antebellum South. The ambiguity inherent in the scene—was it a romanticized portrayal or a subtle critique?—fueled discussions that resonated far beyond the art world. His response to the Civil War was equally poignant. Rather than focusing on battlefield heroics, Johnson turned his attention to the impact of conflict on civilian life, creating haunting images of anxious families and scenes away from the front lines. *Ride For Liberty* (1862), depicting an enslaved family courageously escaping to freedom amidst the chaos of the war, is a powerful testament to his commitment to social justice. Furthermore, Johnson’s depictions of New England rural life – the rhythmic movements of maple sugar harvesting, the vibrant colors of cranberry picking – celebrated traditional American values and craftsmanship with a quiet reverence, capturing a sense of timelessness and connection to the land.

      A Legacy Beyond the Canvas

      Beyond his artistic achievements, Jonathan Eastman Johnson played a crucial role in shaping the American art landscape. His dedication to genre painting elevated it as a respected form of artistic expression, challenging prevailing notions of what constituted “high art.” He wasn’t merely an artist; he was a cultural advocate, actively promoting and supporting the development of American art. His commitment extended beyond his own practice, culminating in his co-founding of the Metropolitan Museum of Art in New York City – a testament to his belief in the power of art to educate and inspire. His name is inscribed at its entrance, a permanent recognition of his significant contribution to the nation’s artistic heritage. Johnson's influence on American Realism is undeniable; his dedication to depicting everyday life with honesty and detail paved the way for future generations of artists who sought to capture the complexities of the human experience. He died in New York City in 1906, leaving behind a body of work that continues to captivate and inspire, ensuring his enduring recognition as a significant figure in American art history.

      Enduring Significance

      Johnson’s legacy extends far beyond specific paintings or institutional contributions. He was a pioneer in bridging the gap between European artistic traditions and uniquely American subject matter. His ability to imbue ordinary scenes with profound meaning, his willingness to engage with complex social issues, and his unwavering commitment to realism cemented his place as a pivotal figure in 19th-century American art. He wasn’t simply recording life; he was interpreting it, prompting viewers to reflect on their own values and beliefs. His work serves as a powerful reminder that true artistry lies not just in technical skill but also in the ability to connect with the human spirit and illuminate the world around us.