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StatsFor the Track
- 111.0 x 76.0 cm
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Giclée / Art Print
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For the Track
Giclée / Art Print
Reproduction Size
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Total Price
$ 70
A red jockey’s cap, a riding crop, a horseshoe, a spur, and bits of posters and papers are tacked and pasted against a wooden forest-green door, which fills this vertical painting. At the midline about a third of the way down the composition, the crimson-red cap hangs from a loop on a nail so we look onto the button on the soft top and the rounded brim, below. It overlaps a long, tapered, stick-like riding crop, which angles from the upper right corner to the lower left of the composition. The crop has a shallow knob at its top, and it hangs from a leather strap around another nail driven into the door. Immediately above the red cap is a slightly misshapen horseshoe, the left side of the upside-down U flaring out a little. To the lower right of the cap, the leather straps and metal spur hang from another nail. The cap and crop hang over several pieces of overlapping paper affixed or tacked to the door. The front-most poster has black text printed against a white background. “OAKLEY” appears in all caps across the top like a headline. In smaller letters below it reads, “Race Track” and then “Six Great Races.” Horizontal lines beneath that suggest more text, but it is illegible. The bottom of the poster is ripped, creating an irregular edge. The poster overlaps and mostly obscures a picture of a dark horse against a parchment-brown background. Corners and bits of yellow paper or board, sky-blue fragments, and a peach-colored ticket with the numbers “762” and “112” are affixed around and under the poster. Just beneath and to our right of these overlapping papers, nails pin the four corners of a kelly-green sign that has otherwise been ripped away, the white torn edge showing against the green paper. The black letter “S” is printed in the upper right. The wood door that creates the background for these objects is worn, especially along the vertical edges of the boards. The wood is cracked and split in some areas, and a few bent, rusty nails are partially driven into the wood. Two scrolling hinges to our left are mottled with rust brown and black. Each hinge ends in a three-lobed clover shape. The bottom hinge is broken about two-thirds of the way across the arm, so the end hangs down from the nail in the clover. A keyhole near the right edge of the composition is surrounded by a gold-colored plate. An illegible scrap of a newspaper column is pasted to the door near the top right corner of the composition, and two pieces of paper seem to be tucked into the edge of the painting. A ticket with the numbers “471” printed in large red numerals and again in smaller black numbers, and the letter “H” is tucked into the right edge, near the four corners of the green poster. Finally, the corner of a folded and wrinkled piece of sapphire-blue paper, perhaps an envelope, is tucked in at the bottom center.
Questions & Answers
How is "For the Track" by John Frederick Peto proportioned, and how big is it?
The format of "For the Track" is portrait, and the original measures 111 x 76 cm. Both are useful when planning a reproduction.
How do contrast and harmony combine in "For the Track"?
The color composition of "For the Track" by John Frederick Peto combines a gentle contrast with a discordant palette harmony.
Is there a guide for "For the Track" by John Frederick Peto?
The Guide page of "For the Track" by John Frederick Peto offers a printable two-sheet factsheet: the artwork with its identity table, a decade band placing it in the artist's lifetime, other works by the artist, the measured color palette, and ready-to-copy citations in four styles.
Artist Biography
John Frederick Peto: A Rediscovered Master of American Trompe l'oeil
- Born: Philadelphia, United States of America (1854)
- Died: 1907
John Frederick Peto was an American artist renowned for his mastery of *trompe l'oeil* painting – a technique that aims to deceive the viewer into believing that painted objects are real. For many years, Peto’s work remained largely forgotten until it was rediscovered in the late 20th century alongside that of fellow trompe l'oeil artist William Harnett. His paintings offer a unique glimpse into everyday life and material culture of the late 19th century.
Early Life and Artistic Training
- Peto received his early artistic training at the Pennsylvania Academy of the Fine Arts, where he studied alongside William Harnett.
- He regularly submitted works to the annual exhibitions at the Philadelphia Academy during his early career.
- In 1889, Peto relocated to Island Heights, New Jersey, a pivotal moment that significantly shaped his artistic style and subject matter.
Artistic Style and Characteristics
- Trompe l'oeil Technique: Peto’s defining characteristic was his exceptional skill in *trompe l'oeil*. He meticulously rendered ordinary objects – pistols, horseshoes, scraps of paper, keys, books – creating an illusion of three-dimensionality on a two-dimensional surface.
- Shallow Space and Composition: His paintings typically feature arrangements of these objects within a shallow space, enhancing the sense of depth and realism.
- Emphasis on Shadow and Texture: Peto paid close attention to shadow play and texture, further contributing to the deceptive quality of his work. He used subtle gradations of light and shade to create the illusion of tangible surfaces.
- Color Palette & Technique: Peto's mature works are characterized by an opaque and powdery texture, often compared to that of Jean-Baptiste-Siméon Chardin, a renowned 18th-century French painter. His color palettes were generally muted and earthy, reflecting the tones of aged objects and worn surfaces.
Rediscovery and Legacy
- Forgotten Years: After moving to Island Heights, Peto largely withdrew from the mainstream art world. He lived a quiet life, supplementing his income with painting for tourists and playing music at local events. His work was essentially forgotten for decades.
- Posthumous Recognition: The rediscovery of Peto’s paintings in the late 20th century brought renewed attention to his talent. Scholars began to recognize his unique contribution to American art.
- Comparison with Harnett: While often compared to William Harnett, Peto's style is generally considered more abstract and emotionally resonant than Harnett's technically brilliant but sometimes rigid approach. Peto’s compositions are less formal, and his objects tend to be older and more worn.
- Museums and Collections: Today, Peto’s paintings can be found in prominent museums across the United States, including the John F. Peto Studio Museum, dedicated to preserving his legacy.
Notable Works
- Take Your Choice (1885)
- Reminiscences of 1865 (1901)
- Job Lot Cheap (1901)
- Still Life with Mug, Pipe and Book (1870)
- Still Life with Oranges and Banana (c. 1880)
For further information on John Frederick Peto's life and work, please visit TopImpressionists.com.
John Frederick Peto
1854 - 1907 , United States of America
Quick Facts
- Full Name: John Frederick Peto
- Nationality: American
- Date Of Birth: 1854
- Date Of Death: 1907
- Place Of Birth: Philadelphia, United States of America
- Notable Artworks:
- Take Your Choice
- Reminiscences of 1865
- Job Lot Cheap
- Still Life with Mug, Pipe and Book
- Still Life with Oranges and Banana
- Artistic Movement Or Style: Trompe-l'oeil, Realism
- Artists Who Influenced This Artist: ['Jean-Baptiste-Siméon Chardin']
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