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Estate of the artist
American Art Galleries, New York, New York, February 26–27, 1907, no. 126
Edward and Deborah Pollack, New York, New York, 1988
Godel & Company Fine Art, Inc., New York, New York
Terra Foundation for the Arts Collection, Chicago, Illinois, 1999
Exhibition HistoryPublished References
Fiddling His Way
c. 1866
Oil on artist's board
Image: 20 7/8 x 24 7/8 in. (53.0 x 63.2 cm)
Frame: 35 5/16 x 39 1/4 x 6 in. (89.7 x 99.7 x 15.2 cm)
Frame: 35 5/16 x 39 1/4 x 6 in. (89.7 x 99.7 x 15.2 cm)
Credit LineTerra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund
Object number1999.8
SignedInitials at lower left: E.J.
InterpretationAn itinerant musician entertains a family in the dim interior of their rustic dwelling in Eastman Johnson’s Fiddling His Way. Elders and children alike are enthralled by the fiddle’s simple tunes: on the right, a tall young woman listens as she leans against the doorway, her broom idle in her hand, and even the baby in its mother’s arms at the center of the image reaches out toward the fiddler, providing a counterweight to the reserved, pipe-smoking farmer. The small room in which the figures are crowded is furnished with the practical implements of everyday life, but such details are subordinated to the figures, their softly modeled features evincing their quiet attention to the music.
The itinerant artist or musician was a popular theme in American genre paintings, or scenes of everyday life, created in the first half of the nineteenth century. A common inspiration for these works was the famous Blind Fiddler, a painting by Scottish artist David Wilkie (1785–1841), as demonstrated by Philadelphia artist John Lewis Krimmel's work of the same title in the Terra Foundation's collection (TF 1999.81). Johnson's painting shares with these earlier works the shallow, stage-like setting of a crowded farmhouse interior, the placement of the seated musician on the left, and the range of figure types representing a diversity of age and gender. But his interpretation eschews these precedents' studied attention to telling detail and their atmosphere of merriment. Drawing on his first-hand study of such Dutch seventeenth-century masters as Rembrandt van Rijn (1606–1669) and his training in Paris under the French painter Thomas Couture (1815–1879), Johnson rendered objects and figures as emerging in indefinite contours from the shadowy, confined space they occupy. Their dull earth tones and muted reds complement the painting's mood of quiet contentment and retrospection. The scene is not so much a slice of ordinary life as an evocation of an earlier time, when harsher material realities were countered by simpler pleasures.
Fiddling His Way is one of two works of this title painted the same year. The Terra Foundation’s painting may be a study for the other, more elaborate, and larger version (Chrysler Museum of Art, Norfolk, Virginia), but the latter differs in several significant respects, notably in showing the fiddler as African American. It belongs to a group of paintings Johnson made in the Civil War era on the theme of the life and prospects of Black Americans on the eve of slavery’s abolition. When he substituted an elderly white fiddler for the Black player, however, Johnson signaled his increasing artistic interest in the changes occurring to rural New England life. Like the cranberry harvesting and maple sugar processing he portrayed in the 1860s and 1870s, the entertainment provided by the traveling white fiddler is presented as an antiquated and endangered tradition in a rapidly changing America.
The itinerant artist or musician was a popular theme in American genre paintings, or scenes of everyday life, created in the first half of the nineteenth century. A common inspiration for these works was the famous Blind Fiddler, a painting by Scottish artist David Wilkie (1785–1841), as demonstrated by Philadelphia artist John Lewis Krimmel's work of the same title in the Terra Foundation's collection (TF 1999.81). Johnson's painting shares with these earlier works the shallow, stage-like setting of a crowded farmhouse interior, the placement of the seated musician on the left, and the range of figure types representing a diversity of age and gender. But his interpretation eschews these precedents' studied attention to telling detail and their atmosphere of merriment. Drawing on his first-hand study of such Dutch seventeenth-century masters as Rembrandt van Rijn (1606–1669) and his training in Paris under the French painter Thomas Couture (1815–1879), Johnson rendered objects and figures as emerging in indefinite contours from the shadowy, confined space they occupy. Their dull earth tones and muted reds complement the painting's mood of quiet contentment and retrospection. The scene is not so much a slice of ordinary life as an evocation of an earlier time, when harsher material realities were countered by simpler pleasures.
Fiddling His Way is one of two works of this title painted the same year. The Terra Foundation’s painting may be a study for the other, more elaborate, and larger version (Chrysler Museum of Art, Norfolk, Virginia), but the latter differs in several significant respects, notably in showing the fiddler as African American. It belongs to a group of paintings Johnson made in the Civil War era on the theme of the life and prospects of Black Americans on the eve of slavery’s abolition. When he substituted an elderly white fiddler for the Black player, however, Johnson signaled his increasing artistic interest in the changes occurring to rural New England life. Like the cranberry harvesting and maple sugar processing he portrayed in the 1860s and 1870s, the entertainment provided by the traveling white fiddler is presented as an antiquated and endangered tradition in a rapidly changing America.
Estate of the artist
American Art Galleries, New York, New York, February 26–27, 1907, no. 126
Edward and Deborah Pollack, New York, New York, 1988
Godel & Company Fine Art, Inc., New York, New York
Terra Foundation for the Arts Collection, Chicago, Illinois, 1999
Exhibition History
New Faces, New Places: Recent Additions to the Terra Foundation for the Arts Collection, Terra Museum of American Art, Chicago, Illinois (organizer). Venue: Terra Museum of American Art, Chicago, Illinois, October 14–December 31, 2000.
Collection Cameo, Terra Museum of American Art, Chicago, Illinois, February 2001.
Héroïque et le quotidien: les artistes américains, 1820–1920 (The Extraordinary and the Everyday: American Perspectives, 1820–1920), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, April 1–November 30, 2001. [exh. cat.]
D'une colonie à une collection: le Musée d'Art Américain Giverny fête ses dix ans (From a Colony to a Collection: Celebrating the Tenth Anniversary of the Musée d'Art Américain Giverny), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, March 30–June 16, 2002.
A Place on the Avenue: Terra Museum of American Art Celebrates 15 Years in Chicago, Terra Museum of American Art, Chicago, Illinois (organizer). Venue: Terra Museum of American Art, Chicago, Illinois, November 16, 2002–February 16, 2003.
Deux collections en regard: oeuvres de la Terra Foundation for the Arts et du Detroit Institute of Arts (Side by Side: Works from the Terra Foundation for the Arts and the Detroit Institute of Arts), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, March 2–June 1, 2003. [exh. cat.]
Copley to Cassatt: Masterworks from the Terra Collection, New Britain Museum of American Art, New Britain, Connecticut and Terra Museum of American Art, Chicago, Illinois (organizer). Venue: New Britain Museum of American Art, New Britain, Connecticut, September 5–December 7, 2003.
Le Temps des loisirs : peintures américaines (At Leisure: American Paintings), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, July 15–October 31, 2007.
Le Temps des loisirs : peintures américaines (At Leisure: American Paintings), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, April 1–October 31, 2008.
Art Across America, Los Angeles County Museum of Art, Los Angeles, California; Museum of Fine Arts, Houston, Texas; National Museum of Korea, Seoul, South Korea; Philadelphia Museum of Art, Philadelphia, Pennsylvania; Terra Foundation for American Art, Chicago, Illinois (organizers). Venues: National Museum of Korea, Seoul, February 4–May 12, 2013; Daejeon Museum of Art, Daejeon, South Korea, June 7–September 1, 2013. [exh. cat.]
Pathways to Modernism: American Art, 1865–1945 Art Institute of Chicago and Terra Foundation for American Art (organizers). Venue: Shanghai Museum, Shanghai, China, September 28, 2018–January 6, 2019. [exh. cat.]
Collection Cameo, Terra Museum of American Art, Chicago, Illinois, February 2001.
Héroïque et le quotidien: les artistes américains, 1820–1920 (The Extraordinary and the Everyday: American Perspectives, 1820–1920), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, April 1–November 30, 2001. [exh. cat.]
D'une colonie à une collection: le Musée d'Art Américain Giverny fête ses dix ans (From a Colony to a Collection: Celebrating the Tenth Anniversary of the Musée d'Art Américain Giverny), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, March 30–June 16, 2002.
A Place on the Avenue: Terra Museum of American Art Celebrates 15 Years in Chicago, Terra Museum of American Art, Chicago, Illinois (organizer). Venue: Terra Museum of American Art, Chicago, Illinois, November 16, 2002–February 16, 2003.
Deux collections en regard: oeuvres de la Terra Foundation for the Arts et du Detroit Institute of Arts (Side by Side: Works from the Terra Foundation for the Arts and the Detroit Institute of Arts), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, March 2–June 1, 2003. [exh. cat.]
Copley to Cassatt: Masterworks from the Terra Collection, New Britain Museum of American Art, New Britain, Connecticut and Terra Museum of American Art, Chicago, Illinois (organizer). Venue: New Britain Museum of American Art, New Britain, Connecticut, September 5–December 7, 2003.
Le Temps des loisirs : peintures américaines (At Leisure: American Paintings), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, July 15–October 31, 2007.
Le Temps des loisirs : peintures américaines (At Leisure: American Paintings), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, April 1–October 31, 2008.
Art Across America, Los Angeles County Museum of Art, Los Angeles, California; Museum of Fine Arts, Houston, Texas; National Museum of Korea, Seoul, South Korea; Philadelphia Museum of Art, Philadelphia, Pennsylvania; Terra Foundation for American Art, Chicago, Illinois (organizers). Venues: National Museum of Korea, Seoul, February 4–May 12, 2013; Daejeon Museum of Art, Daejeon, South Korea, June 7–September 1, 2013. [exh. cat.]
Pathways to Modernism: American Art, 1865–1945 Art Institute of Chicago and Terra Foundation for American Art (organizers). Venue: Shanghai Museum, Shanghai, China, September 28, 2018–January 6, 2019. [exh. cat.]
"Eastman Johnson's Paintings Shown." The New York Times (February 11, 1907). Text.
Hills, Patricia. "The Genre Painting of Eastman Johnson: The Sources and Development of His Style and Themes." PhD dissertation, New York University, 1973. Text pp. 63–64.
Carbone, Teresa A. and Patricia Hills. Eastman Johnson: Painting America. (exh. cat., Brooklyn Museum of Art). New York: Brooklyn Museum of Art, 1999. Text p. 150; ill. p. 151, fig. 60 (black & white).
Cartwright, Derrick R. The Extraordinary and the Everyday: American Perspectives, 1820–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 23 (checklist); ill. p. 14 (color).
Cartwright, Derrick R. L'Héroïque et le quotidian: les artistes américains, 1820–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 23 (checklist); ill. p. 14 (color).
Pinder, Kym. Fiddling His Way, Eastman Johnson. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, February 2001. Ill. (color).
Side by Side: Works from the Terra Foundation for the Arts and the Detroit Institute of Arts. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text (checklist).
Deux collections en regard: oeuvres de la Terra Foundation for the Arts et du Detroit Institute of Arts. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text (checklist).
Art Across America. (exh. cat., National Museum of Korea, Los Angeles County Museum of Art, The Museum of Fine Arts, Houston, Philadelphia Museum of Art and the Terra Foundation for American Art). Seoul, South Korea: National Museum of Korea, 2013. Text p. 161; ill. p. 160 (color).
Slater, Amanda Melanie. “Conscience and Context in Eastman Johnson's The Lord Is My Shepherd.” Master’s Thesis, Bringham Young University, 2014. Text pp. vii, 17n43, 28; ill. p. 39, fig. 16.
Pathways to Modernism: American Art, 1865–1945. (exh. cat. Shanghai Museum with Art Institute of Chicago and Terra Foundation for American Art). Shanghai: Shanghai Museum, 2018. Text p. 26; ill. p. 27 (color).
Bourguignon, Katherine M., and Peter John Brownlee, eds. Conversations with the Collection: A Terra Foundation Collection Handbook. Chicago: Terra Foundation for American Art, 2018. Text pp. 82–84, 94; fig. 2, p. 83; ill. p. 94 (color).
Hills, Patricia. "The Genre Painting of Eastman Johnson: The Sources and Development of His Style and Themes." PhD dissertation, New York University, 1973. Text pp. 63–64.
Carbone, Teresa A. and Patricia Hills. Eastman Johnson: Painting America. (exh. cat., Brooklyn Museum of Art). New York: Brooklyn Museum of Art, 1999. Text p. 150; ill. p. 151, fig. 60 (black & white).
Cartwright, Derrick R. The Extraordinary and the Everyday: American Perspectives, 1820–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 23 (checklist); ill. p. 14 (color).
Cartwright, Derrick R. L'Héroïque et le quotidian: les artistes américains, 1820–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 23 (checklist); ill. p. 14 (color).
Pinder, Kym. Fiddling His Way, Eastman Johnson. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, February 2001. Ill. (color).
Side by Side: Works from the Terra Foundation for the Arts and the Detroit Institute of Arts. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text (checklist).
Deux collections en regard: oeuvres de la Terra Foundation for the Arts et du Detroit Institute of Arts. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text (checklist).
Art Across America. (exh. cat., National Museum of Korea, Los Angeles County Museum of Art, The Museum of Fine Arts, Houston, Philadelphia Museum of Art and the Terra Foundation for American Art). Seoul, South Korea: National Museum of Korea, 2013. Text p. 161; ill. p. 160 (color).
Slater, Amanda Melanie. “Conscience and Context in Eastman Johnson's The Lord Is My Shepherd.” Master’s Thesis, Bringham Young University, 2014. Text pp. vii, 17n43, 28; ill. p. 39, fig. 16.
Pathways to Modernism: American Art, 1865–1945. (exh. cat. Shanghai Museum with Art Institute of Chicago and Terra Foundation for American Art). Shanghai: Shanghai Museum, 2018. Text p. 26; ill. p. 27 (color).
Bourguignon, Katherine M., and Peter John Brownlee, eds. Conversations with the Collection: A Terra Foundation Collection Handbook. Chicago: Terra Foundation for American Art, 2018. Text pp. 82–84, 94; fig. 2, p. 83; ill. p. 94 (color).
There are no additional artworks by this artist in the collection.