Eastman Johnson Catalogue Raisonné
Patricia Hills, PhD, Founder and Director | Abigael MacGibeny, MA, Project Manager
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Photo: Terra Foundation for American Art, Chicago
11.0 Reconstruction

In 1865, the year the war ended, American artists continued to paint Blacks in settings that suggest their new found freedom. But gradually the focus on Blacks as subjects began to fade among white artists. Their responses mirrored that of the North’s white population, which then turned toward other matters (such as industrialization, Western expansion, and international trade) and left the job of Reconstruction to former slaveowners in the South. The attitude of many northerners became one of distancing from their social responsibilities; one faction argued that Blacks should learn to take care of themselves—to use their skills to earn their own living without government assistance, such as what had been provided by the Freedmen’s Bureau.

In Johnson’s painting, Fiddling His Way, a Black man is doing just that—earning his living as an itinerant fiddler [See Hills, 1999: This was the last major painting Johnson did of Blacks. There is another version, Fiddling His Way, in which an older white man is placed in the same setting and fiddling for the entertainment of the household]. —PH

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Hills no. 11.0.4
1907 Sale no. 126
Fiddling His Way
Alternate titles: possibly The Itinerant Musician; possibly The Wandering Fiddler
c.1866
Oil on artist's board
20 7/8 x 24 1/2 in. (53 x 62.2 cm)
Initialed lower left: E.J.
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Record last updated April 7, 2022. Please note that the information on this and all pages is periodically reviewed and subject to change.
Citation: Hills, Patricia, and Abigael MacGibeny. "Fiddling His Way, c.1866 (Hills no. 11.0.4)." Eastman Johnson Catalogue Raisonné. https://www.eastmanjohnson.org/catalogue/entry.php?id=123 (accessed on December 4, 2022).