Eastman Johnson Catalogue Raisonné
Patricia Hills, PhD, Founder and Director | Abigael MacGibeny, MA, Project Manager
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Catalogue Entry

Photo: Courtesy of the Nantucket Historical Association
13.2 Maine Rustic/Farm, 1860s—Figures in Interiors

In the nineteenth century, attitudes towards work changed, especially in the northern states of America. Although some artists made fun of “country bumpkins,” in general, farm work and farmers began to take on greater prestige and admiration. During the 1860s, Johnson returned to his birthplace in Maine to make studies of maple sugar production and also to seek out subjects of a rural life far removed from slavery. Barn interiors and home interiors show the families of farmers husking corn, winnowing grain, of taking a smoke. Exteriors show farmers at harvest time, loggers cutting trees or simply relaxing. In choosing scenes of rural white America Johnson was following in the tradition of Francis William Edmonds, George H. Durrie, Tompkins H. Matteson, and William Sidney Mount—a tradition popularized by the prints of Currier and Ives. —PH

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Hills no. 13.2.7
1907 Sale no. 96
"There's No Place Like Home"
Alternate titles: Embers; Embers (Man in Rustic Room); Man at a Window, Nantucket; Man by Fireside; Man Sitting by Window; There's No Place Like Home
Locale: Maine
Oil on canvas
17 1/8 x 21 1/8 in. (43.5 x 53.7 cm)
Initialed lower right: E. J. [the "E" is unclear and may not be in Johnson's hand]
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. ""There's No Place Like Home", c.1865 (Hills no. 13.2.7)." Eastman Johnson Catalogue Raisonné. https://www.eastmanjohnson.org/catalogue/entry.php?id=137 (accessed on October 3, 2023).