Eastman Johnson Catalogue Raisonné
Patricia Hills, PhD, Founder and Director | Abigael MacGibeny, MA, Project Manager
print this page
« previous // return to Catalogue // next »

Catalogue Entry

Photo: Glenn Castellano/New-York Historical Society
Sunday Morning, 1866 (Hills no. 13.2.10). Detail
Photo: Patricia Hills
Sunday Morning, 1866 (Hills no. 13.2.10). Detail
Photo: Patricia Hills
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

View all works in this theme »

Hills no. 13.2.10
Baur no. 140
Sunday Morning
Alternate titles: Sabbath Morning; The Emigrants' Sunday Morning; The Evening Newspaper
Locale: Maine
Oil on canvas
24 1/4 x 36 in. (61.6 x 91.4 cm)
Signed and dated lower right: E. Johnson/1866
Record last updated September 6, 2021. Please note that the information on this and all pages is periodically reviewed and subject to change.
Citation: Hills, Patricia, and Abigael MacGibeny. "Sunday Morning, 1866 (Hills no. 13.2.10)." Eastman Johnson Catalogue Raisonné. www.eastmanjohnson.org/catalogue/entry.php?id=139 (accessed on July 13, 2024).