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

enlarge
Photo: New-York Historical Society
Street View in Guayaquil (Johnson and Louis Rémy Mignot), 1859 (Hills no. 34.0.2r). Detail
Detail
Photo: Patricia Hills
Street View in Guayaquil (Johnson and Louis Rémy Mignot), 1859 (Hills no. 34.0.2r). Detail
Detail
Photo: Patricia Hills
Street View in Guayaquil (Johnson and Louis Rémy Mignot), 1859 (Hills no. 34.0.2r). Detail
Detail
Photo: Patricia Hills
Street View in Guayaquil (Johnson and Louis Rémy Mignot), 1859 (Hills no. 34.0.2r). Detail
Detail
Photo: Patricia Hills
Street View in Guayaquil (Johnson and Louis Rémy Mignot), 1859 (Hills no. 34.0.2r). Verso
Verso
Photo: Patricia Hills
34.0 Collaborations

Johnson made several paintings in collaboration with his fellow American artists Louis Rémy Mignot (1831–1870), Worthington Whittredge (1820–1910), and Jervis McEntee (1828–1891). All three are best known as Hudson River School landscape painters; Johnson painted the figures that people their landscapes and interiors.

Johnson’s earliest collaborations were with Mignot: first in The Hague, where they had met during Johnson’s stay, 1851–1855 (Poort van een Kastel bij Winter [Doorway of a Castle in Winter], c.1851–52), and later in America, when Mignot was developing sketches he had made during his 1857 trip to Ecuador with Frederic Church (Street View in Guayaquil, 1859).

Johnson and McEntee were close confidants. They socialized, traveled together, and exchanged letters across decades; Johnson makes many appearances in McEntee’s diaries. Together, they painted Landscape with Figures, c. 1862 and Children in the Wood (Percival P. and Madeleine Baxter), 1882.

Johnson and Whittredge were longtime friends as well. As young men they lived together in Düsseldorf where both were studying painting, and there worked together in Emanuel Leutze’s studio on Leutze’s monumental painting Washington Crossing the Delaware, 1851. Later in America, c. 1864–65, they collaborated on the interior scenes An Old New England Kitchen and Sunday Morning.

Johnson’s relationships with these artists were mutually beneficial, personally and professionally, and the works benefited from the artists’ complementary strengths. —AM

View all works in this theme »

Hills no. 34.0.2r
Street View in Guayaquil (Johnson and Louis Rémy Mignot)
New-York Historical Society title: Street View in Guayaquil, Ecuador
Alternate titles: Street View in Guayaquil; Village in South America
1859
Oil on canvas
24 x 36 in. (61 x 91.4 cm)
Signed and dated lower right: "Mignot/ 59"
loading
Record last updated March 22, 2022. Please note that the information on this and all pages is periodically reviewed and subject to change.
Citation: Hills, Patricia, and Abigael MacGibeny. "Street View in Guayaquil (Johnson and Louis Rémy Mignot), 1859 (Hills no. 34.0.2r)." Eastman Johnson Catalogue Raisonné. www.eastmanjohnson.org/catalogue/entry.php?id=1510 (accessed on March 28, 2024).