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

Catalogue Entry

enlarge
Photo: Courtesy of Sotheby’s, Inc. © 2021
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. 34.0.4
Children in the Wood (Percival P. and Madeleine Baxter) (Johnson and Jervis McEntee)
Maine State Museum (State House Portrait Collection) title: Babes in the Woods
Alternate titles: likely What's That!; Children in the Wood
1882, March–September
Oil on canvas
30 1/2 x 24 in. (77.5 x 61 cm)
Signed lower left: E. Johnson; lower right: JMcEntee
Description / Remarks

MacGibeny, 2021: Johnson's friend, fellow artist, and collaborator on this painting, Jervis McEntee, wrote about its creation in his journal entries of March and April 1882:

"Wednesday 22. Eastman came in and talked with me about painting a picture with him, portraits of two children in a wood, I to paint a landscape. He has [undeciphered] the man who lives in Portland that he will do it for $1000, a picture 30 inches high. I told him he might give me what he chose for my part."

"Thursday 23. Commenced the portrait picture and worked all day on it. I hope I will work with interest and make a good thing of it. I would like to get in the way of painting pictures with Johnson."

"Tuesday 28. Painted on the picture which Eastman and I are to paint together."

"Friday 31. …Painted on my Johnson picture. Eastman came in early in the afternoon and we had a long talk…Likes what I have done and tells me to go on and finish it. Says it will sell even if this man doesn’t want it."

"Saturday Apr. 1. 1882. Painted on my Johnson picture until afternoon…"

"Tuesday 4. Painted all day on my Johnson picture."

"Saturday 8. A warm day. I painted on the Johnson picture and just before noon Eastman came in. He liked the picture and told me to send it up to his room and if the man in Portland did not take it he thought it would sell. The trouble is I don’t know when he will paint the figures."

"Friday 28. …we went to Eastman Johnson’s. He had heard from the Portland man for whom I painted the wood interior as a background for the portraits of his children and he doesn’t want it, about as I expected. Everything goes wrong with me this winter."

The father of the children, James Phinney Baxter, declined to purchase this collaborative painting. (An 1883 exhibition review criticized it harshly: "It seemed hardly necessary that two well-known artists need have co-operated to make so poor a canvas.") However, Baxter purchased Johnson's subsequent solo version, now at Bowdoin College, in which the children assume a larger scale within the composition.

Provenance
[Sloan, January 21, 1960, lot 664]
Daniel B. Grossman, Inc., New York, by 1987
Private collection, Washington, District of Columbia, January 21, 1960 (by purchase)
[Sotheby's, May 28, 1987, Sale 5584, lot 67]
Terrance H. Geaghan, Woolwich, Maine
Mrs. Elizabeth B. Noyce, until 1996 (by purchase)
Maine State Museum (State House Portrait Collection), Augusta, 1996 (by gift)
Exhibitions
1883 American Art Association
American Art Association, New York, Exhibition of Paintings by the Members of The Art Club of New York, February 12–28, 1883, no. 14, [possibly, as Children in the Woods].
1883a Century Association
Century Association, New York, February 3, 1883, [likely, as What's That!].
1883 Southern Exposure
The Southern Exposure, Louisville, Kentucky, August 1–November 1883, no. 364, as Children in the Wood, collaboration with Jervis McEntee (figures by Johnson, landscape by McEntee).
1997 Portland Museum of Art
Portland Museum of Art, Portland, Maine, A Legacy for Maine: Masterworks from the Collection of Elizabeth B. Noyce, October 1, 1997–January 4, 1998, loaned by Maine State Museum.
References
McEntee 1878–83
McEntee, Jervis. Diary, Volume III, 1878 December 15–1883 June 15. 1878–83. Jervis McEntee papers, 1796, 1848–1905, Archives of American Art, Smithsonian Institution, March 22, 23, 28, 31 and April 1, 4, 8, 1882.
American Architect and Building News 1883
J. J. "Pictures of the Season in New York." American Architect and Building News 13, no. 376 (March 10, 1883), p. 113: "Mr. Eastman Johnson sent a poor genre picture of a child and a red-hot stove, and had inserted in a landscape by Mr. McEntee the portraits of two little children, most modern as to costume, but evidently intended to suggest the classical ‘Babes in the Wood.’ It seemed hardly necessary that two well-known artists need have co-operated to make so poor a canvas."
Morning Sentinel 1996
"Philanthropist Donates 19th Century Painting." Morning Sentinel (Waterville, ME), July 30, 1996, p. 12.
Douglass 1999
Douglass, Julie M. "Lifetime Exhibition History." In Eastman Johnson: Painting America, by Teresa A. Carbone and Patricia Hills. Brooklyn, NY: Brooklyn Museum of Art, in association with Rizzoli International Publications, 1999. Exhibition catalogue, p. 263.
Hills Examination / Opinion
Examination date(s): 1986-12-18
Examination notes: Faces—absolutely Johnson—worried look—fuzzy hair. Tall boy—bow tie seems strengthened. Short boy—lips and nose are right—UV: half tone area is strengthened where EJ would leave thin. Mag. glass: line along edge of boy's face. Birch tree on right—black strokes—reinforcing ["contour"?]. Restoration? along edge of two coats, maybe leggings. But note highlights on buttons, nose, rosy face, etc. Good.
Sitter Biography
Sitter: Baxter, Percival Proctor
Biography:

Percival Proctor Baxter (1876–1969). Governor of Maine, 1921–1925. Known for the thousands of acres he purchased and gave to Maine (Baxter State Park), which includes Mt. Katahdin. Son of James Phinney Baxter and Mehitable Cummings Proctor Baxter; brother of Madeline Baxter, with whom he was portrayed by Johnson.

Sitter: Baxter, Madeline
Biography:

Madeline Baxter (1879–1938). Daughter of James Phinney Baxter and Mehitable Cummings Proctor Baxter; sister of Percival Proctor Baxter, with whom she was portrayed by Johnson.

Related work
loading
Baxter, Madeline
Baxter, Percival Proctor
loading
Keywords
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. "Children in the Wood (Percival P. and Madeleine Baxter) (Johnson and Jervis McEntee), 1882, March–September (Hills no. 34.0.4)." Eastman Johnson Catalogue Raisonné. www.eastmanjohnson.org/catalogue/entry.php?id=782 (accessed on May 6, 2024).