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James McDougal HartA Day in November, 1863 by James MacDougal Hart (American: 1828–1901)1863
1863
About the Item
A prominent 19th century landscapist, Hudson River School painter James McDougal Hart's (1828-1901) A Day in November, 1863 is oil on canvas and measures 10.5 x 18 inches. The painting is signed by Hart and dated 1863 at the lower left. The work is inscribed with the title, and dated 1863 on the verso. The work is framed in a period appropriate frame and ready to hang.
Provenance: Tom Colville, New Haven, CT William Union, Worcester, MA Mr. and Mrs. Craig C. Halvorson, Brookline, MA (acquired from the above January 16, 1982)
Prominent amongst the second generation of Hudson River School painters, James McDougal Hart is known for his refined and intricately crafted pastoral scenes, often featuring grazing cattle. Born in Kilmarnock, Scotland in 1828, Hart immigrated with his family to Albany, New York when he was just two years old. His older brother, William Hart (1823–1894), and younger sister, Julie Hart Beers (1835–1913), also went on to become accomplished landscape painters. James’ future wife, Marie Theresa Gorsuch, was a still life painter, and their three children, Robert
Gorsuch Hart, Letitia Bonnet Hart, and Mary Theresa Hart, all grew up to be painters as well.
James Hart began his career, as had William, in a sign and carriage painter’s shop. Unlike his brother, James returned to Europe at the age of twenty-two to receive academic training. He studied briefly in Munich, and for three years with Johann Willhelm Schirmer (1807–1863) at the Düsseldorf Academy, a center of realist pedagogy that was equally influential for fellow Hudson River School painters, Worthington Whittredge (1820–1910), Eastman Johnson (1824–1905),
Albert Bierstadt (1830–1902), and William Stanley Haseltine (1835–1900).
Returning to the United States in 1853, Hart established his first studio in Albany. A few years later, he settled permanently in New York City, later moving to Brooklyn. In the 1870s, he and his brother opened studios in Keene Valley, New York, in the heart of the Adirondacks. Hart was elected an Associate of the National Academy of Design in 1857 and a full member in 1859, exhibiting his work there consistently over the next forty years, and serving as its Vice President from 1895 to 1899. He also exhibited at the Brooklyn Art Association, the Pennsylvania Academy of the Fine Arts, the Boston Art Club, the Mechanics Institute in Boston, the Corcoran Gallery of Art, the Art Institute of Chicago, the Centennial International Exposition of 1876 (the first official World’s Fair in the United States, held in Philadelphia), and the Paris Exposition of 1889.
In 1867, prominent art critic Henry Tuckerman observed that “an exquisite truth and grace [are] characteristic of his [Hart’s] pencil,” and praised his Woods in Autumn as “one of the finest contributions lately made to the list of American successes in this field of art.” Today, Hart’s paintings are in the collections of the Metropolitan Museum of Art; the Brooklyn Museum; the Museum of Fine Arts, Boston; Harvard University’s Fogg Art Museum; the Smithsonian Museum
of American Art, Washington, D.C.; the Corcoran Gallery of Art; the Walters Art Museum, Baltimore, Maryland; and the Thyssen-Bornemisza Museum, Madrid, among others. A Day in November, 1863 is an accomplished essay by Hart which carefully notes his interest in country life. A mother and child ride an ox-drawn wagon of logs while the father steers the way.
The artist’s lessons in careful draftsmanship are reflected both in smaller details of the scene such as the perspective of the wagon’s wheels as well as in the whole shaping of the composition such as the lines of the stone fence and the white steeple spire and village buildings tucked into the nearby hills. The painting was most likely executed in the Catskill region as it is inscribed by the artist with a New York location.
- Creator:James McDougal Hart (1828-1901, American)
- Creation Year:1863
- Dimensions:Height: 10.5 in (26.67 cm)Width: 18 in (45.72 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU2151213160852
James McDougal Hart
Hart was born in Kilmarnock, Scotland, and was taken to America with his family in early youth. His older brother, William Hart, was also a Hudson River School artist, as were his younger sister Julie Hart Beers and his two daughters, both figure painters, Letitia Bonnet Hart (1867 - Sept. 1953) and Mary Theresa Hart (1872–1942). Another niece, Annie L. Y. Orff, became an editor and publisher. In Albany, New York he trained with a sign and carriage maker— possibly the same employer that had taken on his brother in his early career. James later returned to Europe for serious artistic training, studying in Munich and as a pupil of Friedrich Wilhelm Schirmer at the Kunstakademie Düsseldorf. He is associated with the Düsseldorf school of painting. Along with most of the major landscape artists of the time, Hart based his operations in New York City and adopted the style of the Hudson River School. While he and his brother William often painted similar landscape subjects, James may have been more inclined to paint exceptionally large works. An example is The Old Homestead (1862), 42 x 68 inches, in the collection of the High Museum of Art in Atlanta, Georgia. James may have been exposed to large paintings while studying in Düsseldorf, a center of realist art pedagogy that also shaped the practices of Albert Bierstadt and Worthington Whittredge. Like his brother William, James excelled at painting cattle. Kevin J. Avery writes, "the bovine subjects that once distinguished [his works] now seem the embodiment of Hart's artistic complacency." In contrast with the complacency of some of his cattle scenes, his major landscape paintings are considered important works of the Hudson River School. A particularly fine example is Summer in the Catskills, now in the Thyssen-Bornemisza Museum in Madrid, Spain.
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