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David Johnson was considered to be one of the leading second-generation
artists of the Hudson River School. Practically self-taught, Johnson
reached a high level of professional skill relatively early. Artist
Benjamin Champney (1817-1907) noted that Johnson "...quietly and
modestly attained to a very high rank as one of the leading landscapists
of New York." (Sixty Years' Memories of Art and Artists
[1900], p. 139) Johnson's style of painting was a technique that
combined a high-keyed color scale with an extreme attention to detail.
Later in his career, as the influence of French art became increasingly
familiar to American artists, Johnson's linear and highly detailed
style softened.
David Johnson was born in New York City in May of 1827. He studied briefly under the
landscape artist Jasper Cropsey, but by then was already an accomplished artist. Johnson
also accompanied the artists John W. Casilear and John F. Kensett on sketching trips throughout
New England. Johnson spent most of his professional life in New York City, and like many other
landscape artists of his era, spent summers at popular painting locales of the Northeast
including: the White Mountains, Lake George, and the Catskills. Johnson was, in fact, a
founding member of the first art colony started at the southern end of Kaaterskill Cove near
the Catskill Mountains in the 1840's. As the railroad facilitated travel more and more, Johnson
explored western regions throughout the nation.
Johnson was a frequent exhibitor at the National Academy of Design in New York and was
elected full Academician in 1861. He also exhibited at the Artists Fund Society and the
American Art Union in 1849. Johnson was awarded a first class medal for art in 1876 at the
Centennial Exposition in Philadelphia, and also in 1878 at the Massachusetts Charitable Mechanics
Association in Boston. In addition, he exhibited in Europe at the Paris Salon 1877, showing
some of his works that reflect the influence of French Barbizon painting.
Johnson's paintings from the 1870s are his most sought after, and
this was the decade that he reached tremendous success and popularity.
The present work, View of Fordham, was one of the works
executed during this period and one can observe this remarkable
level of achievement. Along with Johnson's great precision in rendering
the foreground foliage and pathway is the magnificently illuminated
background that lies in between. Seemingly, for only a brief moment,
this pathway is bathed in the warm sunlight that has just opened
above and reveals the cerulean sky that appears to be welcoming
the approaching figures below. Gwendolyn Owens has observed about
his works, such as View at Fordham, of this period:
Johnson's method of painting had evolved into tight, controlled
technique by the 1870s. Using a fine brush and minute, almost invisible
strokes, he created delicately detailed compositions that are among
his finest paintings. The superb handling, richness of color, and
realistic effect of those works…make them exquisite examples of
the style that is called Luminism. ["David Johnson," in John K.
Howat, American Paradise: The World of the Hudson River School
(New York: Metropolitan Museum of Art in association with Harry
N. Abrams, Inc., 1987), p. 276.]
David Johnson's paintings can be found in many leading private collections and institutions
including: Amon Carter Museum, Fort Worth, TX; De Young Museum, San Francisco, CA; Everson Museum
of Art, Syracuse, NY; The Metropolitan Museum of Art, New York, NY; Munson-Williams-Proctor Arts
Institute, Utica, NY; Museum of Fine Arts, Boston, MA; Museum of Fine Arts-St. Petersburg, St.
Petersburg, FL; National Gallery of Art, Washington, DC; New York Historical Society, New York,
NY; Pennsylvania Academy of the Fine Arts, Philadelphia, PA; Phoenix Art Museum, Phoenix, AZ;
Santa Barbara Museum of Art, Santa Barbara, CA; Brooklyn Museum of Art, Brooklyn, NY; The
Cleveland Museum of Art, Ohio; The Nelson-Atkins Museum of Art, Kansas City, MO; Wadsworth Atheneum
Museum of Art, Hartford, CT; Yale University Art Gallery, New Haven, CT.
References:
John K. Howat, The Hudson River and its Painters (The Viking Press, 1972)
Michael David Zellman, 300 Years of American Art (Wellfleet Press, Secaucus, NJ 1987)
Gwendolyn Owens, "David Johnson," in John K. Howat, American Paradise: The World of the
Hudson River School (New York: Metropolitan Museum of Art in association with Harry N.
Abrams, Inc., 1987).
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