Artist:
N.C. Wyeth
(American, 1882 - 1945)
Portrait of a Farmer
Alternate Title(s):Pennsylvania Farmer
Medium: Tempera on hardboard (Renaissance Panel)
Date: 1943
Dimensions:
40 × 60 in. (101.6 × 152.4 cm)
The Phyllis and Jamie Wyeth Collection
Accession number: SUPP2000.532
Research Number: NCW: 532
InscribedLower left: N. C. WYETH (underlined); adhered to panel, "Renaissance Panel" label, no. 1142, dated 11/12 (or possibly 22)/42, and marked 40 x 60"; 2 labels formerly adhered to reverse and now encased in plastic--1.: The Art Association of Newport / Thirty Fourth Annual Exhibition / 1945 / To be detached and fixed on back of work / Artist N. C. Wyeth / Title Portrait of a Farmer / Return Address Chadds Ford PA; label no. 2: Ptg No. 201/case no. 54 / "Painting in the United States" / October 14-December 12, 1943 / Carnegie Institute, Pittsburg, PA / Title: Portrait of a Farmer / Artist: N. C. Wyeth / Address: Chadds Ford; two (Knoedler's) labels adhered to reverse of panel: (1) PICTURE 54866; (2) PICTURE 3110 / FRAME 3110
ProvenanceMrs. N. C. Wyeth to 1956; (Knoedler & Co., no. 54866); Robert F. Woolworth, 1956-1994; [Frank E. Fowler, 1994]; Private collection to 2018; [Sotheby's, New York, NY, May 23, 2018, lot no. 13];
Exhibition HistoryPittsburgh, PA, 1943, no. 284, as "Portrait of a Farmer"; Toledo, OH, 1944, as "Portrait of a Farmer"; Wilmington, DE, 1944, no. 25, as "Portrait of a Farmer"; Newport, RI, Art Association of Newport, "Thirty Fourth Annual Exhibition", July 2 - 23, 1945, as "Portrait of a Farmer"; Philadelphia, PA, 1946, no. 22 as "Pennsylvania Farmer"; New York, NY, 1957, no. 27, as "Pennsylvania Farmer"
References
American Artist, Jan. 1945, advertisement for the F. Weber Co. (art supplies), Philadelphia, PA, as "Portrait of a Farmer"; "Wyeth Portrait Best Painting at 34th Art Association Show," clipping from unidentified newspaper, July 1945, Brandywine River Museum library; Richard Layton, "Inventory of Paintings in the Wyeth Studio, 1950, " unpublished, Wyeth Family Archives, p. 91; Douglas Allen and Douglas Allen, Jr., N. C. Wyeth, The Collected Paintings, Illustrations and Murals (New York: Crown Publishers, 1972), illustration in b/w p. 190; Christine B. Podmaniczky, N. C. Wyeth, Catalogue Raisonne of Paintings (London: Scala, 2008), P.59, p. 827
Curatorial RemarksOn January 21, 1943, Wyeth wrote to his daughter Henriette, "My escape from apprehensive hours still remains to me through my painting. In spite of all, my present large panel of the squealing pig is vastly superior to anyting to date."
An unidentified reviewer of the Newport exhibition wrote that this painting "dominates the large gallery...catches and holds the eye not for it's size, but rather the rich warm colors and detailed photographic treatment."
Although the painting was done for himself, Wyeth tried to sell reproduction rights through American Artists Company (Celia Mendelsohn to NCW, June 3, 1943, Wyeth Family Archives). The image was reproduced in advertisements for art supplies manufactured by the F. Weber Company of Philadelphia, and Niagara Lithograph Company of New York proposed the image to Lederle Laboratories for use in advertising vetinary vitamins (Joe J. Estill of Niagara Lithograph to NCW, April 4, 1945, Wyeth Family Archives).
The Brandywine River Museum holds a detailed composition drawing (NCW 2290, 96.1.526), and a lantern slide (NCWS.95.1825.249) made from the drawing and used in the transfer of the design from paper to panel. Another composition drawing (NCW 1445) and a study for the pig (NCW 2199) are in the Andrew and Betsy Wyeth collection. A six page "Story of this Painting" in NCW's hand (Wyeth Family Archives) explains that the picture is a composite of memories and Chester county scenes; the house common in the area, the barn one that had burned five years prior and remained in his memory. The farmer was based on Wyeth's recollection of a local man whom he did see with the pig under his arm, but who enlisted in the army before Wyeth could make portrait studies from life. The Brandywine River Museum holds an archival photograph taken of the painting hanging in the Pittsburgh, 1943 exhibition which documents the original framing.
From the Wyeth Family archives in N. C. Wyeth's hand: "The Portrait of a Farmer" was painted in 1942-3. It is done in egg-tempera on gesso ground. The scene is highly typical of the farm country in and surrounding the Brandywine River valley, which is in Chester County, Penna. There are a dozen such stone barns and houses within eye-shot of the hill upon which my studio is located.
Although not a portrait of any particular farm-stead, I have delighted to pack into the design romance and nostalgia of this countryside which I have accumulated though the years. This particular barn, destroyed five years ago, is my recollection of the building in which I had as a young art student under Howard Pyle partly earned my board by milking seven or eight cows morning and evening. The house is true to the type which prevails in this Quaker country." (Wyeth goes on to identify the farmer, who was inducted into the army before Wyeth could get him to pose in the studio.)
The painting was examined by Joyce Hill Stoner, paintings conservator, in April 2018. She reported: "Most of the painting is quite smooth with little impasto...however, there are interesting variations in texture and topographical effects. The sky paint appears to have been sponged and worked over when partially dried to creat a tactile surface."
An unidentified reviewer of the Newport exhibition wrote that this painting "dominates the large gallery...catches and holds the eye not for it's size, but rather the rich warm colors and detailed photographic treatment."
Although the painting was done for himself, Wyeth tried to sell reproduction rights through American Artists Company (Celia Mendelsohn to NCW, June 3, 1943, Wyeth Family Archives). The image was reproduced in advertisements for art supplies manufactured by the F. Weber Company of Philadelphia, and Niagara Lithograph Company of New York proposed the image to Lederle Laboratories for use in advertising vetinary vitamins (Joe J. Estill of Niagara Lithograph to NCW, April 4, 1945, Wyeth Family Archives).
The Brandywine River Museum holds a detailed composition drawing (NCW 2290, 96.1.526), and a lantern slide (NCWS.95.1825.249) made from the drawing and used in the transfer of the design from paper to panel. Another composition drawing (NCW 1445) and a study for the pig (NCW 2199) are in the Andrew and Betsy Wyeth collection. A six page "Story of this Painting" in NCW's hand (Wyeth Family Archives) explains that the picture is a composite of memories and Chester county scenes; the house common in the area, the barn one that had burned five years prior and remained in his memory. The farmer was based on Wyeth's recollection of a local man whom he did see with the pig under his arm, but who enlisted in the army before Wyeth could make portrait studies from life. The Brandywine River Museum holds an archival photograph taken of the painting hanging in the Pittsburgh, 1943 exhibition which documents the original framing.
From the Wyeth Family archives in N. C. Wyeth's hand: "The Portrait of a Farmer" was painted in 1942-3. It is done in egg-tempera on gesso ground. The scene is highly typical of the farm country in and surrounding the Brandywine River valley, which is in Chester County, Penna. There are a dozen such stone barns and houses within eye-shot of the hill upon which my studio is located.
Although not a portrait of any particular farm-stead, I have delighted to pack into the design romance and nostalgia of this countryside which I have accumulated though the years. This particular barn, destroyed five years ago, is my recollection of the building in which I had as a young art student under Howard Pyle partly earned my board by milking seven or eight cows morning and evening. The house is true to the type which prevails in this Quaker country." (Wyeth goes on to identify the farmer, who was inducted into the army before Wyeth could get him to pose in the studio.)
The painting was examined by Joyce Hill Stoner, paintings conservator, in April 2018. She reported: "Most of the painting is quite smooth with little impasto...however, there are interesting variations in texture and topographical effects. The sky paint appears to have been sponged and worked over when partially dried to creat a tactile surface."
Image Source for printed Catalogue Raisonne:Transparency directly from painting. 2. Painting installed at the Carnegie Institute, Pittsburgh, PA, 1943
Photo Credit:1. Bill DiLillo, 6/2002; 2. (Brandywine River Museum, Library, # 3229)