Artist:
John Haberle
(American, 1856 - 1933)
Torn in Transit
Medium: Oil on canvas
Date: 1890-1895
Dimensions:
13 1/2 × 17 in. (34.3 × 43.2 cm)
Accession number: 80.3.12
Label Copy:
Torn in Transit is one of three painting-within-a-painting compositions John Haberle created to resemble a torn parcel. The artist’s closely rendered detail of the painted shipping label and packaging materials contrasts with the loosely brushed painterly landscape. The twine and torn edges of the paper cast a believable shadow onto the landscape, which depicts a popular chromolithograph of the time. The exacting detail and clever deception reportedly caused viewers of the work at an exhibition to advise the owner to seek damages from the express company that had delivered it.
Torn in Transit is one of three painting-within-a-painting compositions John Haberle created to resemble a torn parcel. The artist’s closely rendered detail of the painted shipping label and packaging materials contrasts with the loosely brushed painterly landscape. The twine and torn edges of the paper cast a believable shadow onto the landscape, which depicts a popular chromolithograph of the time. The exacting detail and clever deception reportedly caused viewers of the work at an exhibition to advise the owner to seek damages from the express company that had delivered it.
Curatorial RemarksJohn Haberle was a master of illusionary painting. He was born in New Haven, Connecticut and spent most of his life there. He studied at the National Academy of Design in New York City and became fascinated with the works of William Michael Harnett and John Frederick Peto, who influenced him. By 1900 his career was cut short due to failing eyesight.
In "Torn in Transit," one of three slightly different versions of this subject painted by Haberle, the artist uses a painted landscape as still life object. This humorous "trompe l' oeil" treatment features a painting of a painting. The "painted" work peeks out through strings and torn wrappers. The deceit is further advanced by shadows cast by the flaps of paper and the strings upon the interior image.
Like William Michael Harnett and John Frederick Peto, John Haberle was one of his generation’s most skillful and inventive painters of trompe l’oeil subjects. By the 1890s, he achieved critical recognition for his talent in illusionistic techniques. He suffered, however, from weakened eyesight, most likely due to his intense trompe l’oeil technique, and began producing paintings – like this one – that combine detailed, illusionistic passages with broader, more painterly ones.
Torn in Transit is one of three painting-within-a-painting compositions that creates the illusion of a torn parcel. The artist’s closely rendered detail of the painted shipping label and the string contrasts with the loosely rendered painterly landscape. The twine and paper cast a believable shadow onto the brown wrapping and onto the landscape, which is believed to depict a known chromolithograph that was popular at the time. The exacting detail of the shipping labels reportedly caused viewers examining the work at an exhibition to advise the owner to seek damages from the express company.
About 1900, Haberle was forced to give up painting due to his failing eyesight. He lived thereafter in relative obscurity in New Haven, Connecticut, where he had resided most of his life.
In "Torn in Transit," one of three slightly different versions of this subject painted by Haberle, the artist uses a painted landscape as still life object. This humorous "trompe l' oeil" treatment features a painting of a painting. The "painted" work peeks out through strings and torn wrappers. The deceit is further advanced by shadows cast by the flaps of paper and the strings upon the interior image.
Like William Michael Harnett and John Frederick Peto, John Haberle was one of his generation’s most skillful and inventive painters of trompe l’oeil subjects. By the 1890s, he achieved critical recognition for his talent in illusionistic techniques. He suffered, however, from weakened eyesight, most likely due to his intense trompe l’oeil technique, and began producing paintings – like this one – that combine detailed, illusionistic passages with broader, more painterly ones.
Torn in Transit is one of three painting-within-a-painting compositions that creates the illusion of a torn parcel. The artist’s closely rendered detail of the painted shipping label and the string contrasts with the loosely rendered painterly landscape. The twine and paper cast a believable shadow onto the brown wrapping and onto the landscape, which is believed to depict a known chromolithograph that was popular at the time. The exacting detail of the shipping labels reportedly caused viewers examining the work at an exhibition to advise the owner to seek damages from the express company.
About 1900, Haberle was forced to give up painting due to his failing eyesight. He lived thereafter in relative obscurity in New Haven, Connecticut, where he had resided most of his life.
On view