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John Henry Twachtman Catalogue Raisonné
An online catalogue by Lisa N. Peters, Ph.D., in collaboration with the Greenwich Historical Society

Catalogue Entry

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Keywords
OP.814
Cincinnati Landscape
ca. 1887
Oil on canvas
15 1/2 x 19 1/2 in. (39.4 x 49.5 cm)
Signed lower right: J. H. Twachtman–
Figge Art Museum, City of Davenport Art Collection, Iowa, Gift of C. T. Lindley (1929.613)
Provenance
William J. Baer;
to (Macbeth, by 1921);
to (Newhouse Galleries, New York, 1927);
to C. T. Lindley, 1927–29;
gift to Davenport Municipal Art Gallery, Iowa, 1929;
to present collection, 2005.
Exhibitions
1921–II Macbeth
Macbeth Gallery, New York, Fifth Exhibition of Intimate Paintings, November 21–December 12, 1921, no. 74, as Cincinnati Landscape.
Literature
Hale 1957
Hale, John Douglass. "Life and Creative Development of John H. Twachtman." 2 vols. Ph.D. dissertation, Ohio State University, 1957. Ann Arbor, Mich.: University Microfilms, 1958, vol. 2, p. 558 (catalogue A, no. 362), as Cincinnati Landscape. (Hale concordance).
Peters 1995
Peters, Lisa N. "John Twachtman (1853–1902) and the American Scene in the Late Nineteenth Century: The Frontier within the Terrain of the Familiar." 2 vols. Ph.D. dissertation, City University of New York, 1995. Ann Arbor, Mich.: University Microfilms International, 1996, vol. 1, p. 237; vol. 2, 753 ill. in b/w (fig. 222), as Cincinnati Landscape.
Commentary

Originally owned by the artist William J. Baer, who Twachtman met in his youth in Cincinnati, this painting was shown as Cincinnati Landscape at Macbeth Gallery in 1921. However, along with Cincinnati Landscape (OP.811), Gray Day (OP.812), and Landscape (OP.813), it is likely to depict Branchville, where Twachtman spent the summer of 1888, in a home he rented for his family near that of Weir. In this painting and the three works related to it, his subject matter consists of upland meadows where the land bears traces of having once been farmland, but where weeds and high grass are now growing freely. Twachtman depicted all the works from a low angle, emphasizing relationships of shape and tone without a concern for depth—with the exception of the horizon line. He used red accents to pictorially relate near foliage to a farmhouse (at the left) to unify the design.