A Lazy Fisherman
Framed: 34 5/8 x 39 5/8 x 5 1/8 inches (87.95 x 100.65 x 13.02 cm)
- 215
Nineteenth Annual Exhibition, National Academy of Design, New York, April 24–July 6, 1844, no. 266.
American Art-Union, New York, December 1844, no cat.
The Second Exhibition, Albany Gallery of the Fine Arts, N.Y., 1847, no. 3.
Albany Art Exhibition of Paintings and Marbles, Ransom’s Iron Store, Albany, N.Y., 1858, no. 57.
John Gadsby Chapman: Painter and Illustrator, National Gallery of Art, Washington, D.C., December 16, 1962–January 13, 1963, no. 40.
Nineteenth Century American Painting, William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Mo., February 17–March 31, 1974, no cat.
Kaleidoscope of American Painting: Eighteenth and Nineteenth Centuries, William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Mo., December 2, 1977–January 22, 1978, no. 68.
Genre, Nelson-Atkins Museum of Art, Kansas City, Mo., April 5–May 15, 1983, no. 38.
Chapman desired, above all, to be a history painter, but he painted portraits and genre scenes to earn a living. Pleasing scenes of children were especially popular in the mid-19th century as they offered musings on childhood innocence and freedom in an increasingly challenging world.
To (American Art-Union, New York, 1844);
to Dr. James H. Armsby, Albany, N.Y., 1844, until at least 1858;
(Salzer Galleries, Los Angeles, by 1957);
to the Nelson-Atkins Museum of Art, Kansas City, Mo., 1958.
“National Academy of Design,” New World 8 ( May 11, 1844), 597.
“National Academy of Design, Continued,” New York Herald, May 26, 1844, 1.
“National Academy of Design—the 19th Annual Exhibition,” New York Express, June 12, 1844, 3.
“Editor’s Table—National Academy of Design,” Knickerbocker 23 (June 1844), 596.
Catalogue of the Nineteenth Annual Exhibition, exh. cat. (New York: National Academy of Design, 1844), 18.
Transactions of the American Art-Union, for the Promotion of the Fine Arts in the United States for the Year 1844 (New York: American Art-Union, 1845), 23.
“Exhibitions,” Crayon 5 (March 1858), 115 (as The Lazy Fisherman).
“Accessions of American and Canadian Museums,” Art Quarterly 23 (Summer 1958), 219, 223.
Handbook of the Collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 4th ed. (Kansas City, Mo.: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1959), 255 (as The Lazy Fisherman).
John Gadsby Chapman: Painter and Illustrator, exh. cat. (Washington, D.C.: National Gallery of Art, 1962), 12, 28.
Ross E. Taggart and George L. McKenna, eds., Handbook of the Collections in The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Missouri, vol. 1, Art of the Occident, 5th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 251.
Kaleidoscope of American Painting: Eighteenth and Nineteenth Centuries. exh. cat. (Kansas City, Mo.: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1977), 58.
George Erlich, “George Caleb Bingham as Ethnographer,” American Studies 19 (Fall 1978), 50, 52.
Ross E. Taggart, “American Paintings in the Nelson-Atkins Museum of Art, Kansas City, Missouri,” Antiques 122 (November 1982), 1032.
Genre, exh. cat. (Kansas City, Mo.: Nelson-Atkins Museum of Art, 1983), 5, 16, 29.
Henry Adams, Handbook of American Paintings in the Nelson-Atkins Museum of Art (Kansas City, Mo.: Nelson-Atkins Museum of Art, 1991), 64–65.
William H. Gerdts, “Before Winslow Homer: The Art of Fishing in the United States,” in Winslow Homer: Artist and Angler, ed. Patricia Junker with Sarah Burns, exh. cat. (Fort Worth: Amon Carter Museum; San Francisco: Fine Arts Museums of San Francisco, 2002), 202–3, 205.
Arlene Katz Nichols, “Merchants and Artists: The Apollo Association and the American Art-Union,” Ph.D. diss., City University of New York, 2003, 198, 463.
