Across the Salt Marshes, Huntington

Expand

IIIFView PDF

Across the Salt Marshes, Huntington

Artist Edward Jean Steichen (American, 1879-1973)

Dateabout 1905

DimensionsPainting: 15 × 18 in. (38.1 × 45.7 cm)
Frame: 27 × 30 × 3 1/4 in. (68.6 × 76.2 × 8.3 cm)

Mediumoil on canvas

ClassificationPaintings

Credit LineGift of Florence Scott Libbey

Object number

1912.4

On View

Toledo Museum of Art (2445 Monroe Street), Gallery, 29A

Collections

Paintings

Published ReferencesAmerican Art Annual, Washington, vol. 20, 1923, p. 698.

Toledo Museum of Art, The Toledo Museum of Art, American Paintings, Toledo, 1979, p. 102, pl. 115.

Pisano, Ronald G., Long Island Landscape Painting 1820-1920, Boston, 1985, p. 148, repr. (col.).

Exhibition HistoryWorcester, Worcester Art Museum, Exhibition of Paintings by Edward J. Steichen, 1910, no. 19.

San Francisco, M.H. DeYoung Memorial Museum and the California Palace of the Legion of Honor, The Color of Mood, American Tonalism 1880-1910, no. 39 (cat. by W. Corn).

Toledo, The Toledo Museum of Art, Fiftieth Anniversary Exhibition of Contemporary American Oil Paintings Acquired by the Toledo Museum 1901-1951, 1951.

Southampton, NY, Parrish Art Museum, The Long Island Landscape 1865-1914: the Halcyon Years, 1981, no. 79.

Huntington, NY, Heckscher Museum, The Paintings of Eduard Steichen, 1985, p. 45, repr. p. 20.

New York, IBM Gallery of Science and Art, American Paintings from the Toledo Museum of Art, 1986.

Washington, D.C., Federal Reserve Board Building, The Paintings of Eduard J. Steichen, 1988, no. 17, repr. p. 8.

New York, Whitney Museum of American Art, Edward Steichen, 2000-2001, pp. 20-21, fig. 25, p. 65.

Williamstown, MA, Sterling and Francine Clark Art Institute, Like Breath on Glass: Whistler, Inness, and the Art of Painting Softly, 2008, p. 13, pl. 38 (col.).

Label TextViewed as if through a veil, the salt marshes of Huntington, Long Island, take on a mysterious, evocative aura in Edward Steichen’s painting. A champion of European and American modernism and of photography as art, Steichen stopped painting around 1921, burning all of the paintings in his studio in order to commit himself fully to photography. This rare canvas shows an intriguing relationship to his dreamy, soft-focus photographs of the early 1900s.