William Morris Hunt: Landscape Paintings

"Gloucester Harbor,"1877, by William Morris Hunt

"William Morris Hunt's first serious essay in landscape painting was probably made in the spring of 1874, and in the spring of 1875 he planned and superintended the construction of a painter's wagon, or van, as he called it, that he might make his summer sketching tours at will and in the most convenient manner. Every landscape painter has doubtless noticed that he finds his best views and compositions while driving. The subject that appeals to the eye from the seat of a wagon is often wholly different from that presented from a lower point of view.

The van was a large covered wagon, drawn by two horses, and equipped with everything pertaining to a painter's outfit. It carried not only canvases, paints, and easels, but had compartments for provisions, and long seats that could be used for sleeping-bunks. Hunt gleefully announced that it was "made by a man who built gypsy-wagons," and looked forward with delight to many a season of sketching tours.
For him work was a deep and continual pleasure, and whatever would help him in his work was seized upon with an avidity which counted neither expense nor pains.

The summer of 1877 was productive of much good work. The van was almost daily in requisition, and Hunt painted some excellent landscapes, marines, and wood-interiors. He would start off for the day's work, taking with him Tom, the wagon-boy, and Carter, the assistant. Carter was a man whom Hunt had found in Boston, painting decorations for wagons and signs. Entering into conversation with him in regard to his work, he conceived the idea that he might be useful as a painter's assistant, and invited him to Magnolia, where he subsequently engaged him to go upon sketching excursions, to prepare painting-grounds and surfaces, and to under-paint for him when necessary.

Arrived at the spot selected, Hunt would leap from the van, take a campstool and a block of charcoal paper, and, with a stick of soft charcoal seize the salient points of the subject to be rendered. While thus engaged the assistant would arrange an easel and select necessary paints and brushes. Sometimes he was told to "lay in" the first painting, reproducing the effect of the charcoal-sketch, while Hunt would watch intently for the right moment to come, when he would seize palette and brushes, and perhaps complete the picture in one sitting.

For example, his celebrated Gloucester Harbor was painted in a single afternoon. 

To be continued

(Excerpts from "The Art-Life of William Morris Hunt" by Helen Mary Knowlton.)