Oil On Canvas, Real Flavor of Old Masters

All John Quidor 's Paintings
The Painting Names Are Sorted From A to Z

ID Image  Painting (From A to Z)       Details 
Dorothea, John Quidor
 Dorothea   ca. 1823(1823) Oil on canvas 71 x 58.5 cm (27.95 x 23.03 in)
Dorothea, John Quidor
 Dorothea   Date ca. 1823(1823) Medium Oil on canvas Dimensions 71 X 58.5 cm (27.95 X 23.03 in) cyf
Money Diggers, John Quidor
 Money Diggers   Date ca. 1832(1832) Medium Oil on canvas Dimensions 40.5 X 53.2 cm (15.94 X 20.94 in) cyf
Rip  Van Winkles Ruckkehr, John Quidor
 Rip Van Winkles Ruckkehr   mk181 Washing ton
The Gold Diggers, John Quidor
 The Gold Diggers  
The Headless Horseman Pursuing Ichabod Crane, John Quidor
 The Headless Horseman Pursuing Ichabod Crane   oil, 26 7/8 x 33 7/8 in., 1858 cjr
The Money Diggers, John Quidor
 The Money Diggers   mk7 16 5/8x21 1/2in
The Money Diggers, John Quidor
 The Money Diggers   mk140 1832 Oil on canvas
The Money Diggers, John Quidor
 The Money Diggers   ca. 1832(1832) Oil on canvas 40.5 x 53.2 cm (15.94 x 20.94 in)
The Return of Rip van Winkle, John Quidor
 The Return of Rip van Winkle   1829
Wolfert's Will, John Quidor
 Wolfert's Will   ca. 1856(1856) Oil on canvas 68 x 86 cm (26.77 x 33.86 in)
Wolfert's Will, John Quidor
 Wolfert's Will   Date ca. 1856(1856) Medium Oil on canvas Dimensions 68 X 86 cm (26.77 X 33.86 in) cyf

John Quidor
1801-1888 Quidor was born in Gloucester Co., N. J., and in 1826 moved to New York City where he studied painting under John Wesley Jarvis and Henry Inman. Afterward he lived on a farm near Quincy, Illinois, but returned to New York City in 1851. He was obliged to support himself by painting the panels of stage coaches and fire engines and died in abject poverty. Although Quidor was little appreciated in his own time, after his death he was accorded a place among the best early American artists. His paintings establish a mysterious romantic setting for scenes in which he mingled macabre elements with an earthy humor. Many of his works, such as Ichabod Crane Pursued by the Headless Horseman, in the Smithsonian American Art Museum, were inspired by the writings of Washington Irving, who was a personal friend. Irving's A History of New York gave Quidor the subjects for the four paintings in the Brooklyn (N. Y.) Institute: Dancing on the Battery (c. 1860), Peter Stuyvesant's Wall Street Gate (1864), Voyage of the Good Oloff up the Hudson (1866), and The Voyage from Communipaw to Hell Gate (1866). These show Quidor's characteristic mellow and harmonious color, poetic imagination, and naïve humor. He is represented in the Brooklyn Museum by three paintings: Dorothea, Money Diggers, and Wolfert's Will. He also painted religious subjects such as Jesus Blessing the Sick.

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