Oil on canvas – 6 1/8 in x 4 1/8 in
Grand Manan Island – William Hart (1823-1894)
William Hart was born in Paisley, Scotland, and gained recognition for his serene and romantic landscapes characterized by finely executed brushwork. His signature style often featured cattle and realistic figures integrated into expansive landscapes, a motif he developed starting in the late 1880s after being inspired by the Lower Keene Valley in northern New York state. At the age of 18, he also ventured into portrait painting.
As a second-generation painter of the “Hudson River School,” William Hart followed in the artistic footsteps of his brother James McDougal Hart. Their sister, Julie Hart Beers, also achieved success as an artist. Influenced by George Inness and Asher Durand, Hart was largely self-taught despite these influential figures.
Hart’s contributions to the arts were manifold: he served as the first president of the Brooklyn Academy of Design and was an instructor there. Additionally, he founded and served three terms as president of the American Watercolor Society. His landscapes, widely admired for their popularity, were regular features at exhibitions held by the National Academy of Design and the American Art Union. As a respected teacher, Hart mentored notable artists such as Homer Martin and Lemuel Miles.
Beginning his artistic journey in Scotland, Hart immigrated to Troy, New York, in 1831 as a young boy. He apprenticed as a coach-maker with Eaton and Gilbert, where he painted decorative panels. Subsequently, he worked as a window-shade decorator and portrait painter, operating from his father’s woodshed and selling his works for five dollars each. After returning from Scotland to the United States, Hart established studios in Albany, New York City, and Brooklyn. He and his wife, Janet Wallace of Scotland, spent their later years in Mount Vernon, New York, likely to be close to the family of a deceased son who passed away at the age of 37.
From 1849 onward, Hart embarked on extensive travels across the United States, including stays in Richmond, Virginia, and Michigan, where he spent several years. Many of his paintings during this period depicted dramatic seascapes along the Maine coast, particularly scenes from Grand Manan Island.
