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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John Quidor The Return of Rip van Winkle oil painting   

Painting ID::  4282
John Quidor
The Return of Rip van Winkle
1829

   
   
     

 

 

John Quidor The Gold Diggers oil painting   

Painting ID::  4283
John Quidor
The Gold Diggers

   
   
     

 

 

John Quidor The Money Diggers oil painting   

Painting ID::  32000
John Quidor
The Money Diggers
mk7 16 5/8x21 1/2in

   
   
     

 

 

John Quidor The Money Diggers oil painting   

Painting ID::  39059
John Quidor
The Money Diggers
mk140 1832 Oil on canvas

   
   
     

 

 

John Quidor Rip  Van Winkles Ruckkehr oil painting   

Painting ID::  45221
John Quidor
Rip Van Winkles Ruckkehr
mk181 Washing ton

   
   
     

 

 

John Quidor Wolfert's Will oil painting   

Painting ID::  71454
John Quidor
Wolfert's Will
ca. 1856(1856) Oil on canvas 68 x 86 cm (26.77 x 33.86 in)

   
   
     

 

 

John Quidor Dorothea oil painting   

Painting ID::  71480
John Quidor
Dorothea
ca. 1823(1823) Oil on canvas 71 x 58.5 cm (27.95 x 23.03 in)

   
   
     

 

 

John Quidor The Money Diggers oil painting   

Painting ID::  71524
John Quidor
The Money Diggers
ca. 1832(1832) Oil on canvas 40.5 x 53.2 cm (15.94 x 20.94 in)

   
   
     

 

 

John Quidor Wolfert's Will oil painting   

Painting ID::  72582
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 Dorothea oil painting   

Painting ID::  72660
John Quidor
Dorothea
Date ca. 1823(1823) Medium Oil on canvas Dimensions 71 X 58.5 cm (27.95 X 23.03 in) cyf

   
   
     

 

 

John Quidor Money Diggers oil painting   

Painting ID::  72734
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

   
   
     

 

 

John Quidor The Headless Horseman Pursuing Ichabod Crane oil painting   

Painting ID::  89548
John Quidor
The Headless Horseman Pursuing Ichabod Crane
oil, 26 7/8 x 33 7/8 in., 1858 cjr

   
   
     

 

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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.