George Inness
(1825-1894)
"Twilight," 1889
Oil on canvas laid to canvas
Signed lower left: G. Inness
30" H x 45" W
Provenance: Estate of the artist
Sold: Fifth Avenue Art Galleries, New York, NY, February 13, 1895, Lot 133
Samuel Putnam Avery, Jr., New York, NY, acquired from the above
George H. Ainslie, Esq., New York, NY, by February 1912
Ralph Cudney, Chicago, by 1917
Estate of the above
Babcock Galleries, New York, NY, circa 1936-1950
Leroy Ireland, New York, NY, circa 1950-1957
Sold: Parke-Bernet Galleries, New York, NY, March 13, 1957, Lot 75
Rufus Napoleon Garrett, El Dorado, AR
Floyd Norris, Covington, LA
R. H. Love Galleries, Chicago, IL, by 1975
The Moss Collection, Chicago, IL, by 1978

Exhibited: New York, NY, American Fine Arts Society, "Exhibition of the Paintings Left by the Late George Inness," December 27, 1894
New York, NY, New York School of Applied Design for Women, "Exhibition of Thirty-Eight Paintings by the Late George Inness, N.A. from the Ainslie Collection and Others," April 6-May 6, 1912, no. 2
New York, NY, New York School of Applied Design for Women, "Summer Exhibition of Paintings by the Late George Inness and a Few Examples by A. H. Wyant from the George H. Ainslie Collection," June-September 1912, no. 13
Detroit, MI, Detroit Museum of Art [now the Detroit Institute of Arts], "Retrospective and Comparative Exhibition of Paintings by the Late George Inness and . . . The Late A. H. Wyant from the George H. Ainslie Collection," 1913, no. 23
Rochester, New York, NY, The Memorial Art Gallery, "Exhibition of Paintings by George Inness, N.A., Alexander H. Wyant, N.A., Aston Knight," 1914, no. 18
St. Louis, MS, St. Louis, City Art Museum," An Exhibition of Paintings by George Inness, N.A., and Alexander H. Wyant, N.A.," 1914, no. 19.
Oakland, CA, Oakland Museum Art Department, "George Inness Landscapes: His Signature Years, 1884-1894," November 28, 1978-January 28, 1979
Jacksonville, FL, The Cummer Gallery [aka The Cummer Museum of Art & Gardens], "George Inness in Florida, 1890-1894, and the South," April 11-May 25, 1980, no. 39

Literature: "Chicago Post," February 19, 1910, p. 6.
James William Pattison, "Paintings by American Artists," "Fine Arts Journal," vol. 29, no. 4 (October 1913): pp. 618, 621, no. 4, illustrated.
George Inness, Jr., "Life, Art, and Letters of George Inness," (New York: The Century Co., 1917), pp. 116, 278, illustrated.
Leroy Ireland, D.B. Goodall, and R.G. McIntyre, "The Works of George Inness: An Illustrated Catalogue RaisonnÈ" (Austin: University of Texas, 1965), p. 325, no. 1290, illustrated.
"Art in America," vol. 63, no. 6, (November-December 1975): pp. 36-37, illustrated.
R. H. Love Galleries, "A Selection of American Paintings" (Chicago: R. H. Love Galleries, 1977), pp. 25, 61, no. 32, illustrated.
Michael Quick, "George Inness: A Catalogue RaisonnÈ, Volume Two" (New Brunswick: Rutgers University Press, 2007), p. 248, no. 958, illustrated.

Other Notes: This painting has an alternate title, "Twilight (After the Shower)." The 1889 date comes from its listing as item no.2 in the spring 1912 New York exhibition catalogue mentioned above. This lot is accompanied by two books, "The Works of George Inness: An Illustrated Catalog Raisonne," by LeRoy Ireland, and "Library of American Art: Life, Art, and Letters of George Inness," by George Inness, Jr.

To truly appreciate the depth and colors in this painting, it should be properly lit.

George Inness's artistic legacy is one of profound introspection and spiritual resonance, with his painting "Twilight" standing as a testament to his mastery of Tonalism and his ability to evoke the sublime through landscape art.

Exemplifying his Transcendentalist Period, Inness's "Twilight" is more than a mere visual representation; it is an intimate experience, a gateway into the serene and the spiritual. The painting invites the viewer to step into a world where the boundaries between the physical and the ethereal are blurred, where the fading light of day beckons to a realm of tranquility. It is in this context that we recall the words of Ralph Cudney, a previous owner of "Twilight," who found a personal connection with the work:

"In this one, 'Twilight,' I feel as though I, and not the girl on the canvas, am going for the cows crossing that log that spans the brook. Yes, there is something in these canvases of Inness that fills me with a sense of rest." (G. Inness Jr., George Inness: Life, Art and Letters, 1917, New York, p. 278).

Cudney's reflection encapsulates the immersive quality of Inness's art; it is a shared experience between the artist, the subject, and the viewer. The painting becomes a mirror, reflecting our own longing for peace and a harmonious existence with nature.

Inness's work is often seen as a spiritual dialogue, with "Twilight" serving as a statement in this ongoing conversation. The lone female figure in the painting, as Cudney poignantly observes, is not just a subject within the landscape but a representation of humanity's journey through the temporal world, seeking connection with the divine. This spiritual quest is a recurring theme in Inness's oeuvre, inspired by his Swedenborgian beliefs and his conviction that art could bridge the gap between the tangible and the spiritual realms.

"Twilight" remains a pivotal work in understanding George Inness's artistic and philosophical vision. It is a painting that transcends time, inviting each viewer to find their own sense of rest within the scene. As we reflect on Cudney's words, we are reminded of the universal appeal of Inness's landscapes and their ability to speak to the deepest parts of our being. Inness's legacy is one of beauty and contemplation, and "Twilight" is a shining example of his profound impact on American art.

Visual: It appears that the painted surface has evidence of extensive cleaning, and occurred prior to 1978 according to the current owner. Slight varnish discoloration as well as delicate, stable craquelure throughout. The canvas has been relined and the original tacking edges removed.

Blacklight: Extensive touch-ups throughout and a heavy masking varnish.

Frame: 37" H x 52" W x 3.5". Appears to be the original frame containing exhibition labels
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