William Michael Harnett (b. August 10, 1848 – d. October 29, 1892) is #5 on my ‘Top Six Favourite Artists’ List.

William M. Harnett (American, born in Ireland, b. 1848 – d. 1892), “Le Figaro”, 1880. Oil on Canvas. Permanent Collection of Joslyn Art Museum, purchased in 1961. Omaha, Nebraska. Joslyn Art Museum has always been my favourite art museum of the ones I have visited. The main issue I have now with Joslyn is that their new expansion to the museum is of a modern architecture style, and in my opinion, it does not match well with the more classical architecture style of the original building: They seem like two buildings that don’t fit together – side-by-side. However, that seems to be the trend with all architecture of modern times; nevertheless, it is not to say that I like this trend.

William M. Harnett – Master of Trompe-l’œil (Fool-the-Eye), Still Lifes of Ordinary Objects

Harnett – An Introduction

Harnett was the greatest American practitioner of Trompe-l’œil (Fool-the-Eye) painting during the 19^th century. The objects in the paintings, and the settings, are created with photo-realism, which creates a visual illusion, or deception to the eye. He had a masterful skill of depicting reality, and painting textures, details, and even the subtle imperfections of everyday objects were truly uncanny.

Harnett’s Life in Brief

Harnett was born in Clonakilty, County Cork, Ireland, on 10 August 1848, which was during the Great Famine (Irish Potato Famine), that lasted from 1845 to 1852. The worst year of the famine was in 1847, which was labeled, “Black ’47”. During the Great Famine, approximately one-million Irish died of starvation and disease, and another one million fled from the country—Ireland’s population decreased during this disaster, by 20 to 25 percent, and in some towns, the population decreased by 67 percent.*

*(Source: Kinealy, Christine. This Great Calamity. Gill & Macmillan, 1994. p. 357; and, Census of Ireland 1871: Part I, Area, Population, and Number of Houses; Occupations, Religion and Education volume I, Province of Leinster.)

To escape the hardship of living in Ireland during the Great Famine, and in hope of a better life, Harnett’s family immigrated to America shortly after he was born, and they settled in Philadelphia, PA. By 1865, he received training as an engraver, and he attended classes at the Pennsylvania Academy of the Fine Arts. By 1871, he headed to New York City, NY, and was employed as an etcher of silver jewelry: He designed for silverware companies, including Tiffany and Company.**

**(Source: Harnett, William Michael, et al. William M. Harnett. Fort Worth New York: Amon Carter Museum; Metropolitan Museum of Art: H. N. Abrams, 1992.)

While in New York, he took classes at the Cooper Union and the National Academy of Design. Harnett’s first exhibitions of his still lifes was in 1875, where he experienced some success selling his work. He went to Europe in 1880 for further art study and to continue his painting. Harnett returned to New York City in 1885, where he lived for the remaining six years of his life. Harnett suffered from very active and debilitating rheumatoid arthritis during the last few years of his life, which slowed down his painting output, but not the quality of his work.***

***(Source: Frankenstein, Alfred. After the Hunt: William Harnett and other American Still Life Painters 1870 – 1900. Berkeley: University of California Press, 1953. p. 92.)

Harnett died on 29 October 1892, in New York City, and he was buried at the Old Cathedral Cemetery in Philadelphia, PA.

Harnett – 19^th Century Genius of Trompe-l’œil

Harnett’s mastery stemmed from several factors. Firstly, his meticulous technique involved numerous preparatory sketches and studies, ensuring each element in his final compositions was precisely rendered. Secondly, he employed the Trompe-l’œil technique that created the illusion of three-dimensionality on a flat surface. Even flat objects, like cards and sheets of paper had a three-dimensional quality—He masterfully achieved this effect by skillfully using shading, lighting effects, and careful perspective manipulation.

Harnett’s Subject Matter

Harnett’s subject matter often featured common, unassuming objects found in everyday life, such as pipes, books, musical instruments, and hunting gear. This choice, while seemingly mundane, allowed him to showcase his virtuosity in depicting textures and materials. The worn leather of a book cover, the rough grain of wood on a violin, the tarnished metal of a hunting horn – all were rendered with exquisite precision and a keen eye for detail.

At the time, the general public found the Trompe-l’œil artworks captivating. However, the “art establishment viewed them with suspicion, believing the works mere ‘trickery’ devoid of artistic inspiration. However, these paintings are not merely still lifes, but portraits. In “Le Figaro”, the French newspaper and pipe tobacco, discarded as if in mid-smoke, indicate a male of international and intellectual pursuits. The smoldering tobacco, the ‘clutter’, which is actually carefully arranged, and the paper that is, tantalizingly, almost readable, seem as if someone had just left them there.”****

****(Source: “Joslyn Art Museum Omaha Nebraska | Art Museum, Art Classes Omaha Nebraska | Entertainment Omaha.” http://www.joslyn.org, www.joslyn.org/collections-and-exhibitions/permanent-collections/american/william-harnett-le-figaro/. Accessed 6 Jan. 2024.)

Harnett’s Art Legacy

Harnett’s art contribution lives on as a testament to the power of artistic illusionism. His paintings continue to captivate viewers with their lifelike quality and invite them to marvel at the meticulous craftsmanship behind them. He is rightfully considered one of the greatest American still life painters of the 19^th century, and his works continue to inspire and amaze art lovers and aspiring artists alike.