Provenance
Miss F. Pearl Browning and Miss Elizabeth Browning, in 1940.[1] Mr. and Mrs. Clyde M. Newhouse, New York, from at least 1972 to at least 1977; Jo Ann and Julian Ganz, Jr., Los Angeles, from at least 2004; acquired 2008 by gift and purchase by NGA.
[1] "The Misses F. Pearl and Elizabeth Browning" lent the painting, as well as several others, to the exhibition of the artist's work at the Brooklyn Museum in 1940.
Accession Number
2008.66.2
Medium
oil on board
Dimensions
overall: 48.9 × 75.25 cm (19 1/4 × 29 5/8 in.) | framed: 77.15 × 103.82 × 8.26 cm (30 3/8 × 40 7/8 × 3 1/4 in.)
Classification
Painting
Credit Line
Paul Mellon Fund and Gift of Jo Ann and Julian Ganz, Jr.
Tags
Painting Impressionist & Modern (1851–1900) Oil Painting Board American
Background & Context
Background Story
On Their Way to Camp (1873) depicts figures en route to a seasonal camp—an American subject that connects to the broader 19th-century tradition of representing outdoor life, hunting, and the relationship between Americans and wilderness. By the 1870s, the concept of camping—leaving urban life for a temporary return to nature—was emerging as a distinctively American cultural practice. The Adirondack camp tradition, which would become a significant social phenomenon in the Gilded Age, was developing in this period. Johnson's painting documents this cultural formation at its inception, depicting the journey toward camp rather than camp life itself—a choice that emphasizes anticipation and the transition from civilization to wilderness rather than the experience of nature achieved. The year 1873 places this work in the period when the American wilderness was being simultaneously consumed and preserved—the same years that saw the creation of Yellowstone National Park and the beginnings of the conservation movement. The figures carry the attributes of their journey: equipment, appropriate dress, and the demeanor of travelers rather than settlers.
Cultural Impact
Johnson's camp paintings influenced how American outdoor life was represented in art and culture, contributing to the mythology of the wilderness camp that would become central to American identity. The paintings influenced the Adirondack camp tradition, outdoor recreation culture, and the broader American relationship to wilderness. The subject also influenced American sporting art, which similarly combined landscape painting with the depiction of outdoor activities.
Why It Matters
This painting matters because it documents the emergence of an American cultural practice—the wilderness camp—that would become a significant social phenomenon. The journey to camp, rather than camp life, is the subject, emphasizing the anticipation and transition that define the camping experience. For contemporary audiences immersed in outdoor recreation culture, Johnson's painting provides an origin document for practices that now seem natural and inevitable.