Who painted Stowe, Vermont?

Stowe, Vermont was painted by Aaron Draper Shattuck in 1858.

Where can I see Stowe, Vermont?

Stowe, Vermont is held by National Gallery of Art.

What movement is Stowe, Vermont?

Stowe, Vermont is associated with Impressionism.

Can I buy a print of Stowe, Vermont?

Museum-quality prints of Stowe, Vermont are available made-to-order from Artifact World Gallery.

Artwork

Stowe, Vermont

Aaron Draper Shattuck , 1858

Stowe, Vermont is a graphite drawing by the Impressionist artist Aaron Draper Shattuck. It dates from 1858 and is held in the collection of the National Gallery of Art.

About this work

Overview

Aaron Draper Shattuck’s 1858 drawing titled *Stowe, Vermont* presents a modest New England scene rendered in graphite on wove paper.

Aaron Draper Shattuck’s 1858 drawing titled *Stowe, Vermont* presents a modest New England scene rendered in graphite on wove paper. The composition centers on a stand of five tall trees whose spreading branches dominate the middle ground, while a lightly suggested stream or path traces the lower edge. Distant hills or structures are hinted at through faint outlines, giving the work a sense of depth without detailed finish.

Subject & Meaning

The drawing captures a quiet rural landscape typical of mid‑19th‑century Vermont, emphasizing the natural tranquility of the region. By focusing on trees, grass, and a meandering waterway, Shattuck conveys the simplicity of everyday scenery, inviting viewers to contemplate the unadorned beauty of New England’s countryside.

Technique & Style

Shattuck employed loose, rapid graphite strokes to outline forms, allowing portions of the paper’s yellowish surface to remain exposed as negative space. This approach creates a sketch‑like immediacy, suggesting movement and vitality while avoiding meticulous rendering. The limited tonal range and spontaneous line work align the piece with the realist tendencies of his contemporaries.

History & Provenance

Born in 1832 in Francestown, New Hampshire, Shattuck was linked to the White Mountain School and, through his training with portraitist Alexander Ransom, to the broader Hudson River tradition. Although he contributed to Northern propaganda during the Civil War, his artistic career remained rooted in New England, where he produced works such as this drawing that document the region’s landscape.