The Acadians in the Achafalaya, "Evangeline"
Joseph Rusling Meeker
American Art
On View: American Art Galleries, 5th Floor, Radical Care
In the years immediately before the Civil War, Northerners associated dense, steamy swamps with the moral decay of Southern society and the plight of runaway slaves. Here, Joseph Rusling Meeker conveyed the more Eden-like, post–Civil War vision of the swamps. He took his inspiration from Henry Wadsworth Longfellow’s earlier epic poem Evangeline, A Tale of Acadie (1847). Longfellow tells of young Evangeline, one of the French Acadians expelled from Canada by the British in 1755, who searches for her lost lover amid a “dreamlike” and “strange” landscape. Adhering to Longfellow’s descriptions, Meeker evoked the lush flora of Louisiana’s Bayou Plaquemine, where Acadians sought refuge.
MEDIUM
Oil on canvas
DATES
1871
DIMENSIONS
31 5/8 x 42 1/16 in. (80.3 x 106.8 cm)
frame: 40 x 50 x 3 3/4 in. (101.6 x 127 x 9.5 cm)
(show scale)
SIGNATURE
Signed lower right: "JR Meeker, 1871"
INSCRIPTIONS
Inscribed verso under lining canvas: "The Acadians in the Achafalaya,/ "Evangeline"/ RM [in monogram] 1871."
ACCESSION NUMBER
50.118
CREDIT LINE
A. Augustus Healy Fund
PROVENANCE
Prior provenance not yet documented; by 1897, possibly acquired by Thomas E. Tutt of St. Louis, MO; by 1947, acquired by Victor D. Spark, New York, NY; February 24, 1947, purchased from Victor D. Spark by M. Knoedler & Co., New York; October 20, 1950, purchased from M. Knoedler & Co. by the Brooklyn Museum.
Provenance FAQ
CAPTION
Joseph Rusling Meeker (American, 1827–1887). The Acadians in the Achafalaya, "Evangeline," 1871. Oil on canvas, 31 5/8 x 42 1/16 in. (80.3 x 106.8 cm). Brooklyn Museum, A. Augustus Healy Fund, 50.118 (Photo: Brooklyn Museum, 50.118_PS22.jpg)
IMAGE
overall, 50.118_PS22.jpg. Brooklyn Museum photograph, 2024
"CUR" at the beginning of an image file name means that the image was created by a curatorial staff member. These study images may be digital point-and-shoot photographs, when we don\'t yet have high-quality studio photography, or they may be scans of older negatives, slides, or photographic prints, providing historical documentation of the object.
RIGHTS STATEMENT
No known copyright restrictions
This work may be in the public domain in the United States. Works created by United States and non-United States nationals published prior to 1923 are in the public domain, subject to the terms of any applicable treaty or agreement.
You may download and use Brooklyn Museum images of this work. Please include caption information from this page and credit the Brooklyn Museum. If you need a high resolution file, please fill out our online
application form (charges apply).
The Museum does not warrant that the use of this work will not infringe on the rights of third parties, such as artists or artists' heirs holding the rights to the work. It is your responsibility to determine and satisfy copyright or other use restrictions before copying, transmitting, or making other use of protected items beyond that allowed by "fair use," as such term is understood under the United States Copyright Act.
The Brooklyn Museum makes no representations or warranties with respect to the application or terms of any international agreement governing copyright protection in the United States for works created by foreign nationals.
For further information about copyright, we recommend resources at the
United States Library of Congress,
Cornell University,
Copyright and Cultural Institutions: Guidelines for U.S. Libraries, Archives, and Museums, and
Copyright Watch.
For more information about the Museum's rights project, including how rights types are assigned, please see our
blog posts on copyright.
If you have any information regarding this work and rights to it, please contact
copyright@brooklynmuseum.org.
RECORD COMPLETENESS
Not every record you will find here is complete. More information is available for some works than for others, and some entries have been updated more recently. Records are frequently reviewed and revised, and
we welcome any additional information you might have.
How did the depiction of the swamp bayou as peaceful, beautiful, and as a place of refuge act as a political commentary in this piece?
The best way to answer that is probably to look at the perspective of the artist himself. Meeker was born and raised in New Jersey, but was deployed in a Navy Gunboat in Louisiana Swamp country during the Civil War. So his viewpoint was that of a Union soldier captivated by the natural beauty of the region.
By applying a traditional, Hudson River School style approach to the landscape, he focused on the light and nature before him. This created a swamp viewed more with awe than fear. It's not so political as it is a different perspective on a region many saw as sinister and foreboding at that time. Though you are right in that many Hudson River artists saw the natural world/frontier as a refuge from the complications and corruptions of the civilized world. The movements founder, Thomas Cole, was very much against Jacksonian Democracy, Manifest Destiny, and threats to develop America's untamed wild side.
Wow! Thank you so much for that answer. I see now that the piece is more about the landscape than the societal structure surrounding it.