oil on canvas
Unframed: 48 1/2 × 78 1/2 in. (123.19 × 199.39 cm)
Framed: 64 3/8 × 94 3/8 × 5 1/4 in. (163.51 × 239.71 × 13.34 cm)
 A leading figure of the Hudson River school, George Inness is best known for serene landscapes that resonate with the ideal of America as the New Eden. Evening captures two men, one piling wood and another driving his livestock home, after a long day’s work. The harmonious copper tones of sunset lend the activities a certain quietude, recalling the effects of French Barbizon painters. The painting likely invokes the artist’s spiritual beliefs. In 1863, at the height of the American Civil War, Inness moved his studio from a farm in Massachusetts to a religious utopian community in New Jersey. The group’s Swedenborgian conviction that the divine presence resided in all material things became a guiding inspiration for the remainder of his career.
At lower right: George Inness 1863
James W. and Frances Gibson McGlothlin Collection
Quick 333; Ireland 431.
"American Art from the McGlothlin Collection" Virginia Museum of Fine Arts (1 May - 18 July 2010).

Executive Mansion, Albany, New York (1983-1992).

Memorial Society of Liberal Arts, Omaha, NE (n.d.).

Terra Haute, Indiana (September-November, 1948).

"Centennial Art Gallery," Utah State Fairgrounds, Salt Lake City, UT (1947).

Akron Art Institute, Akron, OH (1930).

"Collection of Paintings and Sculpture in the West Galleries and teh Grand Hall," Metropolitan Museum of Art, New York (November, 1887-November, 1888).

"Loan Collection of Paintings and Sculpture," Metropolitan Museum of Art, New York (May-October, 1887).
Rawles, Susan J. and Christopher C. Oliver. "The James W. and Frances Gibson McGlothlin Collection of American Art: A Promise Fulfilled", (Richmond: Virginia Museum of Fine Arts, 2015): p. 8-9.

Yount, Sylvia. Private Passion, Public Promise, The James W. and Frances G. McGlothlin Collection of American Art (Richmond: Virginia Museum of Fine Arts, 2010): ill. p. 14.

Quick, Michael. George Inness, A Catalogue Raisonne, Vol 1 (New Brunswick: Rutgers University Press, 2007): no. 333, pp. 297-98.

Cikovsky, Nicolai. George Inness (New York: Praeger, 1971) p. 29, ill. p. 37.

Ireland, Leroy. The Works of George Inness: An Illustrated Catalogue Raisonne (Austin: University of Texas Press, 1965): no. 431, pp. 106-07.

Centennial Exposition: One Hundred Years of American Painting from the Collections of the Metropolitan Museum of Art and the Whitney Museum of American Art (Washington: American Federation of the Arts, 1947): no. 13, p. 8, repro. on cover.

"A One-Picture Exhibition," Bulletin (Akron Art Institute) 2 (December, 1930): n.v.

Burroughs, Bryson. The Metropolitan Museum of Art: Catalogue of Paintings, 3rd ed. (New York: The Metropolitan Museum of Art, 1917): p. 140.

Hand-Book, No. 1: Modern Paintings int eh Wester Galleries (New York: Metropolitan Museum of Art, 1894) no. 241, p. 29.

Hand-Book No. 1: The Catharine Lorrillard Wolfe Collection and Other Modern Painting (New York: Metropolitan Museum of Art, 1894) no. 241, p. 29.

Hand-Book No. 1, Part II, Pictures by Modern Masters (New York: Metropolitan Museum of Art, 1891) no. 92.

"Gifts to Art; Acquisitions of the Metropolitan Museum," New York Commercial Advertiser (May 3, 1887): 4.

"The Metropolitan Museum," The Evening Post (New York) (May 2, 1887): cover.

"More Pictures for the Museum," New-York Daily Tribune (April 20, 1887): p. 5.

"Fine Arts: The Maynard Collection of Paintings," New York Herald (December 4, 1880) p.4.

Some object records are not complete and do not reflect VMFA's full and current knowledge. VMFA makes routine updates as records are reviewed and enhanced.