Father Figure

               When creating a work of art, artists often insert hints or allusions to that which is 

cherished or important to them. Other times, the very centerpiece of their painting is 

what they consider meaningful or significant in life, whether the viewer knows it or not. 

One such significant part of life and a subject that painters have used is that of the 

father figure. The Bible lays out guidelines for fathers and how their relationships should 

look with their families. Ephesians 6:4 says, “ Fathers, do not provoke your children to 

anger, but bring them up in the discipline and instruction of the Lord.” Though sin 

darkens hearts, including those of fathers, fathers still hold responsibilities and duties as 

the heads of their families. Therefore, a study of paintings of fathers may shed insight 

into how different painters viewed their fathers and how well they thought their fathers 

followed such guidelines.  

               It may be argued, then, that painters have a difficult time painting father figures 

objectively, or from an unbiased standpoint; how could one paint a father without 

thinking of his own father in the process?  

When looking at such paintings, then, what qualities stand out most prominently? 

What is the father in the painting doing? How is he interacting with others? What facets 

of his character are visible, if any?  

               Paintings of personal subject matter may allow viewers rare opportunities to see 

painters personal feelings and dispositions. What can be seen or interpreted in such 

paintings? What does the painter allow the viewer to see concerning himself and his 

own sentiments? 

Eastman Johnson,  Christmas­ Time, The Blodgett Family, 1864 

Oil on Canvas, 1983.486.  

In this family scene, the father stands silently to the side, looking down fondly on 

his family. Though neither parent is the center or focal point of the painting, both hold 

supporting positions, visibly expressing their care and love for their children. The father 

overshadows his family, a symbol of protection and wisdom as his children play freely, 

carefree and worrying about nothing. He provides safety, though he is standing watch 

silently in the background.  

Jacques d'Arthois,  Family Group in a Landscape, ca. 1645 

Oil on Canvas, 30.95.241.

Though several centuries older than Johnson’s  Christmas ­Time, this 

family scene also portrays clear traits of its father­ figure. The father is seen at the bend 

in a road with his family, pointing to some far off object or scene which the viewer is 

unable to see. He is the focal point, acting as the stability and strength of his family. He 

is the one leading and offering direction and guidance as they travel the path together.   

Franz Ludwig Catel,  First Steps, ca. 1820­-1825 

Oil on Canvas, 2003.42.9. 

In this powerful and moving scene, a father reaches out, ready to catch his 

small child as the child just learns to walk. With the sun rising in the background and the 

child taking her first steps, this painting celebrates new life. The father, humbly on his 

knees, directly stands for strength and support, ready to catch his girl should she fall. 

He forgets all else, offering himself for the protection of those he loves.  

Henry Mosler,  Just Moved, 1870 

Oil on Canvas, 62.80.

In a more jovial scene, a family sits around a table to eat lunch, after 

having just moved in. The father sits atop the table, smiling down on his wife and child. 

He is relaxed and carefree, loving and serving them amid a muddled house of chaos. In 

his eyes, little else matters, particularly that which might worry others. All that matters is 

what he loves, and what he loves is his family.

Thomas Eakins,  The Chess Players, 1876 

Oil on Wood, 81.14. 

At this point in the exhibit, the focus shifts from the family to a scene of 

close friends, one of which is the painter’s father. Though the father, the middle figure, is 

not directly involved in the game being played by the other two, he still is present, 

though in the background. He looks down from above and behind, silently watching as 

the game unfolds before him. He is the support, though he is not actively involved in the 

action. 

Thomas Eakins,  The Writing Master, 1882 

Oil on Canvas, 17.173.

As the end of the exhibit, this painting could be looked at as an extension 

of  The Chess Players  . It also is by Thomas Eakins and also portrays his father, though 

in a different setting. In this scene, his father is patiently and diligently at work as a 

calligraphist, a master penman. There is little to distract the viewer from the father and 

his work, and therefore from the traits that the father displays. He is quiet wisdom, 

patience, perseverance. He may exemplify that which the artist himself admires and 

desires to imitate, those traits that he wishes to learn from his father.