The Lord Is My Shepherd

Eastman Johnson, The Lord Is My Shepherd, 1863, oil on fiberboard, 16 ⁵⁄₈ x 13 ¹⁄₈ in. (42.3 x 33.2 cm.), Smithsonian American Art Museum, Gift of Mrs. Francis P. Garvan, 1979.5.13

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Artwork Details

Title: The Lord Is My Shepherd
Artist: Eastman Johnson
Date: 1863
Location: Smithsonian American Art Museum
/
2nd Floor
/
East Wing
Dimensions: 16 ⁵⁄₈ x 13 ¹⁄₈ in. (42.3 x 33.2 cm.)
Credit Line: Gift of Mrs. Francis P. Garvan
Mediums: oil
Mediums Description: oil on fiberboard
Classifications: Painting
Subjects: Religion — Christianity
Recreation — leisure — reading
African American
Figure male
Object Number: 1979.5.13
Linked Open Data: https://edan.si.edu/saam/id/object/1979.5.13

Artwork Description

Eastman Johnson painted The Lord Is My Shepherd only months after the Emancipation Proclamation of New Year's Day, 1863. The image of a humble black man reading from his Bible was reassuring to white Americans uncertain of what to expect from the freed slaves. But the simple act of reading was itself a political issue. Emancipation meant that blacks must educate themselves in order to be productive, responsible citizens. In the slaveholding South, teaching a black person to read had been a crime; in the North, the issue was not "May they read?" but "They must read."

Exhibition Label, Smithsonian American Art Museum, 2006

Works by this artist (6 items)

View all artworks

The Lord Is My Shepherd

Artist

Eastman Johnson

Date1863

oil on fiberboard

The Girl I Left Behind Me

Artist

Eastman Johnson

Dateca. 1872

oil on canvas

Image Not Available

Bo Peep (The Peep)

Artist

Eastman Johnson

Date1872

oil on board

The Reprimand

Artist

Walter Shirlaw

Copy after Eastman Johnson

Dateca. 1880

etching and chine-colle on paper

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In this podcast, curator Eleanor Jones Harvey discusses 6 featured paintings from The Civil War and American Art exhibition. This episode looks at The Lord Is My Shepherd by Eastman Johnson. The Civil War and American Art examines how America's artists represented the impact of the Civil War and its aftermath. The exhibition follows the conflict from palpable unease on the eve of war, to heady optimism that it would be over with a single battle, to a growing realization that this conflict would not end quickly and a deepening awareness of issues surrounding emancipation and the need for reconciliation. Genre and landscape painting captured the transformative impact of the war, not traditional history painting.

ELEANOR HARVEY: The painting I’m standing here in front of is Eastman Johnson’s “The Lord Is My Shepherd.” He painted it in 1863 the year that Abraham Lincoln’s Emancipation Proclamation went into full effect. It’s a painting that resonates on several levels.

First of all, it’s a young black man who is learning to read using the bible. Harper’s Weekly ran an article that stated, “the alphabet is an abolitionist, if you wish to keep a people enslaved do not teach them to read.” What everyone realized was literacy, the ability to read what was happening to be able to tell your own story, was a vast part of becoming part of the American mainstream. For formerly enslaved black people in this country literacy was often an effort they undertook themselves as part of proving that they were worthy of being considered whole people. This young black man literally takes literacy into his own hands holding, gripping the bible, but Eastman Johnson threw an interesting curve ball into this picture. He titled it the “Lord is My Shepherd” and the Psalms are one of the calm parts of the bible, an affirmation of God’s love but they occur in the middle of the book.

This young man is reading the front of the book. It’s probably Exodus with its powerful message “let my people go.” With the beginning of The Civil War the stories of Exodus the flight from Egypt in Exodus and in Numbers resonated in the black community. One of the earliest songs recorded was called the Song of the Contrabands or the escaped slaves who made it past Union lines and were accepted into the ranks, as cooks, as teamsters, and as laborers, and it’s always seemed to me that in deliberately choosing to have this man read the front of the bible instead of the middle Johnson was making two points.

The first is that once you teach someone to read you cannot control what they read and you have to be ready for reading all of the bible not just the parts that you think will make the most pleasant reading. The second is when we cleaned this picture we discovered that the blanket that he is sitting on on this chair next to the chimney is probably a US Army blanket, raising the question whether this man is contraband, escaped from the South and now learning to read under the coaching of Union soldiers or whether in fact he has requested to become a member of the colored troops, which were allowed into the Union Army in the same year in 1863. Either way the idea of determination, of initiative, the idea of taking your future into your own hands becomes a central part of Eastman Johnson's narrative of the American Civil War.