Who painted Woman with the Basket or Potato Harvester?

Woman with the Basket or Potato Harvester was painted by Willem Arnold Witsen in 1886.

Where can I see Woman with the Basket or Potato Harvester?

Woman with the Basket or Potato Harvester is held by National Gallery of Art.

What movement is Woman with the Basket or Potato Harvester?

Woman with the Basket or Potato Harvester is associated with Impressionism.

Can I buy a print of Woman with the Basket or Potato Harvester?

Museum-quality prints of Woman with the Basket or Potato Harvester are available made-to-order from Artifact World Gallery.

Artwork

Woman with the Basket or Potato Harvester

Willem Arnold Witsen , 1886

Woman with the Basket or Potato Harvester is an ink print by the Impressionist artist Willem Arnold Witsen. It dates from 1886 and is held in the collection of the National Gallery of Art.

Inscription: Inscribed:below image, at left, in black ink, in later hand: W. W. '87
Markings: Marked:none

About this work

Overview

Willem Arnold Witsen’s print, titled Woman with the Basket (also known as Potato Harvester), was produced in 1886 using etching and aquatint on laid paper. The work is part of the collection of the National Gallery of Art in Washington, D.C., and presents a solitary figure engaged in agricultural labor.

Subject & Meaning

The image shows a woman bent over a field, carrying a basket and wearing a dark dress, apron, and white shoes. Her hair is pulled back, and she is viewed from a low angle that emphasizes her activity. A distant church steeple punctuates the horizon, suggesting a rural setting where work and community coexist.

Technique & Style

Witsen combined traditional line etching with aquatint washes, allowing subtle tonal variations that convey the texture of soil, sky, and fabric. The laid paper surface contributes a faint grain that enhances the atmospheric quality, while the low perspective creates depth and a sense of immediacy.

History & Provenance

Created in the late nineteenth century, the print entered the National Gallery of Art’s holdings through acquisition (specific acquisition details are recorded in the museum’s catalogue). It remains an example of Witsen’s interest in everyday labor scenes during this period.