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Edward Dufner"Sunlight and Shade, " Edward Dufner, Lady with a Hat, American Impressionismcirca 1920
circa 1920
About the Item
Edward Dufner (1872 - 1957)
Sunlight and Shade, circa 1920
Oil on artist board
9 1/2 x 7 1/2 inches
Signed upper right
With a long-time career as an art teacher and painter of both 'light' and 'dark', Edward Dufner was one of the first students of the Buffalo Fine Arts Academy to earn an Albright Scholarship to study painting in New York. In Buffalo, he had exchanged odd job work for drawing lessons from architect Charles Sumner. He also earned money as an illustrator of a German-language newspaper, and in 1890 took lessons from George Bridgman at the Buffalo Fine Arts Academy.
In 1893, using his scholarship, Dufner moved to Manhattan and enrolled at the Art Students League where he studied with Henry Siddons Mowbray, figure painter and muralist. He also did illustration work for Life, Harper's and Scribner's magazines.
Five years later, in 1898, Dufner went to Paris where he studied at the Academy Julian with Jean-Paul Laurens and privately with James McNeill Whistler. Verification of this relationship, which has been debated by art scholars, comes from researcher Nancy Turk who located at the Smithsonian Institution two 1927 interviews given by Dufner. Turk wrote that Dufner "talks in detail about Whistler, about how he prepared his canvasas and about numerous pieces he painted. . . A great read, the interview puts to bed" the ongoing confusion about whether or not he studied with Whistler.
During his time in France, Dufner summered in the south at Le Pouleu with artists Richard Emil Miller and Frederick Frieseke, and also toured Normandy.
Dufner returned to the United States in 1903 and settled first in Buffalo, where he became a popular teacher at the Art Students League. Of his painting at that time, it was written that "Dufner achieved a considerable reputation in Buffalo with paintings of a dark, monochromatic character that clearly demonstrate his affiliation with Whistler." (Lublin).
In 1907, Dufner moved to Caldwell, New Jersey to be near New York City, where he taught at the Art Students League and again proved to be a popular instructor. However, his painting style began to change drastically from dark to light as he, teaching League summer school at Caldwell, increasingly was influenced by painting outdoors, "en plein aire". In fact, his style change was so pronounced that he became known as "The Painter of Sunshine". (Gerdts 233). Dufner later attributed this change to his seeing an exhibition of painting by Willard Metcalf.
After leaving the Art Students League in 1917, he did teaching at the Carnegie Institute in Pittsburgh and Cooper Union in New York.
Throughout his career, Edward Dufner had been a contributor to exhibitions at the National Academy of Design, beginning in 1904 and ending into the 1940s.
- Creator:Edward Dufner (1872-1957, American)
- Creation Year:circa 1920
- Dimensions:Height: 17.5 in (44.45 cm)Width: 15.5 in (39.37 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU184129924862
Edward Dufner
Edward Dufner was dubbed the, “Painter of Sunshine” by his peers due to his masterful rendering of atmospheric effects. His paintings are highly sought after for their luminous portrayal of sunlight infused in nature and his subjects convey a strongly romantic, almost symbolist sentiment. The painting, Evening Song, ranks among the most important American works of the early 20th century. The arrangement of the composition is derived from the Classical three-part division of the picture plane. The father of Modernism, Poussin, explored these compositional techniques in the 17th century, which Dufner studied thoroughly during his time in Paris. The Post-Impressionist elements are evident in the foreground, where a Divisionist technique is used to create the illusion of light flickering across gently rippling water. Dufner did not approach this style in the mathematical manner of Seurat, but rather studied color theory in order to express it intuitively. In the middle ground and immediate foreground of the piece, he applied a vigorous, agitated brushstroke, juxtaposing primary colors with lavender and pink hues. This method creates the sensation of slowly fading light, as one would observe in the early evening. His stunning ability to convey the exact time of day and atmosphere of the setting is unparalleled by his contemporaries.
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