Central Park Winter (or Snow in Central Park)
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Adolf Arthur DehnCentral Park Winter (or Snow in Central Park)1965
1965
About the Item
- Creator:Adolf Arthur Dehn (1895-1968, American)
- Creation Year:1965
- Dimensions:Height: 14.88 in (37.8 cm)Width: 23.63 in (60.03 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Fairlawn, OH
- Reference Number:Seller: AD01628.11stDibs: LU140933833
Adolf Arthur Dehn
Adolf Dehn, printmaker, watercolorist, and illustrator, was born in Waterville, Minnesota, in 1895. In 1914 he began studying at the Minneapolis School of Art, and in 1917, the year his first published drawing appeared in the progressive magazine, The Masses, he received a scholarship to study at the Art Students League in New York. There he worked with Kenneth Hayes Miller and was introduced to lithography by Boardman Robinson. While in New York, Dehn threw himself into liberal politics. Declaring himself a conscientious objector in 1918, he was forced to spend four months in a Spartanburg, South Carolina, boot camp for refusing to serve in the armed forces and eight months as a volunteer instructor teaching painting and drawing at a hospital for war victims in Asheville, North Carolina. Dehn spent the years 1920 to 1929 in art-related travel in Europe, primarily in Vienna and in Paris, where he made lithographs at the Atelier Desjobert. Throughout this time, Dehn exhibited his work at the Weyhe Gallery in New York and contributed drawings both to magazines abroad and to the radical journal The Masses. Upon his return to New York in 1929, he became a leading figure in printmaking circles, exhibiting his prints to considerable critical acclaim. In 1937, Dehn had worked exclusively in black and white until 1937—halfway through his career—when he began to work in watercolor. During his summer visits to Minnesota, he created a large body of regional watercolors depicting the lakes and farms of his home state. Lithography and watercolor remained his two primary media, and his subjects ranged from social satire to naturalistic landscapes. He authored the treatise, Water Color Painting, in 1945 and two other instructional books on lithography and watercolor in 1950 and 1955. From 1938 to 1939 he taught at Stephens College in Columbia, Missouri, and during the summers of 1940-1942 he taught at the Colorado Springs Fine Arts Center. In 1939 and 1951 Dehn received Guggenheim Fellowships, and 1961 he was elected Full Academician to the National Academy of Design. Dehn exhibited throughout his career, and his works are in the permanent collections of the Metropolitan Museum of Art, the Museum of Modern Art, the Art Institute of Chicago, the Museum of Fine Arts in Boston, and the British Museum, among others. Adolf Dehn died in New York in 1968.
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- Brooklyn WaterfrontBy Adolf Arthur DehnLocated in Fairlawn, OHBrooklyn Waterfront Lithograph, 1931 Signed, titled, and dated in pencil by the artist Edition: Undetermined (very small), plus artist's proofs Printed by Meister Schulz, Berlin Provenance: Estate of the artist Virginia Dehn, the artist's widow Dehn Quests Bibliography: Lumsdaine and O'Sullivan 152 Illustrated: Adams, The Sensuous Life of Adolf Dehn, Fig. 9.14, page 213 (This impression) Adolf Dehn, American Watercolorist and Printmaker, 1895-1968 Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere—not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art. In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic “little magazines” such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art. If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques. Early Years, 1895-1922 For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs. In many ways Dehn’s later artistic achievement was clearly a reaction against the grinding rural poverty of his childhood. After graduating from high school in 1914 at the age of 19—an age not unusual in farming communities at the time, where school attendance was often irregular—Dehn attended the Minneapolis School of Art from 1914 to 1917, whose character followed strongly reflected that of its director, Munich-trained Robert Kohler, an artistic conservative but a social radical. There Dehn joined a group of students who went on to nationally significant careers, including Wanda Gag (later author of best-selling children’s books); John Flanagan (a sculptor notable for his use of direct carving) Harry Gottlieb (a notable social realist and member of the Woodstock Art Colony), Elizabeth Olds (a printmaker and administrator for the WPA), Arnold Blanch (landscape, still-life and figure painter, and member of the Woodstock group), Lucille Lunquist, later Lucille Blanch (also a gifted painter and founder of the Woodstock art colony), and Johan Egilrud (who stayed in Minneapolis and became a journalist and poet). Adolf became particularly close to Wanda Gag (1893-1946), with whom he established an intense but platonic relationship. Two years older than he, Gag was the daughter of a Bohemian artist and decorator, Anton Gag, who had died in 1908. 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