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57-906: Dehn is a surname. Notable people with this surname include: Adolf Dehn (1895–1968), American lithographer Angelina Dehn (born 1995), aka Ängie, Swedish singer Günther Dehn (1882–1970), German theologian Lili Dehn (1888–1963), Russian writer Max Dehn (1878–1952), German-American mathematician Megan Dehn (born 1974), now Megan Anderson, Australian netballer Mura Dehn (1905–1987), American filmmaker Olive Dehn (1914–2007), English children's writer and poet Paul Dehn (1912–1976), British screenwriter Raymond Dehn (born 1957), American politician Siegfried Dehn (1777–1858), German musicologist Virginia Dehn (1922–2005), American painter Werner Dehn (1889–1960), German rower See also [ edit ] Dehne Dehns [REDACTED] Surname list This page lists people with

114-584: A Guggenheim Fellowship in 1939, which allowed him to travel to the western United States and Mexico. In the early 40s, he worked as an instructor of etching and lithography at the Colorado Springs Fine Arts Center and received a citation from the U.S. treasury department for "Distinguished Service Rendered in Behalf of War Savings Program." Dehn started executing watercolors in late 1936, admitting he had "been afraid of color" in

171-590: A "homely poetry with a modern sensitiveness." Watercolor painting and casein painting represented signature second and third arms of Dehn's artistic output for the rest of his career. In 1944, Dehn met Virginia Engleman , who was working in the Associated American Artists printshop. The couple married in 1947 and enjoyed an artistic collaboration for the rest of his life. In the 1940s, Dehn began to sell more lithographs and to teach other American artists lithography techniques. In 1947 he joined

228-604: A class of people, a race, or residents of a geographic region. She was also more modernist in her approach and her work showed influences of the French avant-garde not present in theirs. Ruellan signed with the American Artists Group soon after the company's founding in 1936. She contributed works to their catalog in the category called "fine art reproductions of museum artists." Both in Paris and New York she made

285-666: A close friend of Wanda Gág . She was Dehn's first love and the two were "practically inseparable for the next five years... " (1916–1921). In 1917 he and Gág were two of only a dozen students in the country to earn a scholarship to the Art Students League of New York . He was drafted to serve in World War I in 1918, but declared himself a conscientious objector and spent four months in a guardhouse detention camp in Spartanburg, SC and then worked for eight months as

342-408: A distinct style of illustration and painting. His drawings of this period exhibit freedom in line and form along with social satire. Dehn's landscapes suggest the grandeur of nature, and a signature element in them for which Dehn was praised was the magnificence of his clouds. Many of Dehn's prints are made using tusche , a liquid lithographic medium which allows for fluid effects. He has been called

399-504: A group of expatriate intellectuals and artists, including Andrée Ruellan , Gertrude Stein , and ee cummings . Dehn found living in Europe cheap and was able to embark on artist adventures of what some consider the "glory years" of the 20s. About his time in Europe, he said, "Life in Paris is simply glorious." He supported himself through his time in Europe by providing light-hearted cartoons and scenic European landscapes to editors back in

456-538: A habit of making circus sketches that she later developed into paintings, gouache, and prints to which American Artists Group purchased reproduction rights. A well-known example of this work is a gouache called Pop! Goes the Weasel . She also made seasonal images for cards and colored advertisements. One of the latter promoted the drinking of beer during the traditional Thanksgiving meal. Called Thanksgiving Dinner , it appeared in 1945 accompanied by text naming it "one of

513-555: A month in Charleston because, despite the stock market crash and subsequent depression , Ruellan and Taylor were able to support themselves through art. The Weyhe Gallery in New York had given Ruellan a means of selling her work and Taylor took temporary jobs as art teacher at several universities. By the mid-1930s, they had enough money to permit some travel and selected Charleston as their destination in hope that it would produce

570-473: A newspaper, or sketching from the window of a car with the sketchbook in her lap. In doing this, she insured a high degree of spontaneity in her work, but on this occasion the formality of the composition tempers the immediacy that her work usually shows. She made the sketch while on a trip to Charleston, South Carolina , a place that, she said, was like a "whole new world" compared to New York and Paris where she had spent her youth. She had been able to spend

627-815: A painter is direct and simple and words are necessary to a greater understanding or enjoyment of them." Selected museum and other institutional collections holding Adolf Dehn paintings and/or prints as part of their permanent collections include the following. Adolf Dehn exhibitions, 1915–2021: Andr%C3%A9e Ruellan Andrée Ruellan (April 6, 1905 – July 15, 2006) was an American artist whose realist work has modernist overtones and commonly depicts everyday scenes in American South and New York City . Born in Manhattan of French descent, she spent her youth there and in Paris and eventually made her home near

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684-713: A painting teacher at an arm rehabilitation hospital in Asheville, NC. Later, Dehn returned to the Art Students League for another year of study and created his first lithograph, The Harvest . In 1921 Dehn's lithographs were featured in his first exhibition at Weyhe Gallery in New York City. From 1920 to 1921 in Manhattan, he was connected to New York's politically left-leaning activists. In 1921, he went to Europe. In Paris and Vienna he belonged to

741-402: A patient endurance. The composition gives contrasts of diagonal—from left foot to cap—and vertical—the right leg and left arm, the whole showing both the pull of gravity and the energy of forward motion. In work such as this, Ruellan was seen to present social criticism with artistic frankness and little covering up of social facts, but also with empathy and awareness of the value of each person as

798-454: A scholarship to study at the Art Students League with the painter, Maurice Sterne , and sculptor, Leo Lentelli . Two years later she followed Sterne to Rome on another art scholarship, and over the next five years she and her mother remained in Paris where she continued to work and study. During that time she obtained her first solo exhibition at the Sacre du Printemps Gallerie , and in 1928 she

855-417: A series of typical American scenes painted by America's foremost artists." During World War II and the post-war years, Ruellan's style evolved to become darker and her work began to convey greater tension than before and to show surrealistic tendencies. She appears to have been disillusioned by the devastation suffered by Europeans during and after the war, by the discrimination suffered by her close friend,

912-420: A specific individual and not simply a generic "type". One of her best-known works, Crap Game of 1936, is more stylized than other compositions of the same period. As the title suggests, it shows a group of men playing craps . The industrial structures in the background provide what amounts to a stage on which the actions of the game take place. Ruellan normally worked surreptitiously, hiding her sketchbook in

969-480: A sugar lift aquatint print. The composition of the print resembles that of her drawing, Coal Delivery . In both works the figures are moving from left to right, glancing downward and in both one sees the same diagonal and vertical lines of force. However, in tone the two works are distinctly different from one another. In Coal Delivery the viewer is led to share the artist's empathy with her subject while in Masques

1026-415: A technical sense and also have emotional content. In an interview conducted in 1943, she said, "People are never just spots of color. What moves me most is that in spite of poverty and the constant struggle for existence, so much kindness and sturdy courage remain. Naturally I want to paint well-designed pictures—but I also wish to convey these warmer human emotions." In 1941–42, Ruellan made two murals for

1083-513: A useful tool in merging representational fragments into an overall abstract approach. Seed Dates of 1960 (15 x 24 inches) is an example of her sumi work. It shows a stalk of dates lying on an undifferentiated flat surface. Her most abstract work came after a stay in Florida during the early 1960s. An untitled colored monotype from that period, which is informally called "Boulders", while clearly revealing its subject, nonetheless shows sympathy

1140-463: A warmth in them is similar to Edward Hopper's or Howard Cook's . See, for example, her undated drawing, Coal Delivery , which appears to come from this period. Drawn with ink and wash on paper, it shows an African-American man carrying a heavy bag of coal on his back. He is leaning forward as he places his right foot down and begins to raise the left one. He holds the coal bag with his right hand and leaves his left arm hanging free. The sketch suggests

1197-416: Is a city, there is no urban bustle and the painting has an almost pastoral appeal. The few figures shown are unhurried. The viewer sees what is clearly a real place at a specific moment of time, but is also aware of an emotionally evocative content: warehouses that are shut up, a man slumped in a doorway. Those who are not burdened by the necessity of manual labor (children, a white man with a cane, loiterers on

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1254-659: Is a distinction between those who perform manual labor, shown at right, and those who do not, including a man in military uniform. A third painting from the trip to Savannah, The Wind-Up , was shown at the Whitney Museum in 1941 and purchased by the Phillips Collection later that year. Showing a sandlot ball game near a gas storage tank and some low-income housing, it depicts players and spectators enjoying weekend downtime. The painting fulfills Ruellan's intention to make works that are both well executed in

1311-634: Is different from Wikidata All set index articles Adolf Dehn Dehn was born in 1895 in Waterville, Minnesota . He began creating artwork at the age of six, and by the time of his death had created nearly 650 images. After graduating as valedictorian from Waterville High School in 1914, he went to the Minneapolis School of Art (known today as the Minneapolis College of Art and Design), where he met and became

1368-510: Is one of her best-known works of this period. It shows four children wearing carnival masks and costumes. Their pose suggests an attempt to mimic decadent adult behavior that is associated with Mardi Gras. Behind them, four uncostumed children peer through a grating on the top of a wall and another is seen through a metal-wire barrier. Of the four costumed children, one pair are dancing together. The two appear again in Ruellan's Masques of 1951,

1425-485: Is the flower garden with cozy homestead in the background. Next appears the woman standing with her two children on a strip of grass before a large conifer. The man with his mules, standing on turned earth, drinks a glass of milk or water. At right is a hillside orchard and a stand of trees with two turkeys in the foreground. Ruellan made sketches for the painting in Lawrenceville but it is clear that she did not make

1482-571: The Kraushaar Galleries where she continued for the rest of her life. Her reason for leaving the Walker Galleries had to do with an unwanted association. That gallery was known for showing the work of the leading American Scene painters Although there were similarities in subject matter, Ruellan did not see herself as a genre painter of this type. She insisted that her subjects be actual people not just representatives of

1539-715: The Section of Painting and Sculpture of the U.S. Treasury Department, one entitled A Country Saw Mill for the post office in Emporia, Virginia , and the other, called Spring in Georgia , for the post office in Lawrenceville, Georgia . Created during the early stages of the U.S. participation in World War II , they conformed, broadly, to the we-can-do-it attitude fostered by the government and widely accepted within

1596-651: The Society of American Graphic Artists , exhibiting his lithograph, Lake in Central Park , in the 32nd Annual Exhibition for $ 5.00. Dehn published his first book, titled Water Color Painting , in 1945. As he became more widely recognized and financially successful, he was able to travel extensively. As well as visiting and painting Key West and the southwestern region of the United States, he went to Venezuela , Cuba , Haiti , Afghanistan and other areas of

1653-438: The surname Dehn . If an internal link intending to refer to a specific person led you to this page, you may wish to change that link by adding the person's given name (s) to the link. Retrieved from " https://en.wikipedia.org/w/index.php?title=Dehn&oldid=1075886564 " Categories : Surnames Surnames from given names Hidden categories: Articles with short description Short description

1710-550: The "Debussy of American lithography" and "Dean of American lithography" by printmaking experts Clinton Adams and Philadelphia Museum of Art's Prints and Drawings curator, Carl Zigrosser . With his art Dehn introduced new techniques that had never before been used in lithography, and was praised as one of the world's leading printmakers. In an artist statement he wrote for an exhibit at St. Olaf College in Minnesota, Dehn said, "My paintings are my statement. What I have to offer as

1767-571: The 1930s, his work began to appear in magazines such as The New Yorker and Vogue . During his period as a lithographer, his striking images of New York, including Central Park , captured the essence of the Roaring 20s and the 1930s Depression. Beginning in 1930, Dehn made numerous trips back to his home in Minnesota, where he could live cheaply, and he executed a significant number of drawings and lithographs based on Midwest scenes. He also summered on Martha's Vineyard from 1933 to 1936, often in

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1824-693: The Atelier Desjobert. Dehn died in New York City on May 19, 1968, after suffering a heart attack. He is remembered as a prolific artist of great range. His works are held in over 100 museums (including the National Gallery of Art , National Portrait Gallery , Metropolitan Museum , Museum of Modern Art , and Whitney Museum of American Art ); over 25 museums hold extensive collections of his output. Many prominent galleries represented Dehn as his fame grew, and posthumously, among them Harmon-Meek Gallery and Thomas French Fine Art. Dehn had

1881-624: The Japanese-American artist Yasuo Kuniyoshi , and by her reaction to the extravagant Mardi Gras celebrations that she experienced in New Orleans for the first time in 1948. Ruellan's paintings from this period often contain children in Mardi Gras costumes and masks. They might seem to be playful, but there are disturbing elements in their too-adult attitudes and the segregation of onlookers. Children's Mardi Gras of 1949

1938-564: The U.S. A number of the caricatures he drew depicting the Roaring 20s , burlesque, opera houses, and the café scene appeared in such magazines as Vanity Fair . Dehn himself felt that his caricatures and cartoons were different from others because his motives were "never really political" but more focused on social commentary. The fame that Dehn achieved during his time in Europe, his illustrations appearing in many leftist publications such as The Liberator , The New Masses , and The Dial ,

1995-489: The art of the Abstract Expressionists and is both brighter and freer than her work in the post-war period. In these paintings the panels of color are elements of design as much as objects in nature. Ruellan's father, André (also known as Andrew), worked in the aviation industry as a pilot and mechanic. He had hoped to become a sculptor, but found he could not support his family by that means. Her mother

2052-576: The artist colony in Woodstock, New York . Her paintings, prints, watercolors, and drawings are known for their depiction of ordinary people at work and play. They are held by many American museums and private collectors. Ruellan was born in a brownstone near Washington Square Park in 1905 and was the only child of a couple who had immigrated from France a few years earlier. Her parents encouraged an early talent she showed for making realistic and fanciful drawings. Ardent socialists , they believed

2109-585: The artists' colony at Woodstock and she continued to produce art well into her eighties. At 95 years old Andree was quoted as saying, "If you have talent, don't neglect it. One of my great life joys was marrying an artist who was my equal. It made my life so much richer than those of most of my friends." She died July 15, 2006, at the age of 101 at an extended care facility in Kingston, New York. Ruellan's work has been widely collected in American museums. This

2166-431: The company of Thomas Hart Benton , Jackson Pollock , Georges Schreiber, and others in the vicinity of Gay Head and Menemsha , and joined by his girlfriend at the time, Eileen Lake. In the early 1930s, Dehn established The Adolf Dehn Print Club and became a founding member of the Associated American Artists . Prints magazine selected Dehn as one of the 10 best printmakers in the United States in 1936. Dehn earned

2223-421: The country. A Country Saw Mill shows a small steam-driven mill. At right, a worker moves logs into position for sawing while a man with a notebook supervises. At center, men can be seen observing the sawing within the mill and finished lumber is stacked. At far left a man drives a team of horses pulling more logs from the forest that can be seen in the distance. The seven workers in view are African-American while

2280-516: The death of her father, she and her mother remained together for the rest of their lives. During the 1920s, they resided together in Paris. In 1929, Ruellan met, and three months later, married John W. Taylor. Returning to the United States, the three lived together in a farmhouse Taylor had purchased in Shady, New York . They resided there until their deaths. Ruellan and Taylor had determined to support themselves via their art and Lucette agreed to take on

2337-417: The dock) contrast with one who is, an African-American pushing a handcart of lumber up the ramp. A second painting from the trip to Savannah, Savannah Landscape, The City Market , is similar to the harbor view. The light is warm and bright and the colors are warm and muted. The tone is placid and there's a suggestion of timeless continuity, yet the scene is clearly a specific moment in time. Once again, there

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2394-573: The finished product in oil on canvas. She worked on more than one painting at a time, moving on when she felt she was losing a sense of freshness in her work. When working in oils she thought out composition, balance, movement, and the tension of colors and patterns while retaining as much as possible the informality that was present in the original drawing. In 1941, Ruellan traveled to Savannah with her husband and her mother in order to spend several weeks observing and sketching. The painting she called Savannah dates from this period. Although Savannah

2451-568: The first decades of his career. He rose to the top tier of American watercolorists in short order, seen in a feature article on his landscape watercolors in Life magazine (August, 1941) and a traveling show organized by the Museum of Modern Art , "Four American Water Colorists" (1943–44) in which eleven Dehn watercolors were joined with the works of Winslow Homer , John Singer Sargent , and Charles Burchfield . Dehn's watercolors were described to have

2508-632: The head of a workman. That same year Ruellan's artwork came to the attention of the Ashcan School painter Robert Henri . He arranged to include some of her watercolors and drawings in a show at St. Mark's Church in-the-Bowery where he and George Bellows also showed. Over the next few years, Ruellan suffered setbacks, first when she was injured in a fire and later when her father died in an accident at work and, while still in her teens, she began selling paintings, watercolors, and drawings to help support herself and her mother. In 1920 she won

2565-554: The inhabitants of Montparnasse . In 1929 Dehn returned to New York City with his wife. In New York, he began to focus his art on depicting scenes of Manhattan, showcasing the skyline and views of the city from the Staten Island Ferry . As the Great Depression had taken hold of the country, Dehn and his wife were desperately poor, and their financial difficulties contributed to their ultimate divorce. In

2622-595: The management of their household so as to give them more time for their work. She also accompanied them on their travels. John Taylor was also known as Jack Taylor, John Williams Taylor, and John W. Taylor. He was born in Baltimore, Maryland , in 1897, and died in Shady, New York, in 1983. Ruellan provided income through sale of artworks and Taylor did the same while also taking temporary jobs teaching college-level art courses. Ruellan and Taylor were active participants within

2679-461: The painting from a single drawing but rather constructed it, frieze-like, out of a number of scenes she viewed. The composite nature of the composition draws attention to the painting's symbolic import. Of this symbolism, one critic said "the whole has the patchwork quality of abiding memories and not the spontaneity and vitality of an actual scene." Ruellan was represented by Maynard Walker Galleries, New York, from 1936 until 1941 when she switched to

2736-435: The sort of down-to-earth subjects that they sought. The choice proved to be a good one as one of the paintings which resulted from that visit— Market Place —was the first of hers to be collected by a major museum. The Metropolitan Museum purchased it in 1940. During these years, Ruellan said her practice was to prepare a sketch in the field, develop the sketch into an intermediate form, usually gouache on paper, then create

2793-481: The time, including Josephine Baker , Kurt Weill , and Leo Stein . It was in Paris that Dehn met his first wife, Mura Ziperovitch ( Mura Dehn ), a dancer who had left revolutionary Russia . Upon his return to the U.S. the Chicago Tribune ' s Paris edition published a farewell to Dehn, stating, "We are sorry to see that Adolf Dehn is going back to America," marking the impression his presence made among

2850-472: The two supervisors are white. Ruellan prepared sketches on-site, as was her usual practice, and painted the mural in her studio retaining much of the freshness of the scene she had drawn. Spring in Georgia shows ordinary people in a rural setting: a woman and a girl tilling a flower garden, a mother with a young boy and infant, and a man with a team of mules. The painting conveys a sense of purpose and resourcefulness. It has four roughly equal segments. At left

2907-442: The viewer senses the discordance of the scene. In the latter, there is no youthful exuberance, nothing like the quiet resilience and sturdy courage conveyed by the former. In the mid-1950s, Ruellan's work began to brighten again. She did not return to the social realism of the 1930s, but, following a trip to France, her art became increasingly abstract. At about that time she began to do sumi ink wash painting which proved to be

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2964-588: The visual arts could help redress the dismissive attitude with which many Americans viewed people who were both less advantaged than themselves and, as they saw it, unpleasantly alien. When she was about eight, they arranged for an amateur artist, Ben Liber, to give her informal instruction and a year later her first published work appeared in the April issue of a socialist monthly, The Masses along with an editorial on religious hypocrisy by Max Eastman . Her drawing, called April , showed an angel scattering flowers above

3021-540: The world. The wide range of subject matter found in his prints, drawings, and paintings reflects his travels. He was awarded a second Guggenheim Fellowship in 1951. In 1961, Dehn was elected as a full academician to the National Academy of Design , and in 1965 he was elected as a member of the National Institute of Arts and Letters . He visited Paris for the last time in 1967, where he worked at

3078-452: Was Lucette Lambert (also called Louise). Both parents were born and raised in France. In about 1900, their socialist politics and pacifist beliefs led them to migrate to New York so that André would not be drafted into the French army. Ruellan was born in a brownstone building in New York's Greenwich Village on April 6, 1905. She was an only child. French was the language spoken at home and thus

3135-515: Was given her second one-woman show at the Weyhe Gallery in New York. While in Paris, she met and fell in love with the American artist John Taylor. With Ruellan's mother, the pair returned to the United States in 1929 and settled in Shady , a village near Woodstock , New York. In the 1930s, Ruellan developed a style that was social-realist with modernist and abstract elements. Her sympathy for her subjects and her ability to convey

3192-441: Was her first language. In 1952, Ruellan was described as a petite brunette. When Ruellan was about 12 she was injured in a fire and shortly thereafter the family moved from Manhattan to Mineola , Long Island. A few years later, in 1920, André died in an airfield accident. Ruellan and her mother returned to Manhattan and Ruellan obtained scholarship aid to develop her skills so as to help support herself and her mother. Following

3249-424: Was noted by hometown paper The Minneapolis Journal in 1925. The publication described Dehn as "being born with a pitchfork in his mouth" while commenting on the worldly nature of his drawings. His favorite medium was lithography, and he alternated between spoofing high society and creating beautiful landscapes. Throughout his time in Europe, Dehn was in contact with many other notable intellectuals and artists of

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