Artist:
Harvey T. Dunn
(American, 1884 - 1952)
The Ox-Driver, an Old-Time Figure of the West
Medium: Oil on canvas
Date: 1909
Dimensions:
34 7/8 × 26 in. (88.6 × 66 cm)
Accession number: 80.8
Label Copy:
South Dakota-born Harvey Dunn studied at art schools in the upper Midwest and the Art Institute of Chicago before joining Howard Pyle’s school in Wilmington in 1904. Dunn used many of his life experiences on the prairies of South Dakota to inform his art. The Ox Driver was published in black and white as a stand-alone image in the October 1909 issue of The Century Magazine. Painted during the period of his mentorship by Pyle, Dunn's approach to the painting shows a kinship with works by fellow student N. C. Wyeth.
South Dakota-born Harvey Dunn studied at art schools in the upper Midwest and the Art Institute of Chicago before joining Howard Pyle’s school in Wilmington in 1904. Dunn used many of his life experiences on the prairies of South Dakota to inform his art. The Ox Driver was published in black and white as a stand-alone image in the October 1909 issue of The Century Magazine. Painted during the period of his mentorship by Pyle, Dunn's approach to the painting shows a kinship with works by fellow student N. C. Wyeth.
Curatorial RemarksArtist and teacher Howard Pyle told his students of illustration to know their subjects well. This advice is evident in the work of Harvey Dunn, who used many of his life experiences as sources for his art. The prairies of South Dakota exerted a strong influence on Dunn, who was born there in 1884. His talent was recognized by an art teacher in college, and at her suggestion, he continued his studies at the Art Institute of Chicago.
Two years later he left Chicago for Wilmington, Delaware, where he studied with Pyle. Dunn's illustrations were soon found in a variety of popular publications, including "Scribner's", "Harper's Monthly" and the "Saturday Evening Post." During World War I, he served in the military as an artist, recording images of combat in France. After the war, Dunn moved his family to New Jersey, to be closer to New York City. Like Howard Pyle, Dunn was committed to teaching other artists. He taught students in both his studio and at several art schools, including the Art Students League. Dean Cornwell was one of his best-known students.
"The Ox-Driver" appeared in the October 1909 issue of "Century" magazine, reproduced in black and white on page 922. It is unrelated to any story or article in the issue. Dunn's painting shows a kinship with works by fellow student and close friend, N.C. Wyeth. According to surviving letters by N.C. Wyeth, both artists admired each other's work. As former studio mates, they may have occasionally shared models and props such as the plaid jacket in this painting which also appears in several of Wyeth's paintings of the same time.
South Dakota-born Harvey Dunn studied at art schools in the upper Midwest and the Art Institute of Chicago before joining Howard Pyle’s school in Wilmington in 1904. Pyle urged his students of illustration to know their subjects well, and this advice is evident in Dunn’s work. He used many of his life experiences on the prairies of South Dakota to inspire his art.
After two years with Pyle, Dunn set up his own studio and began illustrating for Harper’s New Monthly, Scribner’s and Saturday Evening Post. In 1914, he was one of the founders of the Leonia School of Illustration in New Jersey but left to become one of eight illustrators selected as official artists for the American Expeditionary Forces during WWI. After the war, he taught at the Grand Central School of Art, Pratt Institute, and the Art Students League; Dean Cornwell was one of his best-known students. In later years, Dunn devoted his career to painting scenes of life on the Dakota prairie in a vigorous and painterly style.
The Ox-Driver was published in black and white as a stand-alone image in the October 1909 issue of Century magazine. Painted during the period of his mentorship by Pyle, Dunn's approach to the painting shows kinship with works by fellow student N. C. Wyeth.
Two years later he left Chicago for Wilmington, Delaware, where he studied with Pyle. Dunn's illustrations were soon found in a variety of popular publications, including "Scribner's", "Harper's Monthly" and the "Saturday Evening Post." During World War I, he served in the military as an artist, recording images of combat in France. After the war, Dunn moved his family to New Jersey, to be closer to New York City. Like Howard Pyle, Dunn was committed to teaching other artists. He taught students in both his studio and at several art schools, including the Art Students League. Dean Cornwell was one of his best-known students.
"The Ox-Driver" appeared in the October 1909 issue of "Century" magazine, reproduced in black and white on page 922. It is unrelated to any story or article in the issue. Dunn's painting shows a kinship with works by fellow student and close friend, N.C. Wyeth. According to surviving letters by N.C. Wyeth, both artists admired each other's work. As former studio mates, they may have occasionally shared models and props such as the plaid jacket in this painting which also appears in several of Wyeth's paintings of the same time.
South Dakota-born Harvey Dunn studied at art schools in the upper Midwest and the Art Institute of Chicago before joining Howard Pyle’s school in Wilmington in 1904. Pyle urged his students of illustration to know their subjects well, and this advice is evident in Dunn’s work. He used many of his life experiences on the prairies of South Dakota to inspire his art.
After two years with Pyle, Dunn set up his own studio and began illustrating for Harper’s New Monthly, Scribner’s and Saturday Evening Post. In 1914, he was one of the founders of the Leonia School of Illustration in New Jersey but left to become one of eight illustrators selected as official artists for the American Expeditionary Forces during WWI. After the war, he taught at the Grand Central School of Art, Pratt Institute, and the Art Students League; Dean Cornwell was one of his best-known students. In later years, Dunn devoted his career to painting scenes of life on the Dakota prairie in a vigorous and painterly style.
The Ox-Driver was published in black and white as a stand-alone image in the October 1909 issue of Century magazine. Painted during the period of his mentorship by Pyle, Dunn's approach to the painting shows kinship with works by fellow student N. C. Wyeth.