American Masterpieces from Dryads Green Gallery
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Artist Name:         Franklin B. DeHaven
Artist Dates:         1856-1934
Painting Title:       Untitled
Painting Date:       Undated
Medium:              Oil on  Canvas
Signature:             Signed Lower Right
Provenance:          Private Collector
Condition:            Good
Size Unframed:    30 x 24
Size Framed:         38 x 32
Frame Condition:  Handcarved Antique
Artist Best Price:   $8,400
Offered At:            SORRY SOLD
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Another Representative View
Elements of Albert's style are
clearly present  in the work we
offer, but we also agree on much
of what Butts says about
DeHaven's earlier work, where he
sees "framed between the dark
browns and grays of the
foreground and the
lavender-mauves of the lowering
sky, the silver-white water layered
with golden ochre reeds and
crossed by the calligraphic
silhouettes of trunks and branches
in a tightly composed evocation of
the Japanese screens that had
been such a pervasive influence on
American painting and decorating
for decades." In our work, the
gold jumps up to the leaves of the
very calligraphic birches
themselves, as the water moves
toward us in a flowing, but slowly
in a graceful dance.
Curator's Comments: DeHaven was born in Bluffton, Indiana, in 1856. Thirty years later
the Hoosier turned up in New York, where he became a pupil of George Henry Smillie. At the
time Smillie had married and was sharing a Bronxville, New York studio with his wife and
brother. Smillie was active at the National Academy of Design, where he became Secretary in
1892, and he helped introduce DeHaven to a number of pre-turn-of-the-century New York artists.
DeHaven was admitted to membership in the NAD, where he went on to  exhibit for nearly fifty
years, and he was the recipient of the Silver Medal at the St. Louis Exposition in 1904. DeHaven
also associated with the Salmagundi painters and joined the loosely allied painters who summered
in Old Lyme and Mystic, Connecticut.

Smillie taught DeHaven classical landscape painting in the Hudson River school model, but with
much added important Barbizon influence. And through Smillie, DeHaven also came to know
Tonalism and its Luminist high point. But we think De Haven clearly advanced beyond Tonalism
in his best works, emphasizing a poetic, romanticized natural scene with a gold, silver and
turquoise palette. As Whittier Montgomery wrote about these significant paintings, "one feels in
all, not merely the man's ability as a draughtsman and technician, but the scope of his
sympathies and the genuine character of his interpretation." The emphasis here falls on
character, meaning DeHaven's ability in his best work to render natural processes, as he does
here with the passage from sky to stream that resonates with the water cycle. DeHaven, known
as Pop to his friends, was also very active in the Allied Artists of America. We believe he came
under the influence of his fellow painter Ernest Albert (1857-1946), who was also deeply involved
in the AAA group. Albert made his money as a scenic designer and also heavily emphasized a
romantic viewpoint using more suffused pastel coloration.
We show Birch Creek and another similarly romanticized work from this period for comparison,
and each proves  how right Butts is when he continues: "The brushwork is impressionistic, as are
the individual touches of orange, olive, lavender, and ochre which enliven the fallen leaves in the
foreground scumbling and impasto further enrich the painted surface. The patterned repetition of
verticals and horizontals, the closely controlled tonality, and the pale, light which casts no shadow
all contribute to the calm atmosphere." However, where Butts saw wistful melancholy, we think
that these romanticized landscapes make De Haven's value because of their emphasis on nature
as the shared artist, composing its own masterpiece.
Birch Creek, ca. 1910