Artist Search
   
a b c d e f g h i j k l m n o p q r s t u v w x y z 

 Augustus William Dunbier  (1888 - 1977)

/ Dun-beer/
About: Augustus William Dunbier
 

Summary

Examples of his work

 
 

Quick facts

Exhibits - current  
 

Biography*

Museums

 
 

Book references

Magazine references pre-2007

 
 

Discussion board

Signature Examples*

 
 
Buy and Sell: Augustus William Dunbier
 

For sale ads

Auction results*

 
  Wanted ads Auctions upcoming for him*  
 

Dealers

Auction sales graphs*

 
 

What's my art worth?

Magazine ads pre-1998*

 
 

Market Alert - Free

 
Lived/Active: Nebraska/Arizona      Known for: landscape, portrait, and still life painting, teaching

Login for full access
 
View AskART Services









*may require subscription

Available for Augustus William Dunbier:

Quick facts (Styles, locations, mediums, teachers, subjects, geography, etc.) (Augustus Dunbier)

yes

Biographical information (Augustus Dunbier)

yes

Book references (Augustus Dunbier)

32
new entry!

Magazine references (Augustus Dunbier)

11

Museum references (Augustus Dunbier)

8

Artwork for sale (Augustus Dunbier)

3

Dealers (Augustus Dunbier)

4

Auction records - upcoming / past (Augustus Dunbier)

24

Auction high record price (Augustus Dunbier)

24

Signature Examples* (Augustus Dunbier)

3

Analysis of auction sales (Augustus Dunbier)

yes

Discussion board entries (Augustus Dunbier)

6

Image examples of works (Augustus Dunbier)

22

Magazine ads pre-1998 (Augustus Dunbier)

14

Please send me Alert Updates for Augustus William Dunbier (free)
What is an alert list?

Ad Code: 2
AskART Artist
An example of work by Augustus William Dunbier
Artwork images are copyright of the artist or assignee
This biography from the Archives of AskART:
Born on a farm in Polk County, Nebraska, during the famous blizzard of 1888, Augustus Dunbier became Nebraska's most prominent and widely traveled artists in the early to mid 20th century.  Working until the year before his death at age 89, he painted landscapes, still lifes, and portraits in a style that others, but not he, labelled Impressionist.

At age 10, he saw his first professional art work at the Trans-Mississippi Exposition in Omaha, and this exposure set the direction of his life. A year later, he returned with his parents to Germany from where his family had emigrated, and in 1907, he enrolled for seven years of study at the Dusseldorf Academy, known for its instruction in genre and history painting. However, Impressionist Adolf Munzer had the most influence on him as did his private plein-air painting excursions into the countryside with fellow students.

Returning to America, he spent a semester at the Chicago Art Institute, winter of 1914 to 1915, where he began a long association with Walter Ufer, a teacher at the Institute.

In 1916, Dunbier established his studio in Omaha, Nebraska, and in a city that was not particularly art-oriented, made a living as a full-time painter. He had many portrait commissions, did professional restoration for institutions, most particularly the Joslyn Museum, and taught art workshops throughout the state. For years he gave private lessons in his studio and also taught at the Joslyn, the YMCA, and the Jewish Community Center.

He traveled frequently and in 1920, at the invitation of Ufer, went to Taos, something he did every successive summer except during World War II. Ufer and Eanger Couse, also a Taos painter, successfully sponsored Dunbier's membership in the Salmagundi Club of New York City.

In 1926 and 1928, he painted in Alaska where he lived at Sitka and made day trips into the wilderness from there. He exhibited paintings from his first Alaska trip at the Seattle Art Association and the San Francisco Art Association. He also painted on the East Coast with Emil Gruppe at Gloucester and George Luks in New York. In 1930, he began painting in Southern California and in Arizona, spending much time at the Grand Canyon, the Flagstaff area and at the Hopi pueblos.

In the late 1950s and early 1960s, when his son Roger was at Oxford University in England, he did numerous European landscapes including English country village architecture. In 1963, when Roger moved to Arizona, the artist and his wife began spending their winters there. He completed hundreds of desert landscapes which were sold through the Rosequist Gallery in Tucson and the Austin Gallery in Scottsdale. He also made regular painting trips to California and the Northwest Coast, but his home base was Omaha where he had a sixty-five year career.

Source:
Lonnie Pierson Dunbier, daughter-in-law of the artist


This biography from the Archives of AskART:
Born in Osceola, NE on Jan. 1, 1888. Dunbier studied in Germany at the Royal Academy in Düsseldorf until the onset of WWI and then continued at the AIC. While based in Omaha, he painted widely in the U.S. and spent long periods in California after 1922. He died in Omaha, NE on Sept. 11, 1977. Exh: NW Expo, 1918 (hon. mention); Nebraska Expo, 1922; PAFA, 1925; SFAA, 1926; Salmagundi Club, 1927. In: Omaha Public Library; Governor's Mansion (Lincoln); Joslyn Museum; Portland (OR) Museum.
Source:
Edan Hughes, "Artists in California, 1786-1940"
Interview with the artist or his/her family; Who's Who in American Art 1936-76; American Art Review, October 2001.
Nearly 20,000 biographies can be found in Artists in California 1786-1940 by Edan Hughes and is available for sale ($150). For a full book description and order information please click here.

Biography from Mark Sublette Medicine Man Gallery Santa FeTucson:
Gus Dunbier was known for his colorful impressionist landscape paintings.

Dunbier was born to a German-immigrant family on their farm in Polk County, Nebraska. The family returned to Germany in 1899, and in 1907 Dunbier enrolled at the Royal Academy in Dusseldorf. He studied with the Impressionist, Adolf Munzer, until the outbreak of World War I when he returned to the United States.

Dunbier enrolled at the Art Institute of Chicago for the winter of 1914-1915, studying with Walter Ufer. He served in the Army during the War, followed by a year in New York painting with George Luks. Dunbier then set up a studio in Omaha, Nebraska and established himself as a full-time easel painter. In addition to landscapes, he painted portrait commissions, did restoration work for the Joslyn Art Museum, and taught classes at the Museum, the YMCA, and his own studio.

Dunbier traveled extensively, painting most of his canvases on location. In 1920 Ufer invited him to visit Taos something he continued to do for many summers through the remainder of his life. Ufer and E.I. Couse sponsored Dunbier's membership in the Salmagundi Club.

The summers of 1926 and 1928 found Dunbier in Sitka, Alaska, and in 1930 he began painting trips to Arizona and California. From 1963 to 1970 he spent every winter but two painting in Tucson. When his son was at Oxford University in the 1950s and early 1960s he made several painting trips to Europe. He also enjoyed painting on the Northeast and Northwest coasts and in Mexico. Despite all of his travels, the majority of his paintings were Nebraska landscapes and his views of winter on the prairies were especially popular.

Biography from Taos Gallery:
Augustus Dunbier was a prolific oil painter, well known for his colorful landscapes, still life, portraits and figures. Most viewers would describe his work as Impressionism because of his brushwork, ability to capture brief moments in time, and the changing effects of light and color. But hating labels of any kind, he never used that term to describe himself.

He was a long time resident of Omaha, Nebraska, but traveled and painted widely throughout the United States, Europe, and Mexico.

Certain pioneering aspects contribute to his unique career:

1) He was the first Nebraska artist to paint regularly in the Southwest, where from 1920, he established a seasonal pattern of working in Taos, New Mexico. In fact his New Mexico friendship with artists Walter Ufer and Eanger Couse, beginning at the Chicago Art Institute, led to their sponsorship of Dunbier’s membership in the exclusive Salmagundi Club of New York City.

2) Dunbier was the first and for many years the only Nebraska-born painter to earn his living solely from his art.

3) Of the early Nebraska painters, he was the most academically ‘credentialed’ because of his seven-year classical education at the Royal Art Academy in Dusseldorf, Germany, and a year at the Chicago Art Institute.

4) Maintaining studios in Omaha from 1915 until 1977, Dunbier had one of the longest, uninterrupted art careers of any Nebraska artist.

Born on a Polk County, farm near Stromsburg, Dunbier, at age sixteen, moved with his parents to Germany, where during his studies, 1907-1914, at the Royal Academy, he associated with many noted artists working in Europe at that time. His primary instructor at the Academy was Adolf Munzer, a prominent Impressionist.

In 1915, Dunbier returned to the United States and served in the US Army Camouflage Corps. After World War I, he spent a year on the East Coast, painting with George Luks and Robert Spencer, another Nebraska born artist whom he joined at the artist colony in New Hope, Pennsylvania. In the early 1920s, he spent a summer painting in Alaska, and when he heard the Pan-American Highway had been completed to Mexico City, he was on the road. He returned there a number of times with artist friends or with his family.

As the years passed, Dunbier visited and revisited just about every corner of North America, painting the mountains of Montana and Colorado, the coasts and harbors of Massachusetts and Oregon, and the deserts of New Mexico and Arizona. From 1953 to 1970, he spent all but two winters painting landscapes in and around Tucson and Phoenix, which meant a diminishment of his popular Nebraska snow scenes.

The majority of his landscapes, numbering over a thousand, were painted close to home in Nebraska where he loved the hills and trees, lakes and rivers, farm scenes and cityscapes. His canvases are testimony to the fact that Nebraska provided more than enough excellent vistas for the trained and experienced eye without the need to either disparage or embellish.

Known as a colorist, his paintings are characterized by assertive, contrasting colors and bold brushwork. His landscapes were both realistic and capturing of intangibles such as season, temperature, time of day, atmospheric light, and impending weather. Dunbier completed most of these landscapes "en plein air," entirely out-of-doors, taking no more than several hours for each work.

Dunbier, whose friends called him "Gus," had a prestigious reputation as an art instructor and during his long life, taught numerous workshops and classes in Omaha and other communities throughout the Midwest. A tall, pipe smoking, angular man with a unique sense of humor and an ability to tell an entertaining story, Gus was popular with aspiring artists.

One of his long time students, Jane Scott, wrote of his field trip teaching methods: "When we arrived at the landscape spot that we had chosen, we would each set up, and Gus would stop at each easel to see that everyone got started right. I still remember many of the comments Gus would make as we painted. "You want to paint the mood of the day. Painting is like music, you need to orchestrate it. If it’s rainy day, paint the silvery effect of the day. If it’s a sunny day, paint the warm effect of the light. Don’t paint what you see, . . . It’s a matter of attitude, you manipulate the colors in order to create the mood’ " (Augustus Dunbier, Exhibition Catalog, Museum of Nebraska Art, April-June, 1994).

In this same exhibition catalog, long-time student and close friend, Alton Larsen, recalled words that Dunbier uttered repeatedly in painting classes:

"Paint for the Love of Color" [‘Gus was a colorist. I know of no painter, past or present, who knew more about color. . . .He used color notes as a composer uses musical notes’].

"Get it Keyed In!" [Gus was emphatic that the first few strokes on a canvas set the tone or key’]

"Put some Love Into It!" [‘Gus felt it was necessary to reach deep within oneself and put one’s feeling into the work’].

"Paint Carelessly Careful." [. . .‘be careful about color, value, composition and draftsmanship but careless with application’].

"Catch That Will-O-The Wisp!" [‘In painting a landscape, he always worked on location. . . . Waving a long arm out toward the subject, he would say to a student, ‘If you can’t paint it with all of this hanging out there at the end of your nose, how do you expect to do it better back in your basement?’].

"There Is No Color Without Light." [‘Play the light against the shadow; the warm against the cool; atmosphere, moisture and distance all have their effect on the intensity and quality of color’].

"I Do Not Paint For Posterity." [‘In spite of the fact that he often made this declaration, Gus Dunbier left the world a great wealth of art’].

During his sixty-two year professional career, painting several paintings a week, he held to his own course, undistracted by fads and progressing steadily from canvas to canvas portraying what is now, in retrospect, a quite marvelous variety of subjects and styles.

Museum Permanent Collections: Joslyn Art Museum, Omaha; Sheldon Memorial Art Gallery, Lincoln; Museum of Nebraska Art, Kearney.

Periodicals: Western Art Digest, Jan/Feb 1987, Vol. XIV, No. 1 and Southwest Art, March 1989, Vol. 18, No. 10.

Publications: Paint for the Love of Color: Augustus W. Dunbier, Lonnie Dunbier and Marcia Kmack; (Biography published October, 2000); Who’s Who in American Art, 1923-1978; Artists of the American West, Doris Dawdy; Art Across America, William Gerdts; Index of Artists, Daniel Mallett; The Society of Independent Artists, Clark Marlor; Mantle Fielding Dictionary, Glenn Opitz; A Survey of Nebraska Art, Kearney State College; Nebraska 75, Joslyn Art Museum; and Augustus W Dunbier, Museum of Nebraska Art.

Posthumous One-Man Exhibitions: Spring 1993, Museum of Nebraska Art; Summer, 1999, Mission San Juan Capistrano, California; Spring, 2000, Van Vechten Lineberry Museum in Taos, New Mexico; Summer 2001 at Plains Panhandle Museum in Canyon, Texas; Spring 2001 at the Phippen Museum in Prescott, Arizona, and Fall, 2001 Museum of Nebraska Art in Kearney.

Source:
Lonnie Pierson Dunbier, daughter-in-law of the artist

** If you discover credit omissions or have additional information to add, please let us know at registrar@AskART.com.


Augustus Dunbier is also mentioned in these AskART essays:
Notable Alaska
Taos Pre 1940

  go to top home | site map | site terms | AskART services & subscriptions | contact | about us
  copyright © 2000-2014 AskART all rights reserved ® AskART and Artists' Bluebook are registered trademarks

  A |  B |  C |  D-E |  F-G |  H |  I-K |  L |  M |  N-P |  Q-R |  S |  T-V |  W-Z  
  frequently searched artists 1, 2, more...  
  art appraisals, art for sale, auction records, misc artists