Harvey Dunn

1884-1952

Harvey Dunn was born in the Red Stone Valley in the Dakota Territory in a shanty on a land claim just off a major buffalo trail. The area where he was born had been the ‘frontier’ only a few years earlier. His parents were homesteaders who insisted that he help on their farm while he had bigger thoughts in mind. In 1901, he left the plow behind and enrolled at the South Dakota Agricultural College and soon left for the Art Institute of Chicago (1902-04). Just two years later, Howard Pyle who had met him after a lecture at the AIC, invited him to join the summer program in Chadds Ford, Pennsylvania (1904-06). Dunn studied with Pyle that summer and became deeply influenced by his mentor, and noted well that, “Pyle’s main purpose was to quicken our souls so that we might render service to the majesty of simple things.”

In 1906, at the age of twenty-two, with Pyle’s active encouragement, he opened his own studio to begin a career as an illustrator. Dunn, a large bull of a man with country mannerisms, was almost an immediate success as an illustrator. He sold his first illustration to Keuffel and Esser Company of New York for an advertisement and other commissions rolled in afterwards from magazines such as; Century, Collier’s, Harper’s New Monthly,  Scribner’s, and Outing. In all, Harvey Dunn painted over 250 illustrations for the Saturday Evening Post over the years.

Harvey Dunn married in 1908, and NC Wyeth was his best man. Dunn stayed in Wilmington until 1914, when he and his wife moved to Leonia, New Jersey. It was in New Jersey where he and artist Charles S. Chapman co-founded the Leonia School of Illustration while continuing to commute to client’s offices in NYC. His first students included Dean Cornwell and Arthur Fuller. Dunn instilled in his students the thought that that “Art schools teach complexities, while I teach the simplicities. The only purpose in my being here is to get you to think pictorially.” Dean Cornwell looked back on his days as Dunn’s student and said, “I gratefully look back on the time when I was privileged to sit at Harvey Dunn’s feet…he taught art and illustration as one…as religion…” The influence of Pyle on Dunn was obvious and it did not lessen when he taught for he passed along that which Pyle espoused to all of

his students. The legacy continued when he later taught at the Grand Central School of Art with his students there including the prominent illustrators John Clymer, Amos Sewell, Harold von Schmidt and Saul Tepper. Dunn also greatly influenced his friends NC Wyeth and Frank Schoonover with his own interpretations of Pyle while continually touting his mentor. He once said that “art can not be taught, Pyle did not teach art, any more than life can be taught, but Pyle lay constant stress upon the proper relationship of all things.”

During World War I, Dunn was commissioned a captain and was one of eight war artists assigned to the American Expeditionary Forces in France; however he suffered deep emotional wounds from his war experiences. It was recovering from war torment, which engaged him in painting his reminiscences from his youth on the Plains.

In 1919, after the end of the war, many of his paintings were turned over to the Smithsonian Institution in Washington. He moved back to New Jersey and built a large studio so that he could continue his daunting career, after it had been interrupted for the war. Once again his career blossomed prodigiously while he painted at a rapid rate turning out paintings so fast his art editors were left in awe. He made many trips back to South Dakota and painted the prairies, as he had known them as a youth and before the onslaught of development and highways.

The early influence of Howard Pyle on Harvey Dunn may be seen throughout his work especially where Dunn tried to capture the most dramatic moments possible in covering a subject. He went on to paint murals, his illustrations appeared on many magazine covers, and in 1950, he gifted his collection of prairie paintings and archives to South Dakota State College, they now reside at the South Dakota Art Museum in Brookings, on Harvey Dunn Street.