William Herbert "Buck" Dunton (1878-1936) stands as a significant figure in the canon of American Western art. An accomplished illustrator and painter, Dunton dedicated much of his career to capturing the landscapes, wildlife, and human inhabitants of a rapidly changing American West. His work is characterized by a profound respect for authenticity, a keen observational eye, and a poignant awareness of the disappearing frontier. As a founding member of the Taos Society of Artists, he played a crucial role in establishing Taos, New Mexico, as a vital center for American art in the early 20th century.
Early Life and Artistic Awakenings
Born on August 28, 1878, in Augusta, Maine, William Herbert Dunton's early life was steeped in the rugged beauty of the New England outdoors. Raised on a farm, he developed a deep connection with nature, fostered by his maternal grandfather, an ardent sportsman who introduced young Dunton to the arts of hunting and fishing. These formative experiences in the woods and along the rivers of Maine instilled in him a lifelong passion for wildlife and the wilderness, themes that would later dominate his artistic output.
Dunton's artistic inclinations emerged early. By the age of sixteen, he was already selling drawings to Boston-based publications, demonstrating a precocious talent and a drive to pursue art professionally. Largely self-taught in these initial years, his early illustrations often depicted hunting and fishing scenes, drawing directly from his personal experiences. This practical, experience-based approach to art-making would remain a hallmark of his career.
Seeking to refine his skills, Dunton pursued formal art education. He attended the Cowles Art School in Boston, a notable institution that provided a solid grounding in academic drawing and painting. Later, he moved to New York City, the bustling center of the American publishing world, to study at the prestigious Art Students League. There, he would have been exposed to a variety of influential instructors and artistic philosophies, including those of prominent figures like William Merritt Chase and Frank DuMond, though his time there was relatively brief. It was in New York that he began to establish himself as a commercial illustrator.
The Lure of the West and a Flourishing Illustration Career
The year 1896 marked a pivotal moment in Dunton's life and artistic trajectory. A trip to Montana ignited a profound fascination with the American West. The vast landscapes, the vibrant cultures of Native American tribes, and the rugged lifestyle of cowboys and frontiersmen captivated his imagination. This initial journey was followed by numerous expeditions over the subsequent years, during which he immersed himself in Western life. He worked as a ranch hand and cowboy, rode with posses, and hunted big game, gathering firsthand experiences and sketches that would become invaluable source material for his art.
Back in the East, Dunton's career as a commercial illustrator blossomed. His authentic depictions of Western scenes were highly sought after by leading magazines of the era. He produced a prolific body of work for publications such as Harper's Weekly, Collier's, Woman's Home Companion, Scribner's Magazine, and The Saturday Evening Post. His illustrations also graced the pages of numerous books, most famously providing the visual narratives for Zane Grey's classic Western novels. These illustrations were celebrated for their accuracy, dynamism, and ability to convey the spirit of the West to a wide audience.
Dunton's success as an illustrator provided him with financial stability and national recognition. However, the demands of commercial work, with its tight deadlines and editorial constraints, eventually led him to seek greater artistic freedom. He yearned to dedicate himself more fully to easel painting, where he could explore his subjects with greater depth and personal expression. The West, with its fading frontier culture, called to him not just as a source of illustration material, but as a subject worthy of serious artistic interpretation.
The Pivotal Move to Taos
In 1912, acting on the advice of fellow artist Ernest L. Blumenschein, one of the early painters to discover the artistic allure of New Mexico, Dunton made the life-altering decision to move to Taos. This small, remote village in northern New Mexico, with its unique blend of Native American, Hispanic, and Anglo cultures, its stunning mountain scenery, and its extraordinary quality of light, was beginning to attract a community of artists. Blumenschein, along with Bert Geer Phillips, had been captivated by Taos years earlier and recognized its potential as an art colony.
For Dunton, Taos offered an escape from the commercial pressures of New York and an opportunity to focus entirely on painting the subjects he loved. He was particularly drawn to the "Old West" – the open range, the cowboys, the big game hunters, and the traditional ways of life of the Taos Pueblo Indians. He saw these elements as rapidly disappearing under the encroachment of modernity and felt a sense of urgency to document them before they vanished completely. His move to Taos was not just a change of scenery, but a profound commitment to preserving a cultural heritage through his art.
In Taos, Dunton established a studio and immersed himself in the local environment. He continued his practice of extensive outdoor sketching and observation, ensuring the authenticity of his depictions. He became known for his meticulous attention to detail, from the accurate rendering of cowboy gear and Native American attire to the precise anatomy of horses and wildlife. This dedication to realism was a cornerstone of his artistic philosophy.
Founding the Taos Society of Artists
Two years after his arrival, in 1915, Dunton played an instrumental role in the formation of the Taos Society of Artists (TSA). He, along with Ernest L. Blumenschein, Bert Geer Phillips, Oscar E. Berninghaus, Joseph Henry Sharp, and E. Irving Couse, became the six founding members of this influential organization. Later members would include Walter Ufer and Victor Higgins, further enriching the society's artistic diversity. The primary aim of the TSA was to promote and sell the work of its members through traveling exhibitions sent to major cities across the United States.
The TSA was crucial in bringing national and international attention to the art being produced in Taos and, by extension, to the unique cultural landscape of the American Southwest. Dunton's contributions to the society were significant. His paintings, with their focus on the active life of the West, provided a distinct counterpoint to the more pastoral or ethnographic works of some of his fellow members. He served the society in various capacities, including as its secretary-treasurer.
Despite his commitment to the TSA's goals, Dunton's relationship with the group was not without its complexities. He was known for his independent spirit and strong opinions. In 1922, he resigned from the Taos Society of Artists, citing personal reasons and perhaps a desire for greater autonomy in his career. Nevertheless, his association with the TSA remains a key aspect of his legacy, and his work is inextricably linked with this important chapter in American art history.
Dunton's Artistic Style and Thematic Concerns
W. Herbert Dunton's artistic style evolved throughout his career, but it was consistently rooted in a strong foundation of academic realism and a deep reverence for his subject matter. His early work, particularly his illustrations, demonstrates a mastery of draftsmanship and a flair for dramatic composition, skills honed during his time at the Art Students League and through the practical demands of magazine work. Artists like Frederic Remington and Charles M. Russell had already established a popular vision of the West, and Dunton built upon this tradition, but with his own distinct voice.
Upon dedicating himself to easel painting in Taos, Dunton's style retained its commitment to accuracy but also began to incorporate more painterly qualities. He was particularly concerned with capturing the unique light and atmosphere of the New Mexico landscape. His palette often featured the clear, bright colors of the high desert, and he skillfully rendered the interplay of light and shadow on figures and landscapes.
A defining characteristic of Dunton's work is its authenticity. He was meticulous in his research and observation, ensuring that every detail, from the rigging of a saddle to the beadwork on a moccasin, was accurately portrayed. This dedication to truthfulness extended to his depictions of animals, especially horses, which he rendered with an expert understanding of their anatomy and movement. His paintings of wildlife, such as grizzly bears, elk, and antelope, were informed by his experiences as a hunter and his deep knowledge of animal behavior.
Thematically, Dunton's art is a poignant elegy for the vanishing West. He was acutely aware that the traditional ways of life he depicted were rapidly disappearing. His paintings of cowboys, such as The Horse Rustler or The Open Range, often convey a sense of solitude and resilience in the face of a changing world. His portrayals of Native Americans, while less frequent than those of some of his TSA colleagues like E.I. Couse or J.H. Sharp, were rendered with dignity and respect, often focusing on their connection to the natural world.
Later in his career, particularly in the 1920s and early 1930s, Dunton's style showed an increasing interest in decorative qualities and a more modernist sensibility. Works from this period, such as Timberline or Fall in the Foothills, exhibit simplified forms, flattened perspectives, and a heightened sense of pattern and design. This stylistic evolution may have been influenced by broader trends in American art, including the impact of European modernism and the rise of American Regionalism, championed by artists like Thomas Hart Benton and Grant Wood. Despite these modernist leanings, Dunton never abandoned his commitment to representational accuracy.
Masterworks and Signature Pieces
Throughout his career, W. Herbert Dunton produced a significant body of work, with several paintings standing out as iconic representations of his artistic vision.
_The Horse Rustler_ (also known as _The Outlier_): This painting is one of Dunton's most famous images, depicting a lone cowboy on horseback, rifle at the ready, silhouetted against a dramatic mountain landscape. It captures the solitude, vigilance, and rugged individualism often associated with the Western frontier. The composition is strong, and the mood is one of quiet tension.
_Montana ’06_ (1906): An earlier work, likely from his illustration period or a study, this piece demonstrates his early mastery of Western themes and his ability to capture action and atmosphere. Its auction price of $138,000 reflects the market's appreciation for his work.
_Glorieta_ (c. 1924): This painting, depicting Native Americans on horseback amidst the golden aspen trees of autumn, showcases Dunton's evolving style. The vibrant colors, decorative patterns of the foliage, and somewhat flattened perspective point towards his later, more modernist-influenced approach. It achieved a significant auction price of $497,000, underscoring its importance.
_Fall in the Foothills_ (c. 1933-1934): This later work, now in the collection of the National Park Service, is a prime example of Dunton's mature style. It features a bold composition, rich autumnal colors, and a focus on the rhythmic patterns of the landscape and the figures within it. The work has a strong decorative quality, emphasizing design and color harmony.
_The Texan_ (1928): While a drawing, this piece highlights Dunton's exceptional draftsmanship. His ability to convey character and form through line was fundamental to both his illustrations and his paintings.
_Camp of the Bear Hunters_ (1913): This painting likely reflects Dunton's own experiences as a hunter and his fascination with the more rugged aspects of Western life. It would showcase his ability to depict figures in a landscape and tell a story through his art.
_Old Texas_ (1929): This work, which received an award, further solidifies his reputation as a chronicler of the cowboy and ranching life, themes central to his oeuvre.
These and other works, such as The Spill, Romaldita, and The Horse Wrangler, contribute to a rich and varied portfolio that captures the essence of Dunton's artistic concerns: the beauty of the Western landscape, the dignity of its inhabitants, and the poignant passage of an era.
Beyond Painting: Lithography and Public Works
While primarily known as a painter and illustrator, W. Herbert Dunton also explored other artistic mediums. He became proficient in lithography, a printmaking process that allowed him to create multiple originals of his images. His lithographs, often in black and white, possess a strong graphic quality and demonstrate his mastery of composition and tonal values. These prints made his work accessible to a broader audience and allowed him to experiment with different visual effects. He began holding solo exhibitions of his work, including his lithographs, after 1922.
In the later years of his career, during the Great Depression, Dunton, like many artists of the time, participated in public art projects. The economic hardship of the era affected art sales, and government-sponsored programs like the Works Progress Administration (WPA) provided crucial support for artists. Dunton undertook mural projects, which allowed him to continue working and contribute to public spaces, though this was a departure from his usual easel painting. These commissions, while perhaps born of necessity, demonstrate his versatility and his enduring commitment to his craft.
Relationships and Influences
Dunton's artistic journey was shaped by his interactions with other artists and the broader artistic currents of his time. His teachers at the Art Students League, such as Frank Vincent DuMond, would have provided a solid academic grounding. The influence of renowned illustrators like Howard Pyle, who also taught at the League and championed historical accuracy and dramatic storytelling, can be seen in Dunton's early commercial work.
In Taos, his relationships with the other members of the Taos Society of Artists were paramount. Figures like Ernest L. Blumenschein, with his European training and sophisticated compositions, and Joseph Henry Sharp, with his ethnographic focus on Native American portraiture, provided a stimulating artistic environment. While their styles and primary subjects often differed, they shared a common goal of capturing the unique character of the Southwest. Dunton also formed a friendship with Leon Gaspard, a Russian-born artist who also settled in Taos. Though their artistic styles were vastly different—Gaspard's being more impressionistic and colorful—they shared a love for the outdoors and exotic subjects.
Dunton would have been aware of the work of earlier Western artists like Frederic Remington and Charles M. Russell, who had largely defined the genre for the American public. While Dunton respected their contributions, he sought to create a more personal and perhaps less romanticized vision of the West, focusing on the everyday lives and the encroaching end of an era. He was also a contemporary of other significant Western artists like Maynard Dixon, whose work also conveyed a deep understanding of the Western landscape and its peoples.
The broader art world, including the Ashcan School painters like Robert Henri and John Sloan, who focused on depicting contemporary American life with gritty realism, may have also indirectly influenced Dunton's commitment to portraying the authentic experiences of his time, albeit in a Western context.
Challenges and Later Years
Despite his successes, W. Herbert Dunton's career was not without its challenges. The decision to leave his lucrative illustration career to focus on painting was a significant financial risk. While the Taos Society of Artists provided a platform for sales, the art market could be unpredictable.
A serious accident in 1928, when he was thrown from a horse, had a lasting impact on his health. This incident exacerbated pre-existing conditions and likely contributed to a decline in his physical well-being in his later years. The Great Depression further compounded his financial difficulties, leading him to take on WPA mural projects to support himself and his family.
His strong personality and unwavering convictions sometimes led to friction with others, as evidenced by his relatively early departure from the Taos Society of Artists. He was deeply passionate about his vision of the West and the importance of preserving its heritage, a stance he articulated in articles as well as in his art. In a 1924 article, he lamented the "passing of the West," expressing concern that the authentic spirit of the frontier was being eroded by modernization. This sense of urgency fueled his artistic production but also perhaps contributed to a certain melancholy in his later outlook.
W. Herbert "Buck" Dunton passed away on March 18, 1936, in Taos, New Mexico, at the age of 57. His relatively early death cut short a career that was still evolving.
Legacy and Historical Significance
W. Herbert Dunton left behind a rich legacy as one of the foremost painters of the American West. His work is celebrated for its authenticity, its technical skill, and its poignant portrayal of a disappearing frontier. He successfully transitioned from a highly regarded illustrator to a respected easel painter, a testament to his artistic dedication and vision.
As a founding member of the Taos Society of Artists, he played a crucial role in establishing Taos as a significant art colony and in bringing the art of the Southwest to national attention. His paintings offered a unique perspective within the TSA, focusing on the dynamic action of cowboys, hunters, and wildlife, complementing the work of his colleagues.
Art critics and historians recognize Dunton for his meticulous draftsmanship, his strong compositional skills, and his ability to capture the unique atmosphere and light of the New Mexico landscape. While some of his contemporaries, like Georgia O'Keeffe, who also found inspiration in New Mexico, pushed further into modernism, Dunton remained largely committed to a representational style, albeit one that evolved to incorporate more decorative and expressive elements in his later years.
His concern for the "vanishing West" gives his work a particular historical resonance. He was not merely painting picturesque scenes; he was consciously creating a record of a way of life and a natural environment that he saw as being under threat. This imbues his art with a sense of cultural importance that transcends purely aesthetic considerations.
Today, W. Herbert Dunton's paintings are held in numerous public and private collections, including the Stark Museum of Art, the Gilcrease Museum, the Autry Museum of the American West, and the New Mexico Museum of Art. His work continues to be admired for its artistic merit and its evocative portrayal of the American West, securing his place as a key figure in the history of American art. His dedication to capturing the spirit and reality of the West ensures that his vision endures, offering future generations a glimpse into a pivotal era of American history.
