Paper

Student Artwork Guide

Evil

Name Class Date

dorothy dehner, Evil (1948). Reproduced for reference; rights reserved by the rights holder.

The facts

Artist
dorothy dehner wahooart.com/en/artists/dorothy-dehner/
Artist’s dates
1901 – 1994
Painted
1948
Original size
41 x 32 cm

In context

Evil — dorothy dehner

How big is it?

The original measures 41 × 32 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1900
  2. 1910
  3. 1920
  4. 1930
  5. 1940
  6. 1950
  7. 1960
  8. 1970
  9. 1980
  10. 1990

Shaded: the lifetime of dorothy dehner (1901–1994) ▲ this work, 1948

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: wahooart.com/en/art/similar/dorothy-dehner-evil-AQTH2N-en/

Colours

Measured from the image

    Main colour

    Driftwood #a6916b

    Catalogued palette

    • #A6916B
    • #F9F8F6
    • #403E37
    • #C3BBB0
    Palette
    Neutrals The dominant colour family in the image.
    Main colour name
    Driftwood
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Bold How much the colours differ in lightness and saturation across the picture.
    Harmony
    Unified Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Subtle Color How pure and strong the colours are, from near-grey to fully vivid.

    About this artwork

    Evil — dorothy dehner

    The painting "Evil" by Dorothy Dehner is a thought-provoking artwork that has sparked intense debate and curiosity among art enthusiasts. Created in 1948, this gouache painting measures 41 x 32 cm and is currently housed at the Smithsonian American Art Museum in the United States.

    Understanding the Artist's Vision

    Dorothy Dehner was an American artist known for her unique style, which blended elements of abstraction and surrealism. Her paintings often featured bold colors and distorted forms, inviting viewers to interpret their meanings. In "Evil", Dehner employs a vibrant color palette and abstract shapes to convey a sense of tension and unease. Key Elements of the Painting The painting features two main figures standing on a mountain, with their arms raised in a gesture that could be interpreted as either celebratory or ominous. The presence of a spider in the bottom left corner adds an air of mystery and foreboding to the scene. The use of gouache as a medium gives the painting a sense of texture and depth, drawing the viewer's eye into the intricate details of the composition.

    Interpreting the Meaning of "Evil"

    The title "Evil" suggests that the painting is meant to evoke a sense of malevolence or darkness. However, Dehner's intention may have been more nuanced, inviting viewers to consider the complexities of human nature and the blurred lines between good and evil. As with many abstract artworks, the meaning of "Evil" is open to interpretation, leaving viewers to ponder its significance and symbolism.

    View more artworks by Dorothy Dehner on AllPaintingsStore.com

    Learn about the Smithsonian American Art Museum and its collection on Wikipedia

    The painting "Evil" by Dorothy Dehner is a fascinating example of mid-20th-century American art, offering a glimpse into the artist's unique vision and creative process. As a handmade oil painting reproduction, it can be appreciated in a new light, allowing viewers to experience the intricate details and textures of the original artwork.

    Artist and museum

    Artist

    dorothy dehner

    Dorothy Dehner: Sculpting the Echoes of Experience

    Dorothy Dehner (1901-1994) wasn’t a name that frequently echoed through the halls of 20th-century art history until relatively recently. Yet, beneath the surface of her prolific career—spanning sculpture, drawing, and printmaking—lies an artist deeply attuned to the complexities of human emotion and the enduring power of memory. Born in Cleveland, Ohio, into a family profoundly shaped by loss and resilience, Dehner’s life became a crucible for her artistic vision, forging a unique style that blended Surrealist intuition with Constructivist rigor and a profound connection to the natural world. Her work isn't easily categorized; it resists simple labels, instead offering a deeply personal dialogue between abstraction, symbolism, and the lived experience of a woman navigating both personal tragedy and the evolving landscape of modern art.

    Early Life and Influences: A Foundation Forged in Loss

    Dehner’s childhood was marked by significant upheaval. The untimely deaths of her father and mother within a few years of each other, coupled with the subsequent care provided by her aunts, instilled in her a sensitivity to loss and a quiet determination to find meaning amidst hardship. This early experience profoundly shaped her artistic approach – a willingness to confront difficult emotions through abstract forms and symbolic imagery. She initially pursued an acting career, finding herself drawn to the theatrical world before realizing that her true calling lay in visual art. A brief sojourn in California exposed her to burgeoning modernism, including exposure to European avant-garde movements like Cubism and Surrealism. Crucially, her travels through Europe in 1925 proved transformative, igniting a passion for the work of artists like Jan Matulka, whose emphasis on emotional expression resonated deeply with Dehner’s own artistic sensibilities. The influence of Russian Constructivism, particularly its focus on geometric abstraction and the exploration of social themes, also became a significant touchstone in her development.

    The Bolton Landing Years: Totems of Memory

    Following her marriage to sculptor David Smith in 1927, Dehner and Smith established a farm at Bolton Landing in upstate New York, a location that would become central to her artistic output for nearly two decades. This period witnessed the evolution of her most recognizable work – the “totem” sculptures. These monumental, often vertical structures, constructed from wax, bronze, wood, and steel, are not simply decorative objects; they’re complex visual narratives rooted in memory, personal experience, and a deep engagement with the natural world. The early totem sculptures, created during her marriage to Smith, frequently depicted fragmented figures—a poignant reflection of their troubled relationship. The use of layered wax slabs, often incorporating small metal pieces or pebbles, created tactile surfaces that invited close examination, inviting viewers to decipher the symbolic language embedded within each form. During this time, Dehner’s work began to incorporate elements of mythology and classical iconography, reflecting a desire to connect with universal themes of human experience.

    Post-Smith: A Return to Introspection and Line

    The separation from David Smith in 1950 marked a significant turning point in Dehner’s artistic trajectory. Following this personal upheaval, she returned to New York City, where she continued to explore her artistic interests through drawing and printmaking. Her later work during the 1970s and 80s saw a shift towards smaller, more intimate pieces—often characterized by delicate lines and subtle color palettes. These drawings, frequently inspired by the landscape surrounding Bolton Landing, offered a quieter, more introspective reflection on themes of memory, loss, and the passage of time. The “Folk Song” series, for example, captures the essence of her surroundings with an understated elegance, utilizing ink and watercolor to evoke the textures and rhythms of nature.

    Legacy and Significance: A Quiet Voice in Modern Art

    Dorothy Dehner’s artistic legacy has been steadily gaining recognition in recent decades. While she remained largely outside the mainstream art world during her lifetime, her work is now celebrated for its emotional depth, innovative use of materials, and profound engagement with themes of memory, loss, and the human condition. Her “totem” sculptures stand as powerful testaments to her ability to translate complex personal experiences into universal symbols. Dehner’s influence extends beyond her own creations; she fostered a supportive environment for emerging artists, including David Smith, and contributed significantly to the development of American abstract sculpture in the mid-20th century. Her work continues to resonate with viewers today, offering a quiet but compelling invitation to contemplate the echoes of experience that shape our lives.

    Where to read more

    Find this online

    QR code linking to the download page for Evil

    wahooart.com/en/art/download/dorothy-dehner-evil-AQTH2N-en/

    Cite this artwork

    MLA
    dehner, dorothy. Evil. 1948, https://wahooart.com/en/art/dorothy-dehner-evil-AQTH2N-en/
    APA
    dehner, dorothy (1948). Evil [Painting]. https://wahooart.com/en/art/dorothy-dehner-evil-AQTH2N-en/
    Chicago
    dorothy dehner. Evil. 1948. https://wahooart.com/en/art/dorothy-dehner-evil-AQTH2N-en/
    Harvard
    dehner, dorothy (1948) Evil. Available at: https://wahooart.com/en/art/dorothy-dehner-evil-AQTH2N-en/

    Look closely

    Evil — dorothy dehner

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Look back at Charade (1952), earlier in this guide. Name two things it shares with this work, and one that is different.
    4. dorothy dehner was about 47 when this was made. What in it looks like the work of an artist at that stage?
    5. What might the artist have wanted you to feel?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.