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  • Eanger Irving Couse
    Sep 03, 1866 - Apr 26, 1936
  • Firelight, Outside - Eanger Irving Couse was One of the more accomplished figure painters of the original Taos Society of Artists, His lifelong pursuit of painting Native Americans was kindled by the beauty and tranquility of the local Chippewa and Ojibwa cultures. The training he received in Europe, particularly under Adolphe Bouguereau and Tony Robert-Fleury, influenced the measured studio style he practiced for the rest of his life.
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Firelight, Outside
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  • Firelight, Outside

  • Eanger Irving Couse
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  • 1920
    Oil on canvas
    24 1/4 x 29 1/4 in.

    We wish to thank Virginia Couse Leavitt for her kind assistance in cataloguing this lot. This painting will be included in her forthcoming catalogue raisonné of the artist's work.

    Eanger Irving Couse was born in Saginaw, Michigan and was interested in drawing from a young age. As a young man, Couse visited and sketched the local Ojibwa Indian settlements and was generally fascinated by the Ojibwa peoples' history and folklore. 1 Despite a deep desire to pursue a career as an artist, Couse's father was unsupportive, and Couse worked as a house and barn painter in order to make enough money to attend first the Art Institute in Chicago, and then the National Academy of Design in New York. Success was almost immediate for the artist and he was winning medals for his work in his first year in New York. In 1886, after again saving money but this time working as a professional artist to do so, Couse went to Paris for a year's study at the Académie Julien and the école des Beaux-Arts. His exposure in France to master draftsman and instructor Adolphe Bouguereau had a profound influence on the artist's work.

    In 1891, Couse returned to the US for a few years and initially spent time with his wife Virginia's family in Oregon where he painted his first Native American subjects: the Klickitat, Yakima and Umatilla peoples. The subsequent decade was spent in France, on the East Coast and again in Oregon. At the suggestion of Joseph Henry Sharp, Ernest Blumenschein and Bert Geer Phillips, whom he had met in Paris, Couse visited Taos for the first time by train in 1902.

    'Taos was everything Couse had dreamed of. The Taos people and their routines of life at the Pueblo satisfied all of his artistic requirements and desires. He recognized that in the Pueblos of the Southwest he had found the ideal Indian subjects for his paintings.' 2 Between 1904 and 1927, Couse spent summers painting and living in Taos until finally moving permanently to the area in his 60s. Although Couse's work can be romanticized, in his personal life he had close friendships and associations with a number of Taos people who posed for him.

    Couse's training in anatomy is evident in his frequent use of dramatic side light to accentuate the muscular and skin tone of his Taos Indian subjects. In works like Firelight, Outside, the fire's ember glow lends intimacy to the scene and enhances the overall dramatic effect. Often figures are set indoors in compositions like this, but in the case of the present work, the figure is positioned outdoors. He squats near a small outdoor fire on the shore of a still lake. Golden hues of sunrise or sunset illuminate the sky and are reflected in the mirror glass water. The figure is set in a small grove of shadowed trees, vividly accentuating his profile. Couse's ability to paint detail and accuracy of form and to relay narrative in his paintings while at the same time capturing romantic and lyrical qualities of his subjects is in evidence in the distinct style of the present work.

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Other paintings by Eanger Irving Couse:

Firelight 1931
Firelight 1931
Firelight 2
Firelight 2
Fireside
Fireside
Fireside Indian
Fireside Indian
Eanger Irving CouseEanger Irving Couse was born in Saginaw, Michigan. His lifelong pursuit of painting Native Americans was kindled by the beauty and tranquility of the local Chippewa and Ojibwa cultures. Couse chose a career in art at an early age, studying at the Chicago Art Institute, the National Academy of Design in New York, and, as was the dream of many young artists of the time, at the Académie Julian in Paris. The training he received in Europe, particularly under Adolphe Bouguereau and Tony Robert-Fleury, influenced the measured studio style he practiced for the rest of his life.

In Paris, Couse married a fellow artist whose family ranch in Washington State provided him with access to a number of Indian tribes. Lyrical portraits of the Klikitat, Yakima, and Umatilla, painted in the Barbizon style, were his first attempts at this truly American subject. His historical narratives of the West brought him great acclaim at the Paris Salon exhibitions.

Finding French peasant scenes and European landscapes more saleable, Couse returned to a successful career in France. However, upon the advice of fellow artists, Joseph Henry Sharp and Ernest Blumenschein, Couse made his first visit to Taos in 1902. Though Couse maintained a studio in Manhattan during the winter months until 1928, Taos was his inspiration and became his permanent home.

Couse was elected to full membership in the National Academy of Design in 1911. His paintings are represented in numerous museums and private collections including the Detroit Institute of Art, the Metropolitan Museum and the National Portrait Gallery of the Smithsonian Institution. Through the many paintings created for the railroad, his painting received national exposure and brought recognition to Taos. Couse created images that were highly influential in changing the public's perception of the West and many are regarded as poetic renderings of a vanished time.