Edward Willis Redfield (1869-1965), “Early Spring,” n.d., oil on canvas, 26 x 32 in. © Sotheby’s 2017

In this ongoing series for Fine Art Today, we take a longer look at the history and features of a soon-to-be-available artwork of note. This week we feature a joyful impressionistic painting that highlights a major April 7 sale. 

A painting by Impressionist Edward Willis Redfield (1869-1965) highlights an exciting American Art auction at Sotheby’s tomorrow, April 7. A prominent member of the art colony at New Hope, Pennsylvania, Redfield established a renowned career for his captivating views of the New Hope area. Along with his contemporaries, Redfield exercised considerable influence on 20th-century American landscape painting.

Bursting with life and color, “Early Spring” is a striking painting any collector may want to consider. Set alongside a rural road that leads toward a small village, trees begin to sprout the year’s new leaves while others — perhaps dogwoods —  are already blossoming with brilliant white flowers. Seen just a few yards ahead, a woman and child casually walk away from the viewer. Redfield has designed the composition beautifully, and the balance of color is remarkable. Interesting to note are the rather large strokes of the brush, which evoke a similar sense of vitality and life often found in works by Vincent van Gogh.

Auction estimates are between $200,000 and $300,000. To learn more, visit Sotheby’s.

This article was featured in Fine Art Today, a weekly e-newsletter from Fine Art Connoisseur magazine. To start receiving Fine Art Today for free, click here.

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Andrew Webster
Andrew Webster is the Editor of Fine Art Today and works as an editorial and creative marketing assistant for Streamline Publishing. Andrew graduated from The University of North Carolina at Asheville with a B.A. in Art History and Ceramics. He then moved on to the University of Oregon, where he completed an M.A. in Art History. Studying under scholar Kathleen Nicholson, he completed a thesis project that investigated the peculiar practice of embedded self-portraiture within Christian imagery during the 15th and early 16th centuries in Italy.

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