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American Regionalist & California Modernist; Expressionist

by Frank Goss

Dan Lutz was one of the premier Regionalist painters on the West Coast. The high-keyed color, heavy impasto, and audacious forms of his mature work stands apart in the history of American art. Sullivan Goss is pleased to present the Estate of the Artist.

Table Of Contents

In the 1950s Dan and his wife Dorothy discovered life in the small villages in Oxaca of Central Mexico where they were frequent visitors. The colors of Mexico come alive in Lutz' paintings of this period.


Daniel Stookey Lutz was born in Decatur, Illinois on July 7, 1906 to Florence Stookey and Samuel Milton Lutz, who owned a music store in Decatur. The muses were plentiful in the young artist's life: his father was a noted violinist and his mother a fine watercolorist and occasional painter. He was aware of his passion for art at an early age. He came of age in the Roaring 20s but he matured, as the country did, under the pressures of the Great Depression. He was twenty-three when the stock market fell in the fall of 1929. Fortunately for Lutz, he had already commenced his studies at Art Institute of Chicago (AIC) when the panic of Black Thursday occurred.

S. M. Lutz Music Store
Samuel Milton Lutz, Dan Lutz' father is the man standing in the open doorway. His music store was located on Prairie Street in Decatur, Illinois (photograph, 1885).

After four years of studies at the AIC, Dan Lutz received the James Nelson Raymond Traveling Fellowship in 1931. This allowed the young artist a full year of travel in Europe, primarily in France. Very few, if any, paintings have survived from either his student days or from this early European travel. In the fall of 1932 Lutz returned to Chicago where he married Dorothy Best, with whom he would spend the rest of his life. Later that year Lutz came to Los Angeles, California. He finished his formal training at the University of Southern California (USC) and received a Bachelor in Fine Arts degree.

In 1969 Lutz and his wife spent a summer traveling throughout the Irish Isle. He was very moved by the colors of the landscape and his palette was affected.

For the next forty years Lutz would make his way in life as a professional artist. His work received local and national recognition and he was beginning to be noticed in Europe when he suffered a stroke and was forced to retire. He had numerous one-person exhibitions, received awards and was recognized as one of California's leading lights in the artistic community. As the exclusive representative of the artist's estate Sullivan Goss is proud to offer works from every era of the artist's career in nearly all media: oil, acrylic, watercolor, and pen and ink.


After graduating in 1932 Lutz turned to teaching to supplement his income as an artist. The country was still recovering from the Depression. For nearly ten years he taught at USC and during World War II moved to teach at the cross-town rival for artistic talent, Chouinard Art School. While on the staff at Chouinard, he served as a visiting instructor at the AIC.


As an artist, Lutz was mercurial. His development was so rapid during the 1930s that as soon as critics had developed a jargon for the work he was doing, they would find that his style had changed and their comments were no longer applicable. While working in watercolor in 1930s, he developed an individual technique using bright, opaque colors. In the Scene Painting or Regionalist period in 1930s Los Angeles, his style separated him from his friends and associates, who included Rex Brandt, Milford Zornes, Phil Dyke, George Post, Paul Sample and Millard Sheets. Gordon McClelland and Jay Last in their book The California Style (1985) believe it was Lutz' early development of technique that "led to works different from those of any of his West Coast contemporaries."


From the beginning of the 1940s until he had a stroke in 1971 was the artist's great period. During this time his work became increasingly individualistic. The artist's neice Annette Lutz Sutherland recalls that when he painted he had "a tremendous ability to concentrate to the exclusion of all other things." She commented that his paintings were "how he saw the world and he would paint whether the paintings would have financial merit or not." The artist's work of the 1930s is grounded in the American Scene Painting School and has some sympathy with the work of the great Social Realists, especially in the depiction of scenes portraying class struggle like Lutz's Wait'in For the St'eet Car, which was completed in 1941.

The 1940s saw a maturation of his style. Now working in both oil and watercolor, the artist sought out scenes of day-to-day urban life. It was during this period that Lutz began his nearly twenty-five year experimentation with lithography.

There is a distinct transition from the Scene Painting work of the 1930s to a reductive style with more limited topics. In the early 1940s Lutz was recording the lives of inner city Los Angelenos of African descent, depicting nightclub patrons, jazz muscians and men, women and children going about their daily lives. It was in the middle 1940s that Dan Lutz' paintings took on a more somber cast. The figures moved forward in his canvases until sometimes the painter was only dealing with the head and upper torso.

During this darker period, darker perhaps in response to the tragedies of World War II, his figures became distended and sometimes freakish. Black was the dominant color. Relatives of the artist recall that this was a very troubled period for the artist and that at one point in 1945 he sought help for his difficulties, spending a short time in a sanitarium. Annette Sutherland recalls that after this period there were times when "he became withdrawn and would not talk to anyone."

However, by the end of the 1940s Lutz' canvases broke away from featured paintings which used greens, yellows, browns and a sparing application of white.


In this period Lutz continued to develop his focus on color. The pictorial content of his paintings diminished. His canvases and watercolors from the 1950s contain less "storytelling" than his earlier work, and the social messages contained in his art of the 30s and 40s are no longer in evidence. During the 1950s the artist began to rely increasingly on contrasting intensified colors which are packed with an immediate emotional content. Representation is less important for the artist than rhythm and energy. Geometric form and human figures are still present in Lutz' work of this period, but their focus is softened. During the 1960s and on into the beginning 1970s the artist would sketch in watercolor in the plein air style. He would then convert the watercolor to an oil or acrylic on canvas. There was a time when the Mexican border guards would not allow Lutz to take his Mexican work out of Mexico. His solution was to photograph the topic and paint it when he returned to California.

In the 1950s Lutz developed in two distinct directions. His trips to the midwest generated a body of work sometimes coined his "green paintings," but at the same time he made numerous trips to Mexico and produced a body of work in which he made use of the primary colors employed by Mexican village people at the time, colors which are coincidentally used in the Mexican flag. Where the Midwestern paintings are covered in a loosely woven and interlocking shapes, the Mexican works use a broad, planar geometry to express the organic feeling of old Mexican villages.

9" x 12"
Oil on canvas
Presaging much of the Midwest work of the 1950s, this canvas at first glance is nearly abstract. In addition to the intricacy of the compostion, Lutz abandoned the sparing use of paint which characterized many of his paintings of the 1930s and early 1940s. This painting's impasto is a quarter of an inch thick. Eventually this canvas reveals itself: grove, fallen tree, and stream moving from the left midground to right foreground.

"So concentrated is the emotional impact in some of [Lutz'] paintings that the spectator feels he is looking at a fragment of nature, wherein the very essence of the whole is captured." - Dalzell Hatfield, Lutz's dealer at the time.
12" x 9"
Oil on canvas
Private Collection
Although tiny, the canvas typifies the strength that Lutz found at this time. Paint was applied in quick short strokes. Lutz did not shy from primary colors of red, yellow, green and blue. The vigor of the artist is apparent.


Although Lutz worked briefly in the 1970s, it was the 1960s sixties work that represents his most advanced development as an artist. The imaginative, dream and spiritual elements of Lutz' style, all of which are present in work as early as 1940, evolved into the most powerful element of his art.

1969 travel to Tahiti 4 days New Zealand from December3 to January 29 returned to US.

(This section is still under construction)


Portrait of a Young Artist

Dan Lutz, poised for a major career in American art, is shown at his easel "en plein aire" even though very little of his work was actually begun and completed out-of-doors. This undated photo was loaned from the family archive (as are the rest of these photos). However, it appears in this photo that Lutz was in California and in his mid-thirties.

Dorothy Best Lutz

This marvelous studio portrait of Dorothy Lutz is also undated; however, it appears that she is in her late twenties. The original is an 14" x 11" gum bromide print. The talented photographer's name is lost to history.

Dorothy and Phil and Betty Dike

Lutz' artist friends included Millard Sheets, Rex Brandt and Phil and Betty Dike. The Dikes are pictured here in 1956 enjoying the sunshine on the patio of the Lutz's Mt. Washington, Los Angeles home. Dorothy is to the left and Dan is the photographer. Pictured on the table are several pieces of Natzler ceramics which are still in the family collection. The Lutz family and the Natzlers were also life-long friends.

Lutz at McNay Art Institute, San Antonio, Texas

Taken in 1953, this photo depicts the artist in the middle of a critique in his Life Drawing class.

Lutz Portrait, 1942

Notoriously intense, Lutz is shown here at the age of thirty-seven, toward the end of his teaching days at the University of Southern California (photograph, William Reagh of Los Angeles).

Passport Photo

In preparation for his and Dorothy's final travels, Lutz had this photo taken for his passport. Together the Lutz' traveled to England in 1968 and Tahiti and New Zealand in 1969.


  • 1927 Studied at James Milikin University, Decatur, IL
  • 1928-1931 Studied at Chicago Institute of Art
  • 1931-1932 Traveling Fellowship, Studied with Andre L'Hote.
  • 1932-1938 Member Fine Arts Faculty, University of Southern California
  • 1932 Married Dorothy A. Best & moved to California
  • 1933 Received B.F.A. Degree, University of Southern California
  • 1938 Guest Instructor at AIC
  • 1938-1942, Head of Painting Department, USC
  • 1940-1945 Summer Painting Instructor, Saugatuck, Michigan, division AIC
  • 1944-1952Painting Instructor, Chouinard Art Institute, Los Angeles
  • 1946-1953Guest Instructor, San Antonio Art Institute, Texas
  • 1951-1953 Summer Painting Instructor, Saugatuck, Michigan, Division AIC
  • 1952-1957 Traveled & painted through Georgia; Montana; Gaspe Peninsula, Quebec, Canada; and Oaxaca, Mexico
  • 1954 Dan Lutz Summer School, Munsing, Michigan
  • 1955 Guest Artist, University of Georgia, Athens, Georgia
  • 1955-1971 Devoted himself to painting in his studio, exhibitions, sketching and studying in museums. Continued
  • to travel throughout the U.S., Mexico, Europe and New Zealand.
  • 1971 Suffered a stroke that left the artist partially paralyzed
  • 1978 Died November 10th in Santa Barbara, CA


    Phil and Betty Dike were lifelong friends of Dan and Dorothy (Dotty) Lutz. This little sketch is signed and dated 1936 in the lower left corner. The angels that are circling are reminiscent of the characters which Lutz later incorporates into his spiritual paintings.


  • Metropolitan Museum of New York
  • Whitney Museum of American Art, New York
  • San Francisco Museum of Art, San Francisco
  • De Young Museum of Art, San Francisco
  • Santa Barbara Museum of Art, Santa Barbara, California
  • Fine Arts Gallery of San Diego, San Diego, California
  • Pasadena Museum of Art, Pasadena, California
  • La Jolla Art Center, La Jolla, California
  • Laguna Art Museum, Laguna Beach, California
  • Art Institute of Chicago, Chicago
  • City Art Museum of St. Louis, St. Louis, Missouri
  • William Rickhill Nelson Museum, Kansas City, Missouri
  • Phillips Memorial Museum, Washington, D.C.
  • Georgia Museum of Art, Athens, Georgia
  • Fransworth Art Museum, Rockland, Maine
  • Memphis Brooks Museum of Art, Memphis, Tennessee
  • Philadelphia Museum of Art, Philadelphia, Pennsylvania
  • University of Puget Sound, Tacoma, Washington
  • Tacoma Art Museum, Tacoma, Washington
  • Phoenix Art Museum, Phoenix, Arizona
  • Colorado Springs Fine Arts Center, Colorado Springs, Colorado
  • Witte Memorial Museum, San Antonio, Texas
  • Bente & Gerald Buck Collection, Laguna Niguel, California
  • Fieldstone Collection, Newport Beach & San Diego, California
  • WIM Collection, Linda & James Ries, Encino, California
  • Grant-Munger Collection, San Diego, California
  • Sally & David Martin Collection, Santa Barbara, California
  • Kathleen & Paul Bagley Collection, Princeton, New Jersey

    Throughout Lutz' artistic career was a series of themes which unfolded. Some of these are defined by subject matter, in which cases the theme represents a brief period of the artist's career. Other motifs are much more deeply imbedded in the artist's character and these leitmotiv recurr throughout much of the artist's career.

  • 1. Regionalist, Scene Painting, Social Realism, 1940s - 1950s
  • 2. Provincial Paintings, Mexico, New Zealand, Montana, Colorado
  • 3. Still Lifes 1950s - 1960s
  • 4. Paintings of the Midwest
  • 5. Fantasy, Surreal, Spiritual & Religious 1940s - 1950s
  • 6. Nudes & Figurative Works
  • 6. Musicians and Music

  • 1939 Contemporary Arts Gallery, New York, NY
  • 1940 Ferargill Gallery, New York, NY
  • 1940-1972, Approximately 25 one-person exhibitions with Lutz' primary dealer, Dalzell Hatfield Galleries
  • 1941 Santa Barbara Museum of Art, Santa Barbara, CA
  • 1942 Los Angeles County Museum of Art, Los Angeles
  • 1942 Pasadena Art Museum, Pasadena, CA
  • 1945 Santa Barbara Museum of Art, Santa Barbara, CA
  • 1946 Santa Barbara Museum of Art, Santa Barbara, CA
  • 1942 Witte Memorial Museum, San Antonio, TX
  • 1947 Santa Barbara Museum of Art, Santa Barbara, CA
  • 1947 De Young Museum, San Francisco
  • 1954 Milch Gallieries, New York, NY
  • 1957 Pasadena Art Museum, Pasadena, CA
  • 1965 Milch Galleries, New York, NY
  • 1969 Esther Bear Gallery, Santa Barbara, CA
  • 1971 Esther Bear Gallery, Santa Barbara, CA
  • 1972 Kirkland Fine Arts Center, Decature, IL
  • 1983 Gallery de Silva, Santa Barbara, CA
  • 1984 Southam Gallery, Salt Lake City, UT
  • 1984 Heritage Gallery, Los Angeles
  • 1985 Arlington Gallery, Santa Barbara, CA
  • 1988 Arlington Gallery, Santa Barbara, CA
  • 2001 Sullivan Goss, Ltd., Santa Barbara, CA
  • 2002 "The History of the Nude in Art in California", Sullivan Goss, Ltd., Santa Barbara, CA
  • 2002 "Passages", Sullivan Goss, Ltd., Santa Barbara, CA
  • 2003 "The 8th Annual Small Images Show", Sullivan Goss, Ltd., Santa Barbara, CA
  • 2004 "Bold Expressions", Sullivan Goss, Ltd., Santa Barbara, CA
  • 2004 "In Search of America", Sullivan Goss, Ltd., Santa Barbara, CA

  • Drawings

    As a draughtsman Dan Lutz developed a solid reputation. Although not thought of as an illustrator, Lutz's drawings were quick studies displaying a notable level of accomplishment. When Lutz graduated from the Art Institute of Chicago, he was awarded and Honoralbe Mention in the area of Head and Figure drawing. The great majority of Lutz' drawings are at the Archives of American Art in Washington, D.C.


    In the event that you have works by Dan Lutz which you would like included in the Catalogue Raisonne or which you would like reviewed for authentication, contact Sullivan Goss, Ltd. for submission requirements. The Catalogue Raisonne, (or The Complete Works of Dan Lutz) is being assembled as part of this page. The Catalogue will include:





    In the 1930s Lutz experimented with lithography, aND continued making prints throughout the mid-portion of his career. He did not make many impressions of any of his images, fifty being the most of any one image. There are eighteen known images, of which only four are known to have edition numbers. The first thirteen are on Basingwerke Parchment, measuring 11.25" x 17.25." No. 14 is on a haNDmade paper without a watermark (10" x 13.75") aND the final four are on a stout unmarked watercolor paper of various larger sizes. Lynton Kistler, Los Angeles' most important printer, affixed his logo signature to several of the first fourteen prints. He may have been the printer for all of the Lutz images. There is one complete set of Lutz lithographs which is available for purchase. It contains the finest strike of each of the eighteen images held in the estate. There are two images for which there is only a single extant copy aND those are each in the sole complete collection. Sullivan Goss desires to have this complete set acquired by an institution where it would become a reference set available to scholars. Other single copies of some of the prints are available for purchase.

    No. Title Size Edition No. Date
    1 Street Car Yard 9" x 11.25" ND ND
    2 River Jordan 12.50" x 7.25" ND ND
    3 Going To Heaven On A Cloud 9" x 13.75" ND 1941
    4 Reclining Male 13" x 9.5" ND ND
    5 Fish'n 13" x 9.75" ND ND
    6 The Gospel Train 10.25" x 13" 24 ND
    7 Riding the Red Car 13" x 9.75" ND ND
    8 INDustry 14" x 19" ND ND
    9 Downtown 13" x 9" ND ND
    10 Night Club 13" x 9.75" ND ND
    11 Samson 12" x 10" ND ND
    12 Fire at the Skating Ring 9" x 12.75" 6 ND
    13 Mermaids 9" x 7.25" ND ND
    14 Riding Academies 9" x 12.25" 15 ND
    15 Three Horses at Lake 18" x 13.75" ND ND
    16 Harpist 16.75" x 12.75" ND ND
    17 Sailor's Dream 12.75" x 16.75" ND ND
    18 Mexican BaND 12.25" x 17.25 25 1957

    No. 1 Street Car Yard: The tone of Street Car Yard, Los Angeles with its Regionalist sense is similar to most of the other Lutz lithographs. This particular image is on Raisinwerk Parchment and, like many of his lithographs, is unsigned.

    No. 2 River Jordan: Lutz was always interested in the life of black Americans. His niece, Annette Sutherland, in her eighties at the time of her interview for this catalogue raisonne, forcefully stated that the artist had a sympathy for the conditions under which black people lived. This lithograph eulogizes the refrain from the spiritual tune Swing Low Sweet Chariot...which recalls "...I looked over [the River] Jordan, and what did I see....angels coming....coming for to carry me home." The black Americans pictured here are presumably headed for heaven; but there is no pride in their posture. They row for the final promised land with bowed heads.

    No. 3 Going To Heaven On A Cloud: No other of the artist's lithographs so empathizes with the plight of the black American of the 1930s. Here a family of four plaintively beseech the heavens for their salvation. The dark background and onorous shadows seem to move toward the slender figures of the family.

    No. 4 Reclining Male: No other lithograph of Lutz' is so difficult to understand. The central figure appears to be a reclining male. The figure's grotesque head is propped up at an awkward angle. He is shown in a field of round objects that appear to be melons. The reclining male is shoeless and the central object would appear to be a slice of watermelon. The crudeness of this work and its crossover into a surreal statement are compounded by the reference to the stereotype of a black man's dream of a watermelon. This image is so jingoistic that it is hard to reconcile with reports of a person known for his kindness to people of all races.

    No. 5 Fish'n: This lithograph is more sympathetic than No. 4 Reclining Male above, but is still an oversimplified view of the life of a black man. The featured fisherman is relaxed, well-dressed and contemplative. There is every sense that he is comfortable in this task. The crosshatching and darkened foreground add contrast to the starkness of the man's white shirt.

    No. 6 The Gospel Train: Clearly this work was inspired by the artist's interest in American Spiritual and Gospel music, subjects he approached many times in several media. He named several of his works after popular hymns and spirituals. These works unified his love of music and his interest in the culture of black Americans. This lithograph is titled in the lower left in the artist's hand and signed in the lower right. For Lutz The Gospel Train called only for Black riders. It is driven by a steam engine and each car is drawn as a car from a carnival ride. The vortex-like circuitry of the tracks and the small dog chasing the last car add to the carnival atmosphere.

    No. 7 Riding The Red Car: Difficult to make out, the central figure is a large black woman with a child seated next to her. They are riding the Red Car, a Los Angeles trolley line which reached its peak between the 1920s and the 1940s. The seat in front of her is occupied by a traveler reading a newspaper; behind her and to the right are three other passengers. In the Red Car window above the child is mirror image lettering which reads "cars."

    No. 8 Industry: How like the prison scenes of Piranesi (1720-1778) is this powerhouse turbine interior. The two figures in the foreground are dwarfed by the looming cog. The shadowy mass of machinery further emphasizes a sense of omnipresent power, much larger than the human subjects.

    No. 9 Downtown: This lithograph features a cluster of downtown buildings. For Lutz, this perspective has an unusual one; he usually confronted his subject matter at eye level. In this image he is looking down, almost omnisiciently, like Thomas Moran or Albert Bierstadt would have done in their landscapes of the Grand Canyon or the Yosemite. Rooftops, fire escapes, chimneys, elevator rooms and the buildings themselves seem to merge frenetically at the lower center where a hook and ladder is raised to upper floor of an apartment building.

    No. 10 Night Club: Lutz and his wife were both respected musicians. Lutz played the basson; his wife, Dorothy, played the oboe and piano. While in Chicago and Los Angeles they frequented jazz clubs, including those which featured black musicians, a topic Lutz often employed in his art. This dark lithograph features a couple, not necessarily a happy couple, having drinks while a volcanic jam session takes place in the background. The odious nature of the central figure is obvious as he seems to be mixing several drinks together. There are several references within the composition to the work of Max Beckmann, a German painter Lutz admired.

    No. 11 Samson: There are two views of Samson. One view is of the Samson strong enough to topple the temple pillars. The other is the Samson who, shorn of his locks, can no longer achieve what is expected of him. This image is of the first Samson. The muscular. The powerful. The conqueror. Muscles rippling, forearms bulging, feet firmly planted, this Samson is at the top of his game. But he is a very human Samson, who's framed by his destructive abilities. This Samson has one foot on the base of the column he is overturning. He is not Samson the creator; he is Samson the destroyer. It is estimated that this lithograph was created in the mid- 1940s when Lutz was himself at the top of his game, before he was struck with bouts of depression in the late 1940s.

    No. 12 Fire At The Skating Rink: Lutz' depiction of this scene rings true. The fire truck, firemen, bystanders, and the raging fire at the skating ring look like a journalist's photograph. The lithograph was completed in the late 1930s or 1940s. As there were no skating facilities like this in Los Angeles, this event must have have taken place in the Midwest.

    No. 13 Mermaids: Within Lutz' ouevre there is a segment referred to as his Fantasy and Surreal period. These two mermaids and single male have the feel and texture of paintings from the late 1940s and early 1950s.

    No. 14 Riding Academy: There is no other lithograph by the artist with such a lyrical and pastoral quality as this one. The tone is evening. The horses are resting. The barnyard is empty of human activity. But the riders have only just returned from the day's efforts...the saddles are still on the horses. There is a sense of quiet and peace throughout the composition. So many of the artist's works are full of a swirling activity; this one seems to form the other side of the artist's world.

    No. 15 Three Horses At Lake: Being the largest of the artist's lithographs, this is also the only true landscape. Using a lithographer's crayon, the artist scrabbled in the tree trunks, used a childlike looping for the tree bower and foreground and sketched in the small sailboat with three or four strokes. The image has a freshness or "plein aire" quality to it.

    No. 16 Harpist: One of the larger of the artist's lithographs. Lutz obviously enjoyed the image, as there were fifty numbered impressions made. This lithograph is in the collections of Annette Suthland and of the estate. Some of the images were printed in traditional black ink and there are also two known copies in a blue-green ink.

    No. 17 Sailor's Dream: Perhaps the most troubling of the artist's lithographs, Lutz has depicted a sailor on a grassy knoll with a book or box at his left elbow and a bottle in his right hand. He seems poised in the trance of a daydream. In the background his boat is moored perilously close to shore. The entire composition has a dreamlike quality. The crisscrossing of the lithographer's crayon, the use of low contrast and the looseness of the composition all contribute to the sense of unreality.

    No. 18 Mexican Band: Fortunately one of the extant copies of this lithograph is dated 1957. The three previous lithographs in the Catalogue Raisonne are on the same paper and it is surmised that all three would have been done in the mid to late fifties. The papers are clearly not as old as the previous seventeen images listed above. Lutz definitely achieved a mark of success with this lithograph. Where some of the others were drawn quickly and have an unfinished quality to them, and were inked unevenly, this image is crisp. The blacks are rich and completely shaded. The whites are more limited and the contrast is much more stark than in earlier works. Where some of the artist's images require a measure of creativity on the part of the viewer; this one is quickly realized. The image requires little second viewing. Lutz loved Mexico, the Mexican lifestyle and the Mexican people. This brass and percussion Mariachi band must have provided considerable pleasure to its listeners.


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