83

Albert E. Backus

American/Florida, 1906-1990

Albert E. Backus
(American/Florida, 1906-1990)

"Beckers Ranch [sic], West of Stuart, Florida", ca. 1970s,
probably commissioned by citrus magnate Richard E. Becker (1915-2005)

oil on canvas
signed lower right, also signed, titled and numbered "629" en verso and on frame backing.
Presented in the original custom-made Backus frame.
25" x 30", framed 33-1/8" x 38"

Provenance: Private collection, Florida.

Notes: "We really do have Backus clouds, and often. We really do have water that color, and peculiar light effects, and often…. Actually, Backus is "telling it like it is" - namely, beautiful" - Griffin Smith, art critic/editor, "Backus Reigns at Bacardi", Miami Herald, Jan 11, 1970,

A.E. "Bean" Backus, often regarded painter laureate of Florida, a native son and visual poet, captured the flora and fauna of Florida for more than half a century, inspiring generations to come, most notably the Highwaymen. Largely self-taught, his style is unique to Florida - it is vivid, bold; it is bright, even a little kitsch at times in its iconic skyline grandeur - an homage to his early commercial days - but, above all, the lighting is magnetic. Backus' command of colors, executed through broad palette knives and later brushwork, scintillate. The billowing clouds, roiling shadows, and mangroves that devour all evoke the heat of the tropical climate, creating an effect as visceral as visual: balmy clouds, palms that rustle, and reflections so luminous the need for sunscreen and sunglasses is felt.

Backus' virtuoso is largely innate. Born in 1906, the son of a boat maker on Hutchinson's island across the Indian River from mainland Fort Pierce, Backus grew up on the rivers, inlets, and beaches of Florida. The landscape from an early age was an indelible part of his life. His early artistic endeavors were encouraged by his Uncle Reg, who supported summer studies at the New York School of Fine and Applied Art (now Parsons School of Design), and by Dorothy Binney, heiress to the Crayola crayon inventor. She was Backus' first patron and persuaded him to embrace landscape painting over commercial art. World War II, ironically, also fostered the young artist's talent. As a quartermaster in the U.S. Navy, Backus was exposed to many exotic landscapes across the South Seas and Central America that his commander aboard the USS Hermitage (AP-54) encouraged him to paint by procuring the necessary materials for him at ports of call.

After the war Backus returned to Florida and set up a studio in Fort Pierce, converting the family's old boat works on Moore Creek into a Bohemian artist space, open to fellow artists and musicians that attracted both the who's who of Florida clientele and young local artists seeking training like Alfred Hair and Harold Nelson, who went on to establish a twenty-six member African-American movement of Florida landscape painters in the late 1950s and 1960, taking to the highways of Florida to exhibit and sell their works out of their cars in the wake of Jim Crow laws that ostracized them from the established venues.

By the 1970s, when this work was painted, Backus was at the apex of his success. Demand was so great for his landscapes that the Miami Herald reported that he had a two-year backlog of orders from wealthy collectors and businessmen that included former President Lyndon B. Johnson, governors, congressmen, and majors ranchers and agricultural developers - for which commissions included travel by airboat and swamp buggy to reach Florida terrain unadulterated by development and tourism. This landscape was likely commissioned in the mid-to-late 1970s by citrus magnate Richard E. Becker. His 15,000-acre ranch spanned the Indian River, St. Lucie, and Martin Counties, incorporating areas of west Stuart township and its iconic Water Tower, which is centrally located in the center of this painting on the distant horizon with the subtle flicker of light indicative of its iconic American flag painted in 1776 to commemorate the bi-centennial. This work exemplifies Backus at his best - emerald blue skies, voluminous clouds, and colors that dance like miniature crystals of light off the tree bark, dirt path and white of the cattle at midday. The presence of the water tower, the figurative inclusion of the rancher and cattle is indeed an unusual inclusion, a rarity in the annals of Backus that bespeaks the importance of such a commission.

oil on canvas
signed lower right, also signed, titled and numbered "629" en verso and on frame backing.
Presented in the original custom-made Backus frame.
25" x 30", framed 33-1/8" x 38"

  • Provenance: Private collection, Florida.

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