Adolf Dehn (November 22, 1895 – May 19, 1968) was an American artist known mainly as a lithographer. Throughout his artistic career, he participated in and helped define some important movements in American art, including regionalism, social realism, and caricature. A two-time recipient of the Guggenheim Fellowship, he was known for both his technical skills and his high-spirited, droll depictions of human foibles. Biography Dehn was born in 1895 in Waterville, Minnesota. He began creating artwork at the age of six, and by the time of his death had created nearly 650 images. After graduating as valedictorian from Waterville High School in 1914, he went to the Minneapolis School of Art (known today as the Minneapolis College of Art and Design), where he met and became a close friend of Wanda Gág. She was Dehn's first love and the two were "practically inseparable for the next five years... " (1916–1921). In 1917 he and Gág were two of only a dozen students in the country to earn a scholarship to the Art Students League of New York. He was drafted to serve in World War I in 1918, but declared himself a conscientious objector and spent four months in a guardhouse detention camp in Spartanburg, SC and then worked for eight months as a painting teacher at an arm rehabilitation hospital in Asheville, NC. Later, Dehn returned to the Art Students League for another year of study and created his first lithograph, The Harvest. Early career In 1921 Dehn's lithographs were featured in his first exhibition at Weyhe Gallery in New York City. From 1920 to 1921 in Manhattan, he was connected to New York's politically left-leaning activists. In 1921, he went to Europe. In Paris and Vienna he belonged to a group of expatriate intellectuals and artists, including Andrée Ruellan, Gertrude Stein, and ee cummings. Dehn found living in Europe cheap and was able to embark on artist adventures of what some consider the "glory years" of the 20s. About his time in Europe, he said, "Life in Paris is simply glorious." He supported himself through his time in Europe by providing light-hearted cartoons and scenic European landscapes to editors back in the U.S. A number of the caricatures he drew depicting the Roaring 20s, burlesque, opera houses, and the café scene appeared in such magazines as Vanity Fair. Dehn himself felt that his caricatures and cartoons were different