Edward Redfield began his career at the Pennsylvania Academy of the Fine Arts, where his teachers imparted Thomas Eakins’ emphasis on realism and close observation of subjects on the young artist. Redfield traveled to Paris in 1889, where he enrolled at the Académie Julian and studied the works of contemporary French artists. Taking a cue from the French Impressionists, Redfield adopted the practice of painting en plein air, choosing to abandon figure painting in favor of depicting the American landscape.

The present work demonstrates Redfield’s intention to not only replicate nature on his canvases, but to evoke the feeling of a particular landscape. The artist made no preliminary sketches, but rather painted directly on the canvas en plein air, with palpable force and speed, resulting in painterly, lively compositions complete with striking impasto. Indeed, Off Manana exemplifies Redfield’s commitment to the spontaneity of painting, as well as his close connection to his surroundings.

Manana is an island located adjacent to Monhegan, Maine, a place intrinsically linked to Redfield’s oeuvre. As early as 1903, Redfield and his wife began spending summers at Monhegan. The artist was so taken with the beauty of the island and its surroundings that he eventually bought a home in nearby Boothbay and spent almost every vacation in and around the area. The salt air, clear skies and brilliant hues of the terrain inspired the artist to produce magnificent jewel-toned paintings, like the present work.