Romanticism: Late 18th Century To Mid 19th Century
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Romanticism
Late 18th Century to Mid 19th Century Another reaction against Neoclassicism deeply-felt style which is individualistic, beautiful, exotic, and emotionally wrought. The United States - the leading Romantic movement: the Hudson River School
Winslow Homer (1836 - 1910)
an American landscape painter and printmaker, most famous for his marine subjects one of the foremost painters in 19th century America mostly known for his watercolors and his paintings of the Civil War
The Gulf Stream, 1899
Waiting an Answer, 1872
Breezing Up, 1876
Thomas Eakins (1844-1916)
American realist painter one of the foremost of the 19th century independent of contemporary European styles the first major artist after the American Civil War (1861-1865) to produce a profound and powerful body of work drawn directly from the experience of American life
Thomas Eakins (1844-1916)
lifelong interest in scientific realism scenes and people observed in the life around him in Philadelphia, particularly domestic scenes of his family and friends delineated the anatomy of the human body profound influence, both as a painter and as a teacher, on the course of American naturalism
Motion Study: Thomas Eakins Nude, 1884 or 1885
The Agnew Clinic, 1889
Wrestlers, 1899
Crucifixion, 1880
The Ash Can School/Ashcan School
a realist artistic movement came into prominence in the United States during the early twentieth century America's first artistic rebellion of the 20th century Name: reference to their brand of realism drawn from the city streets
The Ash Can School/Ashcan School
Other names: Apostles of Ugliness, the Revolutionary Gang best known for works portraying scenes of daily life in poor urban neighborhoods movement most associated with a group known as The Eight/ The Ash Can Painters
The Ash Can School/Ashcan School
Members: Robert Henri, Arthur B. Davies, Maurice Prendergast, Ernest Lawson, William Glackens, Everett Shinn, John French Sloan, and George Luks. The Eight exhibited as a group only once - the Macbeth Gallery, 1908 work very diverse in terms of style and subject matter.
The Ash Can School/Ashcan School
Others: photographer Jacob Riis this frequent, although not total, focus upon poverty and the daily realities of urban life at that time prompted critics to consider them on the fringe of modern art. Everyday life in the city was dealt with, not only as art, but as a contemporary standard of beauty.
The Ash Can School/Ashcan School
These artists viewed:
the paintings of Whistler as elitist (appealing only to a select few) the paintings of the visionaries as too private in meaning the subjects of the impressionists as irrelevant to modern city life the late seascapes of W. Homer as escapist.
Robert Henri -Portrait of Mary Gallagher (about 1924) •contended that the working classes were the most suitable subjects for art and that the artist was a social force whose “work creates a stir in the world.”
George Benjamin Luks -- The Wrestlers, 1905
•started his career as a newspaper correspondent and illustrator •Career as a boxer foe a while •came from a Pennsylvania mining district though from a home of more-thanaverage culture, passed himself off as a working-class tough •preference for scenes from urban working-class life
John Sloan - Turning Out the Light, (1905) •part of a series of etchings called New York City Life •Incl. New York’s Lower East Side
William Glackens -- Beach Umbrellas at Blue Point, 1915
•the technique and light palette of impressionis m •preferred scenes of crowds in parks, in theaters, or at beaches
George Bellows -- Mr. and Mrs. Phillip Wase, 1924
The City. Jacob A. Riis. How The Other Half Lives (1890)
The Slums
December, 1889: an account of city life, illustrated by photographs, appeared in Scribner's Magazine. This created a great deal of interest and the following year, a full-length version, How the Other Half Lives, was published. The book was seen by Theodore Roosevelt, the New York Police Commissioner, and he had the city police lodging houses that were featured in the book closed down.
Jacob A. Riis. How The Other Half Lives (1890)
Children sleeping in Mulberry Street (1890)
Bandits' Roost (1890)
Jacob A. Riis. How The Other Half Lives Homeless Children (1890)
Late 18th Century to Mid 19th Century Another reaction against Neoclassicism deeply-felt style which is individualistic, beautiful, exotic, and emotionally wrought. The United States - the leading Romantic movement: the Hudson River School
Winslow Homer (1836 - 1910)
an American landscape painter and printmaker, most famous for his marine subjects one of the foremost painters in 19th century America mostly known for his watercolors and his paintings of the Civil War
The Gulf Stream, 1899
Waiting an Answer, 1872
Breezing Up, 1876
Thomas Eakins (1844-1916)
American realist painter one of the foremost of the 19th century independent of contemporary European styles the first major artist after the American Civil War (1861-1865) to produce a profound and powerful body of work drawn directly from the experience of American life
Thomas Eakins (1844-1916)
lifelong interest in scientific realism scenes and people observed in the life around him in Philadelphia, particularly domestic scenes of his family and friends delineated the anatomy of the human body profound influence, both as a painter and as a teacher, on the course of American naturalism
Motion Study: Thomas Eakins Nude, 1884 or 1885
The Agnew Clinic, 1889
Wrestlers, 1899
Crucifixion, 1880
The Ash Can School/Ashcan School
a realist artistic movement came into prominence in the United States during the early twentieth century America's first artistic rebellion of the 20th century Name: reference to their brand of realism drawn from the city streets
The Ash Can School/Ashcan School
Other names: Apostles of Ugliness, the Revolutionary Gang best known for works portraying scenes of daily life in poor urban neighborhoods movement most associated with a group known as The Eight/ The Ash Can Painters
The Ash Can School/Ashcan School
Members: Robert Henri, Arthur B. Davies, Maurice Prendergast, Ernest Lawson, William Glackens, Everett Shinn, John French Sloan, and George Luks. The Eight exhibited as a group only once - the Macbeth Gallery, 1908 work very diverse in terms of style and subject matter.
The Ash Can School/Ashcan School
Others: photographer Jacob Riis this frequent, although not total, focus upon poverty and the daily realities of urban life at that time prompted critics to consider them on the fringe of modern art. Everyday life in the city was dealt with, not only as art, but as a contemporary standard of beauty.
The Ash Can School/Ashcan School
These artists viewed:
the paintings of Whistler as elitist (appealing only to a select few) the paintings of the visionaries as too private in meaning the subjects of the impressionists as irrelevant to modern city life the late seascapes of W. Homer as escapist.
Robert Henri -Portrait of Mary Gallagher (about 1924) •contended that the working classes were the most suitable subjects for art and that the artist was a social force whose “work creates a stir in the world.”
George Benjamin Luks -- The Wrestlers, 1905
•started his career as a newspaper correspondent and illustrator •Career as a boxer foe a while •came from a Pennsylvania mining district though from a home of more-thanaverage culture, passed himself off as a working-class tough •preference for scenes from urban working-class life
John Sloan - Turning Out the Light, (1905) •part of a series of etchings called New York City Life •Incl. New York’s Lower East Side
William Glackens -- Beach Umbrellas at Blue Point, 1915
•the technique and light palette of impressionis m •preferred scenes of crowds in parks, in theaters, or at beaches
George Bellows -- Mr. and Mrs. Phillip Wase, 1924
The City. Jacob A. Riis. How The Other Half Lives (1890)
The Slums
December, 1889: an account of city life, illustrated by photographs, appeared in Scribner's Magazine. This created a great deal of interest and the following year, a full-length version, How the Other Half Lives, was published. The book was seen by Theodore Roosevelt, the New York Police Commissioner, and he had the city police lodging houses that were featured in the book closed down.
Jacob A. Riis. How The Other Half Lives (1890)
Children sleeping in Mulberry Street (1890)
Bandits' Roost (1890)
Jacob A. Riis. How The Other Half Lives Homeless Children (1890)
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