The rise of US art.

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Presentation transcript:

The rise of US art

Realism/A national art Giles Edgerton p. 6 Robert Henri p. 8 (American art cannot be created from the outside in; patriotism of soul; beauty of his own environment; the individual expression)

The Ashcan School Robert Henri, The Dutch Girl, 1913, o/c, 24 1/4 x 20 1/4 in Snow in New York, 1902, o/c, 32 x 25”

John Sloan Election Night, 1907, o/c, 26 x 32

John Sloan / the common people Six o’clock, Winter, 1912, o/c, 26 x 32” When I painted the life of the poor, I was not thinking about them like a social worker - but with the eye of a poet who sees with affection.

Italian Futurism Severino "Danza serpentina“ 1914 This collage is an example of a painter's interpretation of the words-in-freedom. The artist explained that his use of forms, colors, and words suggest analogies between a dancer's movement, a whirring propeller, and a flying bullet. Italian Futurism Severino "Danza serpentina“ 1914

Umberto Boccioni. (Italian, 1882-1916). States of Mind I: The Farewells. 1911. Oil on canvas, 27 3/4 x 37 3/8"

John Marin Brooklyn Bridge, ca. 1912, Watercolor and charcoal on paper; 18 5/8 x 15 5/8 in (Italian futurism)

John Marin St. Paul's, Manhattan, 1914 Watercolor and charcoal on paper; 15 5/8 x 18 7/8 in.

The Armory Show Arthur Jerome Eddy pp. 35 – 36 Paula Haviland p. 38 Louise Norton, Buddha of the Bathroom p. 40

Marcel Duchamp Fountain, 1917 (original lost) Nude Descending a Staircase, 1912, o/c 57 x 35”

The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) Oil, varnish, lead foil, lead wire, and dust on two glass panels. 109" x 69".

Edward Weston Two Shells 1927 Alfred Stieglitz Equivalent. 1925. Gelatin silver print, 3 5/8 x 4 5/8" Equivalent. 1929. Gelatin silver print, 4 11/16 x 3 11/16" Edward Weston Two Shells 1927 photograph

Dorothea Lange Migrant Mother, Nipomo, California 1936, gelatin-silver print, 10 x 12 Migratory Cotton Picker, Eloy. Arizona, 1940 gelatin-silver print, 10 x 13

Georgia O’Keeffe 1887-1986 Organic Abstraction City Night, 1926, oil on canvas

Search-Light: Georgia O’Keeffe Dark desires, simplicity Smiles, maternal splendor Peasant, strong hipped, esoteric Wisdom 1923 Red Canna, 1923

Summer Days, 1936, oil on canvas Iris, 1929

(1917) Evening Star, No. III Special n. 12 Watercolor on paper mounted on board, 8 7/8 x 11 7/8" Special n. 12 1918 Charcoal on paper, 24 x 19"

Georgia O’keefe, Blue and Green Music, 1919, o/c

Red Canna, oil on canvas, 1923

Georgia O’Keeffe City Night, 1926, oil on canvas Cows Skull with Calico Roses, 1931, o/c, 36 x 24 in.

Ram's Head White Hollyhock and Little Hills, 1935

White Canadian Barn II, 1932 Oil on canvas 12 x 30 in

John Storrs Forms in Space "skyscraper sculptures" Forms in Space 1927 Stainless steel and copper 20 1/2 x 4 x 5/8 in

Charles Demuth Machinery cyclone separator, a centrifuge-like apparatus often used in industrial settings, consisting of a tank, a funnel, and two armlike duct pipes. Williams himself contemplated the analogy between the arts and technology. In 1944, he wrote, "To make two bald statements: There's nothing sentimental about a machine, and: A poem is a small (or large) machine made out of words" (introduction to The Wedge, 1944). Machinery 1920 Tempera and pencil on cardboard 24 x 19 7/8 in. After Sir Christopher Wren 1920 Watercolor, gouache, and pencil on cardboard 24 x 20 in. (60.5 x 51 cm)