Chapter 15.3 The American Scene and Regionalism 20th Century Realism Abstract art dominated painting for most of the twentieth century, but there were still many American artists who continued to paint in a traditional, recognizable, figurative style. The group including painters Edward Hopper and Walt Kuhn was sometimes referred to as the American Scene. Regionalist art — art which depicted the particular place, customs and people where it was created — was common across the United States. Artists such as Grant Wood and Thomas Hart Benton were memorable participants in this Regionalist movement.

Frederick Remington (1861-1906) oil on canvas Remington was famous for his paintings of the American West, which glorified cowboys, soldiers, Indians and the frontier lifestyle of the 1800s. His style and technique were traditional, not modern in his time.

Frederick Remington (1861-1906) oil on canvas Remington’s technical ability was highly developed, reflecting many hours of drawing and studying human and animal anatomies.

Frederick Remington (1861-1906) oil on canvas Remington was able to convey the vast space of the western plains through his use of sparse, dramatic figure groupings set against a deep, receding landscape.

Frederick Remington (1861-1906) oil on canvas Notice Remington’s powerful use of negative space, contrast and coordinated color scheme.

Frederick Remington (1861-1906) oil on canvas These images were nostalgic when Remington created them; this was a romantic version of the West which no longer existed even then.

Thomas Hart Benton (1889-1975) Arts of the West, 1932, 8 x13’ Tempera Benton was born in Missouri, and his work was filled with imagery from the rural midwest—even after he moved to New York City and became a prominent art instructor at the Art Students League on 57th St.

Thomas Hart Benton (1889-1975) Tempera

Thomas Hart Benton (1889-1975) Tempera

Thomas Hart Benton (1889-1975) Tempera Although it is quite majestic, Benton’s treatment is highly stylized; note the comparison with Albert Bierstadt’s more realistic landscape work in the next image...

Benton’s landscape (on the left) appears more stylized and does not seem as “realistic” as Albert Bierstadt’s painting (on the right.) What are some of the differences in the artists’ handling which affect how realistic these images appear to be? Is one image better than the other?

Grant Wood (1892-1941) Stone City Iowa, 1930, oil on wood, 30 x 40” Born in rural Iowa on a farm, Wood visited Europe and was fascinated by the precisely detailed artwork of the Flemish painters from the 1400s, whose work he encountered there. Despite precise forms and the inclusion of great detail, Wood’s work is stylized.

Grant Wood (1892-1941) The Midnight Ride of Paul Revere, oil on wood

Grant Wood (1892-1941) oil on wood

Grant Wood (1892-1941) oil on wood

Grant Wood (1892-1941) oil on wood

Grant Wood (1892-1941) American Gothic, 1930, oil on board, 29 x 24” This is Grant Wood’s most famous painting, which has come to symbolize the look and attitude of rural America for much of the modern world. Compared to his landscape work, it is quite realistic. How doe he achieve this degree of realism?

Walt Kuhn (1880-1949) oil on canvas Kuhn was one of the American Scene painters, famous for his images of circus performers.

Walt Kuhn (1880-1949) oil on canvas Kuhn was one of the American Scene painters, famous for his images of circus performers.

Walt Kuhn (1880-1949) oil on canvas Kuhn was one of the American Scene painters, famous for his images of circus performers.

Walt Kuhn (1880-1949) oil on canvas Kuhn was one of the American Scene painters, famous for his images of circus performers.

Walt Kuhn (1880-1949) oil on canvas Kuhn was one of the American Scene painters, famous for his images of circus performers.

Edward Hopper (1882-1967) Nighthawks, 1942, oil on canvas, 30 x 60” Hopper studied with Robert Henri at the Art Students League, travelled and painted in Europe, and worked extensively as an illustrator before establishing his painting career. Hopper always depicts a very particular circumstance of light; the human figures are often part of an understated narrative.

Edward Hopper (1882-1967) Pennsylvania Coal Town, 1947, oil on canvas, 28 x 40” Hopper made detailed drawings and took extensive notes in preparation for creating his paintings; he was not known to have used photographs.

Edward Hopper (1882-1967) Automat, 1927, oil on canvas, 28 x 36” There is often a moody aspect to Hopper’s scenes; his people are engaged in solitary, quiet activities. Hopper uses the reflection of the light fixtures to create a pictorial rhythm and geometrical structure in his image, while omitting other visual details.

Edward Hopper (1882-1967) Gas, 1940, oil on canvas, 26 x 40” How many different sources of light can you see here? Hopper has done a good job of portraying the last light of day as the sun disappears over the trees.

Edward Hopper (1882-1967) Early Sunday Morning, 1930, oil on canvas, 35 x 60” In order to create a lively visual rhythm, Hopper varies the repeated elements of the building facade. Notice that the window shade colors and positions are not uniform. The barber’s pole and fire hydrant also establish a visual tension.

Edward Hopper (1882-1967) Approaching a City, 1946, oil, 27 x 36” The artist had to make his visual notes quickly, as the train he rode was moving when he saw this urban landscape.

Edward Hopper (1882-1967) Tables for Ladies, 1930, oil, 48 x 60” Specific patterns of light and dark function as a design element, while simultaneously defining and modeling form.

Edward Hopper (1882-1967) Chop Suey, 1929, oil, 32 x 38” An unusual cropping of signage lets the viewer know where this scene occurs.

Edward Hopper (1882-1967) New York Movie, 1939, oil, 32 x 40” Many artists have been influenced by the film medium, but few if any have actually painted a scene depicting a movie being projected onscreen. Notice the numerous sources of light shown in this image.

Edward Hopper (1882-1967) Two on the Aisle, 1927, oil, 40 x 48” Unusual, carefully considered cropping helps the artist achieve maximum visual impact from the eccentric shapes of the theater architecture.

Edward Hopper (1882-1967) Office at Night, 1940, oil, 22 x 25” Notice the unusual viewpoint, from slightly above and at a diagonal angle.

Edward Hopper (1882-1967) Eleven A. M Edward Hopper (1882-1967) Eleven A.M., 1926, oil, 28 x 36” There is a sense that we are being allowed to glimpse a very intimate, private space.

Edward Hopper (1882-1967) Lighthouse at Two Lights, 1929, oil, 30 x 43” In addition to living in New York City, Hopper and his wife spent a lot of time in Maine and on Cape Cod.

Edward Hopper (1882-1967) Oil on canvasIn addition to living in New York City, Hopper and his wife spent a lot of time in Maine and on Cape Cod.

Edward Hopper (1882-1967) Cape Cod Evening, 1939, oil, 30 x 40” Hopper pieced this image together from sketches and mental impressions of things in the vicinity. No specific models posed for this; he was 57 and had been drawing for many decades.

Edward Hopper (1882-1967) Morning Sun, 1952, oil, 28 x 40” Hopper’s wife Jo insisted on being the female model for all his works.