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Artists Stuart Davis

Stuart Davis

American painter

Movements: Ashcan School, Early American Modernism, Cubism

Born: December 7, 1892 - Philadelphia, Pennsylvania

Died: June 24, 1964 - New York, New York

Quotes

"An artist who has traveled on a steam train, driven an automobile, or flown in an airplane doesn't feel the same way about form and space as one who has not."
Stuart Davis
"I regret that I have long been 'type-cast' as 'Abstract,' because my interest in Abstractions is practically zero. Real Abstract art exists only in Academic painting, or in the minds of Art critics, historians and iconographers."
Stuart Davis
"I don't want people to copy Matisse or Picasso, although it is entirely proper to admit their influence. I don't make paintings like theirs. I make paintings like mine."
Stuart Davis
"My concept of form is very simply and is based on the assumption that space is continuous and that matter is discontinuous. In my formal concept the question of two or more dimensions does not enter. I never ask the question 'Does this picture have depth or is it flat?'"
Stuart Davis
"For a number of years Jazz had a tremendous influence on my thoughts about art and life."
Stuart Davis
"For any artist to persevere, they must have an enthusiastic audience of at least one."
Stuart Davis
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"I paint what I see in America, in other words I paint the American scene."

Synopsis

One of America's first modern artists and a forefather of Pop Art, Stuart Davis began his artistic career with the Ashcan School before embracing European modernism following the Armory Show. The artist's abstract paintings, infused with jazz rhythm and bold, colorful abstractions of New York's urban landscape or household objects, offer a taste of European Cubism with an American twist. Whether painting in the style of realism or Post-cubist abstraction, Davis's determination to convey something of American political and consumer culture was unwavering.

Key Ideas

Davis is credited with developing an American variation of European Cubism at a time when modernism was just beginning to infiltrate the country. Through slang words and imagery that were distinctly American, Davis's paintings established the country's presence in the burgeoning modern art world.
The artist was one of the first to consider jazz and swing music in conjunction with painting. His use of bright, pulsating colors, expressive lines, and repetitious shapes creates a visual rhythm in his paintings similar to the syncopation and improvisation of jazz music.
Davis introduced a new post-Cubist approach to abstraction by dispersing shapes, throughout the canvas and balancing bold colors in such a way as to deny a central focal point. This new method, in which all parts are equal so that the viewer's eye can wander unguided, signified an important step toward the complete abstraction accomplished by Abstract Expressionists, such as Jackson Pollock.
Davis transformed common consumer products and advertisements into singular works of high art that evoked the American populist spirit, prefiguring Pop Art of the 1960s.

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Most Important Art

Chinatown (1912)
This painting, which depicts a tenement building located in New York City's Chinatown, alludes to the social realities of the city's immigrant and working class populations. A woman dressed in black confronts the viewer, offering her bodily profile for consideration. Faded advertisements mottle the stone surface of the building near the door. A barely legible sign in the window announces, "SUM YET PLEASURE," suggesting the woman's occupation to be that of a prostitute. On the balcony's rail sits an outstretched cat, traditionally a marker for promiscuity further supporting this assumption.

Chinatown is distinctly different from much of Davis's mature work, which is known for its bright colors and abstract forms. Here, Davis offers an honest, objective view of the metropolis's seedy underbelly in the style of the Ashcan School. His expressive brushwork hints at the painting's hasty completion - something Robert Henri encouraged in his students. As an Ashcan artist, Davis was among the first American painters to express an interest in enlightening and educating viewers on the populist reality.
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Biography

Childhood

The son of sculptor Helen Stuart Foulke and art editor Edward Wyatt Davis, Stuart Davis seemed destined for a career in the fine arts. His interest in drawing was apparent by age sixteen, when he began writing and illustrating adventure stories for his brother Wyatt, thirteen years his junior. Davis's father was then the art editor and cartoonist for Newark Evening News. The family's relocation from Philadelphia, where Davis was born, to New Jersey was fortuitous for Davis's artistic development. It put him in closer contact with a number of artist-reporters who had been working with his father since the 1890s. Now known as "the Eight," these artists included Robert Henri, George Luks, and Everett Shinn.

In 1909, during his first year attending Orange High School, sixteen year-old Davis dropped out and began commuting to New York City, where he studied painting at the Robert Henri School of Art. Far from reprimanding their son for this seemingly brash move, Davis's parents encouraged him to pursue his training in the competent care of Henri, a family friend and leading figure in the American Realist movement known as the Ashcan School.

Early Training

Under Henri's tutelage, Davis learned that challenging established academic theories about art was an important component to his artistic training. Davis later recalled: "All the usual art school routine was repudiated. Individuality of expression was the keynote... Art was not a matter of rules and techniques, or the search for an absolute ideal of beauty. It was the expression of ideas and emotions about the life of the time." Henri encourages spontaneity in his students' work, urging them to capture "life in the raw." Davis did just that. During his three years with Henri, Davis depicted gritty, unsentimental urban street scenes - from Hoboken alleys to Harlem saloons - in the manner of the Ashcan School.

During his studies, Davis met two men with whom he would become lifelong friends: Glenn Coleman and Henry Glintenkamp. All three men joined the staff of The Masses, a leftist arts and literary magazine. There, they created cover art and drawings for art editor and Ashcan painter John Sloan. By 1912, Davis had left Henri's School to establish a studio with Glintenkamp in nearby Hoboken, NJ. Shortly thereafter, Davis left The Masses due to differing views on the editorial policy; but he continued producing work for Harper's Weekly.

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Stuart Davis Biography Continues

In 1913, Davis's creative vision expanded considerably when he became one of the youngest artists to exhibit his work in the Armory Show. His five watercolors rendered in the urban realist style of the Ashcan School earned him some recognition. More importantly, the show exposed Davis to works by European modernists, including Vincent van Gogh, Henri Matisse, and Pablo Picasso. Davis's perspective began to change accordingly. Not only did abstract art offer a striking deviation from Ashcan realism, but it also lent itself to a visual rhythm and boldness reminiscent of the jazz music Davis so adored.

Gradually, the artist began incorporating the principles of modernism into his own work. He adopted a loose brushstroke, emboldened colors, and flattened forms. His rooftops became more angular and his modeling of form minimal. He exhibited these increasingly abstract cityscapes frequently - most notably with the Society of Independent Artists in 1916 and at Sheridan Square Gallery in New York City the following year. Although drafted into the First World War in 1918, Davis was able to remain in New York where he worked as a cartographer for the Army Intelligence Department.

After the war, Davis continued working in his Cubist style with one exception. In January 1920, he travelled with Coleman to Cuba, a cheap and exotic locale, perfect for young artists in search of new subject matter. Davis's watercolors produced during this two-month sojourn reveal that he reverted back to the urban realist style of his youth to a degree. These bold, rapidly executed watercolors appear somewhat more detailed than his early Cubist abstractions. They emphasize the exotic "otherness" of Cuba, depicting dancing women on the streets, tropical vegetation, and local vernacular architecture. Davis's unexpected stylistic shift was short-lived, however. When the artists returned to New York City later that year, Davis, once again immersed in the European modernism that was taking America by storm, delved further into abstract painting and never looked back.

Mature Period

Stuart Davis Biography

For much of the 1920s Davis painted abstractions of New York urban scenes with the exception of a few canvases inspired by his summers spent visiting family in Gloucester, Massachusetts, and travels to Santa Fe, New Mexico with painter John Sloan. By 1922, he had gained entry into New York's avant-garde circles. As an official member of Modern Artists of America, Davis cultivated close friendships with fellow artists, including John Graham, Arshile Gorky, Charles Demuth, and poet William Carlos Williams. He became particularly close with Gorky and Graham; peers dubbed the trio "The Three Musketeers."

Davis's painting style became noticeably more abstract during this decade. And yet, outside of a series of Cubist landscapes and still-life collages, the artist's favored subject of urban, vernacular structures remained relatively consistent. Following the Cubist example set by Picasso and Braque, Davis began experimenting with geometricity and simultaneity: distilling complex objects into basic shapes, patterns, and text, while depicting different, overlapping perspectives of the object. He successfully reduced familiar landmarks and structures to flat, geometric shapes arranged in colorful patterns. But as much as Davis embraced the reduction of a three-dimensional object to two-dimensions, he never gave in to complete abstraction. For Davis, it was important that something of the subject be recognizable to the viewer, otherwise the work's broader statement about American culture risked being lost entirely.

The artist's distinctly American take on European Cubism earned him a reputation as one of the first American modernists. His "squiggly lines and flashy colors" particularly enthralled viewers. The Egg Beater Series of 1927-28 is credited with catapulting him to this new level of fame in the American art scene. In the artist's own words: "I nailed an electric fan, a rubber glove, and an eggbeater to a table" and focused on that still-life exclusively for one year. Through careful study of this still-life over an extended time, Davis produced four paintings, each of which explores simplification of forms and spatial perception in remarkably different ways.

When in 1928, Juliana Force of the Whitney Studio Club (now the Whitney Museum of American Art) purchased two of Davis's paintings, the artist used the proceeds to finance a trip to Paris with his girlfriend Bessie Chosak. Though the couple eventually married while there, this was much more than a romantic getaway for Davis. It was an opportunity to engage with European modernists first-hand. He found a studio in the Montparnasse neighborhood (home to Parisian artistic circles at the time) and began developing a series of lithographs depicting local cafés, streets, and alleys. He later remarked, "I liked Paris the minute I got there. Everything was human-sized. You had the illusion an artist was a human being and not just a bum." Despite his love for Paris, a return to New York was inevitable. However, the city that Davis came home to was very different from the one he had left a year prior. His mentor, Robert Henri, had died and the Great Depression was well on its way.

The Depression years marked a period of intense political engagement for Davis, as they did for many of the nation's artists and writers. According to art historian Cecile Whiting, Davis strove to "reconcile abstract art with Marxism and modern industrial society." He painted for the easel section of the Public Works of Art Project beginning in 1933 and, later, painted murals for the Federal Art Project of the Works Progress Administration. Well respected among his peers, Davis rose to prominence in both the Artists' Union and the American Artists' Congress. His personal life took a turn for the worse, however, when his wife died suddenly due to complications following a surgical procedure. Shortly thereafter, he began a relationship with Roselle Springer, whom he married in 1938.

The mid-1930s witnessed yet another shift in painting style. The painterly character of Davis's early work was replaced with an emphasis on drawing and line. Now more than ever Davis felt the obligation to make his abstract art accessible to viewers. Not only was the readability of his art important to conveying his observations of American political and consumer culture; it was also paramount to reaffirming abstraction's place in America. For Davis, incorporating recognizable patterns, forms, and text encouraged the viewer to visually enter the painting, explore colors, line, and spatial relations, and finally leave with an emotional response. If successful, this visual reconciliation of abstract and familiar forms would reassure the viewer that modern art was in fact relevant at a time when Regionalist painters Thomas Hart Benton and Grant Wood questioned the pertinence of abstraction.

Late Period

Stuart Davis Biography

Having established his place in New York's avant-garde circles, Stuart Davis began teaching - first at the Art Student's League during the early 1930s and then at the New School for Social Research and Yale University the following decade. The artist's stable income as an instructor was much appreciated when his wife gave birth in 1952 (Davis was 60) to their only child, George Earle. By that time, Davis was a veritable icon of American art. And yet the work he produced during the 1950s - still in the Cubist style - seemed outdated in the face of the increasingly pervasive Abstract Expressionist movement.

Davis struggled to maintain his position at the forefront of American modernism during the 1950s. But at a time, with the avant-garde was moving toward complete abstraction and nonfigurative expressions of internal turmoil or emotion, Davis continued creating work rooted in the external world. He was averse to subjective content, preferring instead to address societal and cultural issues head on through his art. Withdrawing into his studio and drinking heavily, Davis produced fewer than ten major works during the last decade of his life.

Stuart Davis Portrait

Frustrated he may have been, but his work continued to strike a cord with viewers. In both 1952 and 1954, the artist represented the United States at the Venice Biennale. He also received the Guggenheim International Award in 1958 and again in 1960. These final paintings are more monumental in size, perhaps in an effort to compete with the growing canvas sizes of many Abstract Expressionists. Davis reduced his color palette as well, though his work shows his continued preference for intense colors and clarity of form. Sadly, the artist's health declined rapidly in the early 1960s until 1964 when he suffered a stroke and died.


Legacy

It was during the last years of his life that Davis's work became newly appreciated by yet another generation of artists, who admired Davis's intermingling of advertisements with modern abstraction in a way that plainly articulated the unique character of the nation. Artist Donald Judd, then critic for Arts Magazine in 1962, voiced his appreciation for Davis's 1960s aesthetic, which he described as an important precursor to Pop Art. Indeed, because Davis grappled with themes related to popular culture, consumerism, and media through his witty depictions of billboards, tobacco products and household objects, his paintings are now recognized as Proto-Pop. His influence can be seen in the bold, graphic paintings of major Pop artists in America and Britain, including Andy Warhol and David Hockney. Wayne Thiebaud's interest in mass-produced objects and the visual language of advertisements also owes a debt to Davis' art.

Stuart Davis Portrait

Other qualities of Davis's work, particularly his bold, pulsating colors and interjecting angular planes that mimic the cacophony of sounds and dissonant rhythms of jazz music, had a significant impact on his peers as well. While the artist employed these elements to convey the fast-pace of life in modern America, other artists, such as Aaron Douglas and Archibald Motley, began calling upon the musical art form in their efforts to highlight African Americans' meaningful contributions to American culture. Later, during the 1940s, European modernists, including Piet Mondrian and Henri Matisse, also looked to jazz music for inspiration as they worked in their own modern painting styles.

Influences and Connections

Influences on artist

Artists, Friends, Movements

Influenced by artist

Artists, Friends, Movements

Stuart Davis
Interactive chart with Stuart Davis's main influences, and the people and ideas that the artist influenced in turn.
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View Influences Chart

Artists

Robert Henri
Henri Matisse
Piet Mondrian
Pablo Picasso
Georges Braque

Friends

Movements

Realism
Cubism
Stuart Davis
Stuart Davis
Years Worked: 1909 - 1964

Artists

Wayne Thiebaud
David Hockney
Andy Warhol

Friends

John Sloan

Movements

Pop Art
Abstract Expressionism



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Useful Resources on Stuart Davis

Videos
Books
Websites
Articles
The books and articles below constitute a bibliography of the sources used in the writing of this page. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet.
biography
Stuart Davis in Gloucester (1999)

By Karen Wilkin

Stuart Davis (1998)

By Rudi H. Fuchs, Lewis C. Kachur, and Philip Rylands

Stuart Davis's Abstract Argot (1993)

By William R. Wilson

Stuart Davis: American Painter (1991)

By Lowery Stokes Sims

More Interesting Books about Stuart Davis
Stuart Davis: In Full Swing

Whitney Museum's upcoming exhibition on Davis

Stuart Davis Page at Sullivan Goss Gallery

Contains biographical and exhibition information about Davis

Stuart Davis Memorial Exhibition Catalogue

Lengthy .pdf catalogue of 1965 traveling exhibition, Smithsonian Institution

Stuart Davis and American Abstraction: A Masterpiece in Focus

Information about 2005 exhibition at the Philadelphia Museum of Art

Stuart Davis: Jazz-Inspired and in Perfect Harmony

By Hank Burchard
The Washington Post
May 29, 1998

Stuart Davis at the Met

By Hilton Kramer
The New Criterion
January 1992

The Apprenticeship Of Stuart Davis as a Cubist

By Roberta Smith
The New York Times
November 27, 1987

Compelling Show of Early Stuart Davis

By John Russell
The New York Times
November 11, 1983

Off The Wall: The Mellow Pad by Stuart Davis

Brooklyn Museum Curator discusses The Mellow Pad (1945-51) in this brief video

Art Professor Talks About Stuart Davis' Allée

Drake University faculty member discusses one of the University's most notable works of art: Stuart Davis' 1954 mural, Allée.

Art in Public: Stuart Davis on Abstract Art and the WPA, 1939

Audio-only recording of the dedication ceremony for several WPA murals in New York

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Cite this page

Content compiled and written by Jen Glennon

Edited and revised by Sandy McCain

" Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Jen Glennon
Edited and revised by Sandy McCain
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Pop Art
Pop Art
Pop Art
British artists of the 1950s were the first to make popular culture the dominant subject of their art, and this idea became an international phenomenon in the 1960s. But the Pop art movement is most associated with New York, and artists such as Andy Warhol, who broke with the private concerns of the Abstract Expressionists, and turned to themes which touched on public life and mass society.
TheArtStory: Pop Art
Cubism
Cubism
Cubism
Cubism was developed by Pablo Picasso and Georges Braque between 1907-1911, and it continued to be highly influential long after its decline. This classic phase has two stages: 'Analytic', in which forms seem to be 'analyzed' and fragmented; and 'Synthetic', in which pre-existing materials such as newspaper and wood veneer are collaged to the surface of the canvas.
TheArtStory: Cubism
Abstract Expressionism
Abstract Expressionism
Abstract Expressionism
A tendency among New York painters of the late 1940s and '50s, all of whom were committed to an expressive art of profound emotion and universal themes. The movement embraced the gestural abstraction of Willem de Kooning and Jackson Pollock, and the color field painting of Mark Rothko and others. It blended elements of Surrealism and abstract art in an effort to create a new style fitted to the postwar mood of anxiety and trauma.
TheArtStory: Abstract Expressionism
Jackson Pollock
Jackson Pollock
Jackson Pollock
Jackson Pollock was the most well-known Abstract Expressionist and the key example of Action Painting. His work ranges from Jungian scenes of primitive rites to the purely abstract "drip paintings" of his later career.
TheArtStory: Jackson Pollock
Robert Henri
Robert Henri
Robert Henri
Robert Henri was an American painter and educator, who founded the Realist group Ashcan School and organized the association of artists known as "The Eight," which famously challenged the restrictions of the National Academy of Design. Influenced by Impressionism and Realism, Henri investigated socially-relevant issues of early twentieth century society through compelling cityscapes and portraits.
Robert Henri
George Luks
George Luks
George Luks
George Luks was an American realist painter whose scenes of daily life are prime examples of the Ashcan School. Born in Pennsylvania to Central European immigrants, he originally worked in vaudeville before becoming a painter. While working as an illustrator he met William Glackens and the two worked together on developing the Ashcan style of art.
George Luks
Everett Shinn
Everett Shinn
Everett Shinn
Everett Shinn was an American realist artist known for scenes of daily life in New York and London. Part of the Ashcan School, he separated himself from his fellow members by primarily working in pastels. Shinn is said to be the model for the protagonist in Theodore Dreiser's novel, The Genius.
Everett Shinn
John Sloan
John Sloan
John Sloan
John Sloan was a twentieth-century American realist painter and teacher. He was a founding member of The Eight and the Ashcan School of realist painting. Beginning in 1914, Sloan was also an influential art teacher at The Art Students League of New York.
John Sloan
Vincent van Gogh
Vincent van Gogh
Vincent van Gogh
Vincent van Gogh was a Dutch painter, commonly associated with the Post-Impressionist period. As one of the most prolific and experimental artists of his time, van Gogh was a spontaneous painter and a master of color and perspective. Troubled by personal demons all his life, many historians speculate that van Gogh suffered from a Bipolar disorder.
TheArtStory: Vincent van Gogh
Henri Matisse
Henri Matisse
Henri Matisse
Henri Matisse was a French painter and sculptor who helped forge modern art. From his early Fauvist works to his late cutouts, he emphasized expansive fields of color, the expressive potential of gesture, and the sensuality inherent in art-making.
TheArtStory: Henri Matisse
Pablo Picasso
Pablo Picasso
Pablo Picasso
Picasso dominated European painting in the first half of the last century, and remains perhaps the century's most important, prolifically inventive, and versatile artist. Alongside Georges Braque, he pioneered Cubism. He also made significant contributions to Surrealist painting and media such as collage, welded sculpture, and ceramics.
TheArtStory: Pablo Picasso
John Graham
John Graham
John Graham
John Graham was a Ukrainian-born American painter and a key figure in the development of Abstract Expressionism. Never adopting a singular style in his own art, Graham tutored many young abstract artists on the tenets of Cubism and Surrealism, of which he was an expert. Willem de Kooning credited Graham as the person who discovered Jackson Pollock.
TheArtStory: John Graham
Arshile Gorky
Arshile Gorky
Arshile Gorky
Arshile Gorky was an Armenian-born American painter and a major influence on the development of Abstract Expressionism. In his own art he fused elements of Cubism, Surrealism and Expressionism, and was close with key figures central to New York's burgeoning abstrct art scene, such as John Graham, Stuart Davis and Willem de Kooning.
TheArtStory: Arshile Gorky
Charles Demuth
Charles Demuth
Charles Demuth
Demuth was an important member of the early twentieth century Precisionist movement that emphasized sharp lines and clear geometric shapes. Challenging the boundaries of race, class, sexuality, and artistic tradition he was an instrumental part of advancing American modernism.
TheArtStory: Charles Demuth
William Carlos Williams
William Carlos Williams
William Carlos Williams
William Carlos Williams was an American poet who is most famous for his modern works and contribution to the imagism movement.
William Carlos Williams
American Regionalism
American Regionalism
American Regionalism
Regionalism emerged in 1930s as an alternative to the abstract and avant-garde veins of modern art. Executed in a realist style, it often depicted scenes of everyday rural life, and frequently featured allegories about land, labor, and American history.
American Regionalism
Thomas Hart Benton
Thomas Hart Benton
Thomas Hart Benton
Thomas Hart Benton was an American painter whose rural and industrial subjects, grand-scale murals, and figurative style were hallmarks of American Regionalism.
TheArtStory: Thomas Hart Benton
Grant Wood
Grant Wood
Grant Wood
Grant Wood, painter of American Gothic and other iconic representations of American life, was one of the most well-known of the Regionalists, a group that focused on realist depictions of daily life in midwestern America.
Grant Wood
Donald Judd
Donald Judd
Donald Judd
Donald Judd was an early and influential Minimalist artist who made large-scale geometric objects, often of industrial materials and serially arranged on the floor or wall. He helped found the Chinati Foundation in Marfa, Texas, where many key works of Minimalism are installed.
TheArtStory: Donald Judd
Andy Warhol
Andy Warhol
Andy Warhol
Andy Warhol was an American Pop artist best known for his prints and paintings of consumer goods, celebrities, and photographed disasters. One of the most famous and influential artists of the 1960s, he pioneered compositions and techniques that emphasized repetition and the mechanization of art.
TheArtStory: Andy Warhol
David Hockney
David Hockney
David Hockney
David Hockney is an English painter, photographer, collagist and designer. Hockney's influence was particularly felt during the Pop art movement on the 1960s, yet his work has also suggested mixed media and expressionistic tendencies. Although based in London for most of his career, Hockney's most famous paintings occurred during an extended trip to Los Angeles, in which he painted a series of scenes inspired by swimming pools.
TheArtStory: David Hockney
Wayne Thiebaud
Wayne Thiebaud
Wayne Thiebaud
Wayne Thiebaud is an American painter, commonly associated with the Pop art movement. Thiebaud's paintings often employ seemingly mundane subject matter, such as candy, pastries, toilets, shoes, and other popular consumer items.
Wayne Thiebaud
Aaron Douglas
Aaron Douglas
Aaron Douglas
Aaron Douglas was an American artist and arts educator. Douglas was a major figure in the Harlem Renaissance, painting beloved murals and doing the illustrations for two important African-American magazines of the time.
Aaron Douglas
Archibald Motley
Archibald Motley
Archibald Motley
Archibald Motley was an African American visual artists who made contributions to the Chicago Black Renaissance, a period of a newfound respect for black artistic culture in America.
Archibald Motley
Piet Mondrian
Piet Mondrian
Piet Mondrian
Piet Mondrian, a founding member of the De Stijl movement, was a modern Dutch artist who used grids, perpendicular lines, and the three primary colors in what he deemed Neo-plasticism.
TheArtStory: Piet Mondrian
Ashcan School
Ashcan School
Ashcan School
Founded at the beginning of the twentieth century, the Ashcan School was a loose congregation of American Realist artists that challenged the dominant style of Impressionism in favor of a more naturalistic and socially-engaged approach to painting. Initiated by Robert Henri in Philadelphia, the school later moved to New York, where its central members included George Bellows, George Luks, William Glackens, Edward Hopper, Joan Sloan, and Everett Shinn. Although the group's members incorporated a range of styles, they shared a common interest in depicting contemporary society through both the squalor and vitality of the burgeoning metropolis.
TheArtStory: Ashcan School
Early American Modernism
Early American Modernism
Early American Modernism
American Modernism emerged at the beginning of the twentieth century, marking a move away from conventional reprsentations by American artists and the appearance of non-objective and Cubist influences from Europe. The 1913 Armory Show and trips by artists to Europe influenced a wide variety of artistic groups that comprised the American avant-garde: from the Stieglitz circle (including Marin, O'Keeffe, Steichen, and others), the colorful non-objective synchromies of Morgan Russell and Stanton Macdonald-Wright, to the precisionism of Charles Sheeler and Charles Demuth.
Early American Modernism
Georges Braque
Georges Braque
Georges Braque
Georges Braque was a modern French painter who, along with Pablo Picasso, developed analytic Cubism and Cubist collage in the early twentieth century.
TheArtStory: Georges Braque
Realism
Realism
Realism
Realism is an approach to art that stresses the naturalistic representation of things, the look of objects and figures in ordinary life. It emerged as a distinct movement in the mid-nineteenth century, in opposition to the idealistic, sometimes mythical subjects that were then popular, but it can be traced back to sixteenth-century Dutch art and forward into twentieth-century styles such as Social Realism.
TheArtStory: Realism
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