Summary of Charles Demuth
A larger-than-life figure who is remembered nearly as often for his wit as he is for his paintings, the bold and insatiably curious Charles Demuth wasn't just a product of America's transformative early-20th century; he was one of its archetypes. Demuth was a principal member of the Precisionist movement that emphasized sharp lines and clear geometric shapes. Challenging the boundaries of race, class, sexuality, and artistic tradition, he digested the shifting social landscape around him and left behind a memorable body of work that defies categorization.
- Demuth's brilliance is in the way he emphasized distinct colors and shapes out of elements that are more often relegated to the background, such as the factory smoke in Incense of a New Church (1921), or that may be considered too dull or commonplace to paint at all, such as typography in I Saw the Figure 5 in Gold (1928). Some of these would go on to influence the design of movie and theater posters, book dust jackets, and other visual media for decades to come.
- Like his friend and contemporary Georgia O'Keeffe, Demuth focused with intensity and precision on flowers and other vegetation. Unlike O'Keeffe, he stripped them down to precise geometric shapes and bold colors, imposing form and specificity on the chaos of the organic.
- Demuth's cheeky and evocative (and private) paintings of early-20th-century American gay subculture are among its few surviving visual records, and his jazz portraits celebrate the power and dynamism of the Harlem Renaissance.
Biography of Charles Demuth
Charles Demuth was the only child of Ferdinand and Augusta Demuth, long-term residents of Lancaster. He grew up in a house next door to the family tobacco shop on East King Street, which his father's family had owned since 1770. When he was four years old Demuth injured his hip and was bedridden for several weeks. His mother gave him crayons and watercolors to keep him entertained, and this marked the beginning of his love for art. As art would become a major feature of his life, so too, unfortunately, would illness. His injury made it necessary for him to use a cane and he walked with a pronounced limp. Though he was close to both his parents, his physical frailty meant that he was particularly dependent on his mother. He became socially withdrawn at school, preferring to play with girls over boys, as his mother and aunt had warned him that rough play with other boys could cause his injury to worsen. Both his parents supported his interest in painting and drawing from an early age - his father was an amateur photographer himself.