ch 35 america before 1930. 35.2 america, 1900 to 1930 from the previous century…. 2 americans in...
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CH 35 America before 1930
35.2 America, 1900 to 1930• From the previous century….
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Americans in Europe….
Figure 35-31 JOHN SLOAN, Sixth Avenue and Thirtieth Street, New York City, 1907, 1909. Oil on canvas, 2’ 1/4” x 2’ 8”. Philadelphia Museum of Art, Philadelphia (gift of Meyer P. Potamkin and Vivian O. Potamkin, 2000). 3
Realistic look at life…
No varnish…compare To Sargeant….
The Ashcan School…Robert Henri is the leader of “The Eight”
Figure 35-32 Installation photo of the Armory Show, New York National Guard’s 69th Regiment, New York, 1913. Museum of Modern Art, New York.
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1913: The Armory Show Begins the European Dialogue…
With American Artists….
ChangesThe wayAmericaThinks About Art…
New York,Chicago,Boston
Figure 35-1 MARCEL DUCHAMP, Nude Descending a Staircase, No. 2, 1912. Oil on canvas, 4’ 10 “x 2’ 11”. Philadelphia Museum of Art, Philadelphia (Louise and Walter Arensberg Collection).
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“Cousins to the anarchists!”
“Bomb Throwers!”
“Lunatics!”
“Depravers!”
“Aliens” (bringing)
Modernism… imperiling theRepublic of art….”
“An explosion in a shingle factory”
American Art Forms
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Figure 35-33 MAN RAY, Cadeau (Gift), ca. 1958 (replica of 1921 original). Painted flatiron with row of 13 tacks with heads glued to the bottom, 6 1/8” x 3 5/8” x 4 1/2”. Museum of Modern Art, New York (James Thrall Soby Fund).
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Exploring psychologyOf perception of exteriorWorld….
Unsettling juxtapositions…
To create new awareness…
Figure 35-34 MARSDEN HARTLEY, Portrait of a German Officer, 1914. Oil on canvas, 5' 8 1/4” x 3' 5 3/8”. Metropolitan Museum of Art, New York (Alfred Stieglitz Collection).
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A different kind of heroicPortrait…
Classical references/Modernist ideals…
Figure 35-35 STUART DAVIS, Lucky Strike, 1921. Oil on canvas, 2’ 9 1/4” x 1’ 6”. Museum of Modern Art, New York (gift of The American Tobacco Company, Inc.). Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY.
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Wants to convey the energyOf American culture…
A modernist still-life…
Sees packaging as evidence Of a sophisticated civilization
Deliberately creating an AmericanModernism…
Influence of synthetic cubism…
Figure 35-36 AARON DOUGLAS, Noah’s Ark, ca. 1927. Oil on masonite, 4’ x 3’. Fisk University Galleries, University of Tennessee, Nashville.
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Artist of the HarlemRenaissance…
Celebrating cultural Accomplishments of African Americans
Studied in Paris..An early Graphic ArtistIn New York…
Also influenced by AfricanSculptures….
Figure 35-37 CHARLES DEMUTH, My Egypt, 1927. Oil on composition board, 2’ 11 3/4” x 2’ 6”. Collection of Whitney Museum of American Art, New York (purchased with funds from Gertrude Vanderbilt Whitney).
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A “Precisionist”
Fascination with Machines and itsRoles in modern Life….
My Egypt?
Unstable Composition?
Figure 35-38 GEORGIA O’KEEFFE, New York, Night, 1929. Oil on canvas, 3’ 4 1/8” x 1’ 7 1/8”. Sheldon Memorial Art Gallery, Lincoln, (Nebraska Art Association, Thomas C. Woods Memorial Collection).
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Strips subjects to theirPurest forms…
Heightens their power byBringing out their strongestQualities and de-emphasizingThe extraneous….
Figure 35-39 ALFRED STIEGLITZ, The Steerage, 1907 (print 1915). Photogravure (on tissue), 1’ 3/8” x 10 1/8”. Courtesy of Amon Carter Museum, Fort Worth. 13
Founds Gallery 291
Took straight Unmanipulated Photos…
Creates a modernist Tableau that is createdBy the shapes and formsOf the images in the Photos coming togetherTo create a whole…
Taking us closer to a deeperFeeling and understandingOf humanity
Figure 35-40 EDWARD WESTON, Nude, 1925. Platinum print, 7 1/2” x9 1/2”. Center for Creative Photography, University of Arizona, Tucson.
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ExtremeAbstractionOf form..