"He believed that it was the right moment for American painters to seek out fresh, less genteel subjects in the modern American city. The paintings by Henri, Sloan, Glackens, Luks, Shinn, and others of their acquaintance that were inspired by this outlook eventually came to be called the Ashcan School of American art. They spurned academic painting and Impressionism as an art of mere surfaces. Art critic Robert Hughes declared that, ""Henri wanted art to be akin to journalism. He wanted paint to be as real as mud, as the clods of horse-shit and snow, that froze on Broadway in"
"city-scape that is not one particular view but a composite of many views. Robert Henri (1865–1921) was an important American Realist and a member of The Ashcan School. Henri was interested in the spectacle of common life. He focused on individuals, strangers, quickly passing in the streets in towns and cities. His was a sympathetic rather than a comic portrayal of people, often using a dark background to add to the warmth of the person depicted. Henri's works were characterized by vigorous brushstrokes and bold impasto which stressed the materiality of the paint. Henri influenced Glackens, Luks, Shinn and Sloan."
"George Bellows and Robert Henri, and helped to define American realism in its tendency to depict the daily life of poorer members of society. Realism (art movement) Realism was an artistic movement that began in France in the 1850s, after the 1848 Revolution. Realists rejected Romanticism, which had dominated French literature and art since the late 18th century. Realism revolted against the exotic subject matter and the exaggerated emotionalism and drama of the Romantic movement. Instead, it sought to portray real and typical contemporary people and situations with truth and accuracy, and not avoiding unpleasant or sordid aspects of life."
"painting was meant to be a satire of rural small-town life. It was thus seen as part of the trend towards increasingly critical depictions of rural America, along the lines of Sherwood Anderson's ""1919 Winesburg, Ohio"", Sinclair Lewis' 1920 ""Main Street"", and Carl Van Vechten's ""The Tattooed Countess"" in literature. However, with the onset of the Great Depression, the painting came to be seen as a depiction of steadfast American pioneer spirit. The 1940s in New York City heralded the triumph of American abstract expressionism, a modernist movement that combined lessons learned from Henri Matisse, Pablo Picasso, Surrealism, Joan Miró,"
"slum dwellers of industrialized cities. The late 1920s and the 1930s belonged (among many others) to two movements in American painting, Regionalism and Social Realism. The regionalists focused on the colorfulness of the American landscape and the complexities of country life, whereas the social realists went into the subjects of the Great Depression, poverty, and social injustice. The social realists protested against the government and the establishment that appeared hypocritical, biased, and indifferent to the matters of human inequalities. Abstraction, landscape and music were popular modernist themes during the first half of the 20th century. Artists like Charles Demuth who"
"syndrome; this creates an aesthetic traffic jam with no firm and clear direction and with every lane on the artistic superhighway filled to capacity. 20th-century Western painting 20th-century Western painting begins with the heritage of late-19th-century painters Vincent van Gogh, Paul Cézanne, Paul Gauguin, Georges Seurat and Henri de Toulouse-Lautrec, and others who were essential for the development of modern art. At the beginning of the 20th century, Henri Matisse and several other young artists including the pre-cubist Georges Braque, André Derain, Raoul Dufy and Maurice de Vlaminck revolutionized the Paris art world with ""wild"", multi-colored, expressive landscapes and figure"
"Lowbrow (art movement) Lowbrow, or lowbrow art, describes an underground visual art movement that arose in the Los Angeles, California, area in the late 1970s. It is a populist art movement with its cultural roots in underground comix, punk music, tiki culture, and hot-rod cultures of the street. It is also often known by the name pop surrealism. Lowbrow art often has a sense of humor – sometimes the humor is gleeful, sometimes impish, and sometimes it is a sarcastic comment. Most lowbrow artworks are paintings, but there are also toys, digital art, and sculpture. Some of the first artists"
"within these areas. Small and dense were the living quarters of many who worked in similar environments in factories. Small, dense, dark, which can easily be seen within the painting and helps promote the idea of how industrialization has impacted the working class lifestyle. New York Realists were called by critics as the ""revolutionary black gang"" and the ""apostles of ugliness"". A critic, referring to their depictions also conferred them the pejorative label Ashcan School which became the standard term for this first important American art movement of the 20th century. Cliff Dwellers (painting) Cliff Dwellers (1913) is a painting"
"the winter, as real a human product as sweat, carrying the unsurpressed smell of human life."" Ashcan painters began to attract public attention in the same decade in which the realist fiction of Stephen Crane, Theodore Dreiser, and Frank Norris was finding its audience and the muckraking journalists were calling attention to slum conditions. For several years, Henri divided his time between Philadelphia and Paris, where he met the Canadian artist James Wilson Morrice. Morrice introduced Henri to the practice of painting ""pochades"" on tiny wood panels that could be carried in a coat pocket along with a small kit"
"and artists alike, particularly Robert Henri, for the honesty and humanity of his realistic view of the immigrant populations crowded into that ghetto. It was Henri who had said,""Art cannot be separated from life...the artists who produce the most satisfactory art are in my mind those who are absorbed in the civilization in which they are living.""""The poor were my people...through whom dignity of life is manifest."" Ethel arranged to meet Jerome Myers in his studio and afterwards they visited each other a number of times in their two studios, his on East 59th Street in New York City and"
"20th-century Western painting 20th-century Western painting begins with the heritage of late-19th-century painters Vincent van Gogh, Paul Cézanne, Paul Gauguin, Georges Seurat and Henri de Toulouse-Lautrec, and others who were essential for the development of modern art. At the beginning of the 20th century, Henri Matisse and several other young artists including the pre-cubist Georges Braque, André Derain, Raoul Dufy and Maurice de Vlaminck revolutionized the Paris art world with ""wild"", multi-colored, expressive landscapes and figure paintings that the critics called Fauvism. Matisse's second version of ""The Dance"" signified a key point in his career and in the development of"
"not only to the Henri circle, but also to such painters as George Bellows (another student of Henri), Jerome Myers, Gifford Beal, Glenn Coleman, Carl Sprinchorn, and Mabel Dwight and even to photographers Jacob Riis and Lewis Hine, who portrayed New York's working-class neighborhoods in a sometimes brutally realistic fashion. In 1905, Luks painted two of his most famous works, icons of the Ashcan school: ""The Spielers"", now in the collection of the Addison Gallery of American Art, and ""The Wrestlers"", now in the collection of the Museum of Fine Arts in Boston. These two paintings also illustrate radically different"
"The Harlem Renaissance was another significant development in American art. In the 1920s and 30s a new generation of educated and politically astute African-American men and women emerged who sponsored literary societies and art and industrial exhibitions to combat racist stereotypes. The movement, which showcased the range of talents within African-American communities, included artists from across America, but was centered in Harlem. The work of the Harlem painter and graphic artist Aaron Douglas and the photographer James VanDerZee became emblematic of the movement. Artists associated with the Harlem Renaissance include Romare Bearden, Jacob Lawrence, Charles Alston, Augusta Savage, Archibald Motley,"
"if you can. In one minute if you can. There is no use delaying…Stop studying water pitchers and bananas and paint everyday life."" He advised his students, among them Edward Hopper and Rockwell Kent, to live with the common man and paint the common man, in total opposition to Cecilia Beaux's artistic methods and subjects. The clash of Henri and William Merritt Chase (representing Beaux and the traditional art establishment) resulted in 1907 in the independent exhibition by the urban realists known as ""The Eight"" or the Ashcan School. Beaux and her art friends defended the old order, and many"
"in Sydney. In the mid-twentieth century, the landscape paintings of Albert Namatjira were popular and received national and international acclaim. Since the 1970s, contemporary Indigenous Australian artists have used acrylic paints in styles such as that of the Western Desert Art Movement, which leading critic Robert Hughes saw as ""the last great art movement of the 20th century"". Art is important both culturally and economically to Indigenous society; art critic Sasha Grishin concluded that central Australian Indigenous communities have ""the highest per capita concentrations of artists anywhere in the world"". Contemporary artists whose work has been exhibited internationally such as"
"urban life. The Hague School were Realists in the Netherlands whose style and subject matter strongly influenced the early works of Vincent van Gogh. In Britain artists such as the American James Abbot McNeill Whistler, as well as English artists Ford Madox Brown, Hubert von Herkomer and Luke Fildes had great success with realist paintings dealing with social issues and depictions of the ""real"" world. In the United States, Winslow Homer and Thomas Eakins were important Realists and forerunners of the Ashcan School, an early-20th-century art movement largely based in New York City. The Ashcan School included such artists as"
"Robert Henri Robert Henri (; June 24, 1865 – July 12, 1929) was an American painter and teacher. He was a leading figure of the Ashcan School of American realism and an organizer of the group known as ""The Eight,"" a loose association of artists who protested the restrictive exhibition practices of the powerful, conservative National Academy of Design. Robert Henri was born Robert Henry Cozad in Cincinnati, Ohio to Theresa Gatewood Cozad and John Jackson Cozad, a gambler and real estate developer. Henri was a distant cousin of the painter Mary Cassatt. In 1871, Henri's father founded the town"
"older U.S. artists such as Thomas Eakins, Mary Cassatt, John Singer Sargent, James McNeill Whistler, Winslow Homer, Childe Hassam, J. Alden Weir, Thomas Pollock Anshutz, and William Merritt Chase. However they were interested in creating new and more urbane works that reflected city life and a population that was more urban than rural in the U.S. as it entered the new century. From the late 19th to the early 20th centuries, the United States experienced enormous industrial, economic, social and cultural change. A continuous wave of European immigration and the rising potential for international trade brought increasing growth and prosperity"
"South Downs. In the early 20th century Vanessa Bell and Duncan Grant, both members of the Bloomsbury Group, lived and worked at Charleston Farmhouse near Firle. Sussex also became a major centre for surrealism in the early 20th century. At West Dean, Edward James was patron to artists including Salvador Dalí and René Magritte while at Farley Farm House near Chiddingly the home of Roland Penrose and Lee Miller was frequented by artists such as Pablo Picasso, Man Ray, Henry Moore, Eileen Agar, Jean Dubuffet, Dorothea Tanning and Max Ernst. Both collections form one of the most important bodies of"
"crowd gathered from before the turn of the 20th century until Prohibition began to bite. Jonathan Larson's musical ""Rent"", and specifically the song ""La Vie Boheme,"" portrayed the postmodern Bohemian culture of New York in the late 20th century. In May 2014, a story on NPR suggested, after a century and a half, some Bohemian ideal of living in poverty for the sake of art had fallen in popularity among the latest generation of American artists. In the feature, a recent graduate of the Rhode Island School of Design related ""her classmates showed little interest in living in garrets and"
"also defined the American pop art movement. Members of this next artistic generation favored a different form of abstraction: works of mixed media. Among them were Jasper Johns (1930– ), who used photos, newsprint, and discarded objects in his compositions. Pop artists, such as Andy Warhol (1930–1987), Larry Rivers (1923–2002), and Roy Lichtenstein (1923–1997), reproduced, with satiric care, everyday objects and images of American popular culture—Coca-Cola bottles, soup cans, comic strips. Today New York is a global center for the international art market. The Upper East Side has many art galleries, and the downtown neighborhood of Chelsea is known for"
"indeed gentrifying and is undergoing an intense transition and struggle for its very identity similar to what occurred in New York's Lower East Side neighborhood two decades earlier. Village Bottoms The Village Bottoms is a historic cultural district in the predominantly Black neighborhood of West Oakland, California. Its current revitalization and cultural arts renaissance is being catalyzed by artist/cultural worker Marcel Diallo and a neighborhood of young, black artists including Githinji wa Mbire, Eesuu Orundide, letitia ntofon, and rappers Boots Riley of The Coup, Zumbi of Zion I and Adimu Madyun of rap group Hairdooo. The Village Bottoms Cultural District"
"most familiar images in 20th-century American art. Art critics had favorable opinions about the painting, like Gertrude Stein and Christopher Morley, they assumed the painting was meant to be a satire of rural small-town life. It was thus seen as part of the trend towards increasingly critical depictions of rural America, along the lines of Sherwood Anderson's ""1919 Winesburg, Ohio"", Sinclair Lewis' 1920 ""Main Street"", and Carl Van Vechten's ""The Tattooed Countess"" in literature. However, with the onset of the Great Depression, the painting came to be seen as a depiction of steadfast American pioneer spirit. Diego Rivera is perhaps"
"Philadelphia where they worked as illustrators. The movement has been seen as emblematic of the spirit of political rebellion of the period. The Ashcan School was not an organized movement. The artists who worked in this style did not issue manifestos or even see themselves as a unified group with identical intentions or career goals. Some were politically minded, and others were apolitical. Their unity consisted of a desire to tell certain truths about the city and modern life they felt had been ignored by the suffocating influence of the Genteel Tradition in the visual arts. Robert Henri, in some"
"unsettling, transitional time that was marked by confidence and doubt, excitement and trepidation. Ignoring or registering only gently harsh new realities such as the problems of immigration and urban poverty, they shone a positive light on their era."" Notable Ashcan works include George Luks’ ""Breaker Boy"" and John Sloan’s ""Sixth Avenue Elevated at Third Street"". The Ashcan school influenced the art of the Depression era, including Thomas Hart Benton’s mural ""City Activity with Subway"". The term dates on a broader scale to the Realist movement in French art during the mid-19th century. Social realism in the 20th century refers to"
"Academic art. Adolphe William Bouguereau is considered a chief example of this stream of art. In the early 19th century the face of Europe, however, became radically altered by industrialization. Poverty, squalor, and desperation were to be the fate of the new working class created by the ""revolution"". In response to these changes going on in society, the movement of Realism emerged. Realism sought to accurately portray the conditions and hardships of the poor in the hopes of changing society. In contrast with Romanticism, which was essentially optimistic about mankind, Realism offered a stark vision of poverty and despair. Similarly,"
"a commission motive and as a critical focus brought in by artists. The individual, Romantic retreat element implied in the conceptual structure of Land art and its will to reconnect the urban environment with nature, is turned into a political claim in projects such as ""Wheatfield – A Confrontation"" (1982), by American artist Agnes Denes, as well as in Joseph Beuys’ ""7000 Oaks"" (1982). Both projects focus on the raise of ecological awareness through a green urban design process, bringing Denes to plant a two-acre field of wheat in downtown Manhattan and Beuys to plant 7000 oaks coupled with basalt"
"visual arts, the Hudson River School was a mid-19th-century movement in the tradition of European naturalism. The realist paintings of Thomas Eakins are now widely celebrated. The 1913 Armory Show in New York City, an exhibition of European modernist art, shocked the public and transformed the U.S. art scene. Georgia O'Keeffe, Marsden Hartley, and others experimented with new, individualistic styles. Major artistic movements such as the abstract expressionism of Jackson Pollock and Willem de Kooning and the pop art of Andy Warhol and Roy Lichtenstein developed largely in the United States. The tide of modernism and then postmodernism has brought"
"the waters of the harbour at Le Havre, that had given the movement its name. River scenes were very common among the Impressionists, especially by Monet and Alfred Sisley. The Spanish painter Joaquín Sorolla painted many beach scenes, typically concentrating on a few figures seen close up, in contrast to the smaller figures of most beach paintings. American artists who painted beaches and shores, typically less populated, include John Frederick Kensett, William Merritt Chase, Jonas Lie, and James Abbott McNeill Whistler, who mainly painted rivers and the canals of Venice. Towards the end of the 19th century the American painter"
"perspective over a heaving urban magma - seem to reflect the same moral criticism that can be seen in his war drawings. Thanks to the eruption onto the scene of a whole new generation of “American” artists – Mark Rothko, Arshile Gorky, Willem de Kooning, Jackson Pollock, Franz Kline, William Baziotes, Robert Motherwell, Clyfford Still, Barnett Newman, Richard Pousette-Dart – the city now had an artistic culture that was as stimulating as that of Paris in the 1920s. Through his frame-maker, Leo Robinson, Congdon met Betty Parsons, whose gallery - after Peggy Guggenheim’s “The Art of This Century gallery” closed"
"City. Janis mounted the exhibition in a 57th Street storefront near his gallery. The show sent shockwaves through the New York School and reverberated worldwide. Earlier in England in 1958 the term ""Pop Art"" was used by Lawrence Alloway to describe paintings that celebrated the consumerism of the post World War II era. This movement rejected abstract expressionism and its focus on the hermeneutic and psychological interior in favor of art that depicted and often celebrated material consumer culture, advertising, and iconography of the mass production age. The early works of David Hockney and the works of Richard Hamilton and"
"he was ‘something of an Anarchist’, but previously said, ‘In the past I was a poet and a tyrant. Now I am an anarchist and artist.’"" Many American artists of the early 20th century came under the influence of anarchist ideas, while others embraced anarchism as an ideology. The Ashcan School of American realism included anarchist artists, as well as artists such as Rockwell Kent (1882–1971) and George Bellows (1882-1925) who were influenced by anarchist ideas. Abstract expressionism also included anarchist artists such as Mark Rothko and painters such as Jackson Pollock, who had adopted radical ideas during his experience"
"Toorop (""The Friends’ Meal"") and Pyke Koch; and French artists Maurice de Vlaminck, Roger de La Fresnaye, Jean Fautrier, and Francis Gruber and Belgian artists Eugène Laermans and Constant Permeke. The political polarization of the period blurred social realism's distinction from Socialist realism, and by the mid-20th century the movement had become overshadowed by abstract art in both Western Europe and the United States. Realism, a style of painting that depicts the actuality of what the eyes can see, was a very popular art form in France around the mid- to late-19th century. It came about with the introduction of"