McSorley’s Bar oil on canvas by John Sloan is an authentic representation of Sloan, his political views, the groups he associated with, and early 20th-century American realism and impressionism. The painting is set in McSorley’s Old Ale House and captures a moment that represents the urban social life of the working class in New York City. His dark palette and loose brushstrokes represent his art style and offer a glimpse into the early 20th-century men’s social spaces. John Slaon was regarded as a central figure in “The Ashcan School” (https://www.nga.gov/collection/artist-info.1881.html). The Ashcan School is “a group of Realist artists who set themselves apart from and challenged the American Impressionists and academics.” https://www.metmuseum.org/toah/hd/ashc/hd_ashc.htm. The group did not have much in common by style or subject matter, but they all supported the view of Henri’s credo, “art for life’s sake.” It implies that art carries its own value regardless of what it portrays or any attached social, political, or ethical meanings. Upholding this idea was just as daring as any political or ethical meaning because it went against the …show more content…
The painting McSorley’s Bar, painted by John Sloan, depicts six working class men standing and drinking what one assumes to be ale. The painting follows the trend of Sloans, darker color palettes and loose brushwork. Saloons and bars traditionally were places for working men to gather, converse, eat, and drink. Sloan was a regular at McSorley’s and was interested in the range of customers. Sloan upheld the idea of “art for life’s sake” by capturing these figures without judgment and focusing more on the figures themselves, their shape, poses, gestures, and
Frederick Varley and all the other members of the Group of Seven were working towards creating a new Canadian Style of painting in a time where Canada was desperate to show how independent and different from Britain they were. Varley’s Stormy Weather Georgian Bay is a perfect example of art mirroring society. With this piece we can see the use of new, vibrant colours and loose flowing brush strokes to symbolize the new role that Canada was pushing to play as an independent nation on the world
Gallery 19 of the Museum of Modern Art features Pop Art trailblazers of the early 1960s, ranging from Roy Lichtenstein’s “Girl with Ball” to Andy Warhol’s “Gold Marilyn Monroe.” Alongside these emblematic works of art, there hangs a more simplistic piece: a six foot square canvas with three yellow letters, entitled “OOF.” The work of art, created by Ed Ruscha in 1962, is a painting that leaves little room for subjective interpretation as does the majority of his work. Ruscha represented the culture in the 1960s through his contributions to the transition from Abstract Expressionism to Pop Art, efforts to redefine what it meant for a painting to be fine art, and interpretation of the Space Race.
This essay will also compare the work of Thomas Moran, another Hudson River School artist working with the same subject matter, and will attempt to clarify the artist’s similarities and differences in regard to both technique and contributions. The work of Winslow Homer, a contemporary of Church, will be briefly discussed in relation to the impact the Civil War had on subject matter in relationship to nati...
Maria Van Oosterwyck’s oil painting has many layers that display the creativity and imagination of the painting. The oil painting has many objects of interest that makes the work of art so interesting to analyze. The painting draws you in because of the colors and shapes of large and small proportions. The Saturation and dramatic color concepts along with overlapping represent the unique style of art displayed. When Analyzing the work of art the distinct areas of focus in understanding the oil painting is: lighting, color, spacing, and scale.
Symbolism is Gordon Bennett’s way of expressing his opinions and beliefs into his artwork so people can achieve a deeper understanding of his life and struggles with identity. The marble-like heads on the bed represent modern art and how the indigenous community is repressed from it. Their eyes are closed and their mouths are shut which symbolise the deafness and muteness of the indigenous community when relating to modern art as it is seldom seen. The open window in the artwork is a representation of Bennett’s need to escape from this harsh reality that suppresses his community and background and the knocked over chair emphasises the urgency to do this. Bennett’s painting depicts the figure of a headless Aboriginal man that has an animated presence. A gush of blood red paint shoots into the sky from his body and bloody handprints are stamped across the walls all to represent his repressed indigenous heritage making the artwork a very personal piece. Bennett
We walked and walked looking at each art piece, which were all well displayed. Then as I looked at the back wall, a large oil canvas painting looked right back at me. I could feel its pain and so then, I decided to do my paper on this piece. The painting was The Ragpicker by Manet. (The Ragpicker. Edouard Manet.1865.Oil on canvas.) The painting was so enormous that it was hard to miss. Such a huge painting for one man, it almost looked life-like. The dimensions of this work is 76.75” x 51.25”. This scene seems to take place of a lower-class man late in his age, probably near his seventies, appears to be looking out of the corner of his eye. The ...
Edward Hopper exemplifies the zenith of 20th century American Realism. After training under Robert Henri at the New York School of Art, Hopper worked as a commercial illustrator for the first half of his life. In fact, although Hopper sold a variety of prints and watercolors on the side, he did not achieve his first artistic success until he was forty-three. At the Rehn Gallery in 1924, all of Hopper's works on display were purchased. From that point on, Hopper's use of light, isolation, and narrative in his works would define him. Hopper's impact was so dramatic that Alfred Hitchcock would later use his painting, The House by the Railroads, for inspiration on his classic film, Psycho ("Edward Hopper"). Nighthawks is Edward Hopper's most famous work. The title itself refers to the night-going characters that reside in the painting, sitting at the table of a diner. This painting is an American classic, appearing in the pop culture of its time and in examples that are more current. Just by doing a quick search on Google images, an abundance of parodies can be found, replacing the figures in the original with ones from Star Wars, The Simpsons, CSI, and more recently, The Walking Dead. There is no doubt that Hopper has affected the American art scene with this masterpiece, and there are numerous reasons it has become so prominent. Edward Hopper's distinguished painting, Nighthawks, is a representation of the pinnacle of the American realism, the attitude of Americans during the Second World War, and the expansion of New York City.
A Sunday Afternoon on the Island of La Grande Jatte, located in the Art Institute of Chicago, is one of the most recognizable paintings of the 19th century, a painting made by Frenchman Georges Seurat. Finished in 1886, it has gained much of its recognition over the time of its completion; the pop culture of today has played a pivotal role into the popularity of it. An example of that is being apart in one of the most recognizable scene in Ferris Bueller's Day Off, where one of the main characters is solely staring at the painting until he can’t even recognize the artwork. This painting also gets much attention because it was an early example of the style of pointillism, at the time; pointillism was becoming a new way of expressing one self with the new technique. It also brought upon about the way we saw paintings, and what we gained from the artwork as whole. In all this painting has become an icon in the art scene, due to the technique it used, and how much of an impact it has had in today culture.
The artistic stylization used by early 20th century artists endeavors a distinctive approach in the depiction of the Great Depression in both methodology and aesthetic portrayal. Philip Evergood’s Dance Marathon (c. 1931) and Reginald Marsh’s Chatham Square (c. 1931), which both are exhibited at the Blanton Museum of Art, are artistic representations of the American culture during the “Dirty Thirties”. Although both paintings were created during the same time period and ultimately share the thematic downheartedness of the decade, Evergood and Marsh cultivate their own independent approach in constructing their individual artworks. Marsh focuses his piece on the basis of composition, detail, saturations and highlights to construe a melancholic
Pioch, N. (2002, Jul 16). WebMuseum: Pollock, Jackson. Retrieved 3 30, 2014, from Pollock, Jackson: http://www.ibiblio.org/wm/paint/auth/pollock/
In the University Of Arizona Museum Of Art, the Pfeiffer Gallery is displaying many art pieces of oil on canvas paintings. These paintings are mostly portraits of people, both famous and not. They are painted by a variety of artists of European decent and American decent between the mid 1700’s and the early 1900’s. The painting by Elizabeth Louise Vigee-Lebrun caught my eye and drew me in to look closely at its composition.
Varnedoe, Kirk. A Fine Disregard: What Makes Modern Art Modern. New York: H.N. Abrams, 1990. 152. Print.
Overall, the painting “Nightlife” was one of the few paintings that were celebrated to Archibald Motley. Coming from an African American culture, Motley wanted to capture the warmth and richness belonging to their culture. In this painting, we truly discover the heightened tensions felt during that time by the intricate patterns and skeptic perspectives Motley presents. However, by including warm tones such as red and violet, we get the feel of the liveliness and carelessness of the Negro culture through music. We understand that music such as jazz was an escape from everyday racism. Motley successfully executed a painting that sends a message and makes the person wonder the motives for his selections.
The film Basquiat explores the artist Jean-Michel Basquiat, a Haitian-Puerto Rican painting in New York City during the 1980s. Working closely with Andy Warhol, Basquiat was exploited for his unique “urban ghetto” graffiti and crude style of representation. Schnabel’s film further exploits this image of the painter, depicting him in various scenes of poverty and drug addiction, dirty poor love and desperation. Our understanding of the artist is framed by excerpts from essays by art critic Rene Ricard, depicted as a flaming homosexual who leeches off of his artistic friends. Ricard observes the hypocrisy and self-indulgence of the art scene that is vital to...
The painting was of a river flowing from a lake, surrounded by very tall grass. On each side of the river there are people standing. What was interesting is they were painted all black. They looked like shaded figures. They were all shaped differently but you can tell they were all men. On the top left side of the river there were five men. On the right bottom side of the river there were four men. On each side it looked as though the men were trying to cross over to the other side. They looked tired and scared. It looked as though they were hiding, and getting across the river was the only way to get to that safe haven.