Presentation on theme: "Chapter 15 American Art 1900-1950 15.1 The Early Years During the twentieth century, the center of the art world shifted from Paris to New York City. Regionalist."— Presentation transcript:
Chapter 15 American Art 1900-1950 15.1 The Early Years During the twentieth century, the center of the art world shifted from Paris to New York City. Regionalist art — art which depicted the particular place, customs and people where it was created—was common across the United States. In New York City this was exemplified by the Ashcan School of painters, but in this city artistic energy was also greatly influenced by immigrant artists who had left Europe as a result of the political upheaval created by two world wars. These forward thinking artists helped push American art towards modernism and abstraction.
Albert Bierstadt (1830-1902) The Rocky Mountains, 1863, oil on canvas, 73 x 121” Bierstadt was born and trained in Europe. He travelled throughout the United States and is famous for the dramatic landscapes he produced of the American west.
George Inness (1825-1894) The Home of the Heron, 1893, oil on canvas, 30 x 46” Inness was influenced by the Hudson River School painters; he also studied art in Europe where he saw the works of Corot, Courbet, Constable and Turner.
George Inness (1825-1894) Oil on canvas The landscapes created by Inness were usually dark, moody, and implied detail which was not specifically rendered.
Robert Henri (1865-1929) Snow in New York, 1902 oil on canvas, 32 x 26” Henri was the leader of a group of painters known as “The Ashcan School.” They used everyday urban city life as subject matter in their pictures. Most of these images were created in a very painterly style, which owes as much to the influence of Frans Hals as it does to the more contemporary Impressionists.
Robert Henri (1865-1929) Most of these images were created in a very fluidly brushed painterly style, which owes as much to the influence of Frans Hals as it does to the more contemporary Impressionists.
John Sloan (1871-1951) McSorley’s Alehouse still stands today in New York City ‘s Greenwich Village. The strong play of light and dark recalls the way Rembrandt and Caravaggio directed the viewer’s attention several centuries earlier.
John Sloan (1871-1951) Sloan was a well-known member of the Ashcan School, concentrating on scenes of city life in his time.
George Bellows (1882-1925) Cliff Dwellers, 1913, oil on canvas, 39 x 41” Bellows organized a complex array of figures into a simple composition of darks and lights, implying rather than specifying much of the detail.
Henry O. Tanner (1859-1937) The Banjo Lesson, 1893, oil on canvas, 48x35” This African- American painter studied painting in Philadelphia, under Thomas Eakins. He went on to study art in Europe and painted in Paris.
John Singer Sargent (1856-1925) oil on canvas Sargent uses foreshortening in the figure and chair arm to suggest depth within a very shallow field of space. The paint handling is fluid and lively and has a quality of looseness, but is also filled with visual detail. The color is delicate, playing cool against warm and utilizing complementary relationships. The very simple composition avoids becoming static by its asymmetrical arrangement.
John Singer Sargent (1856-1925) Sargent was an expert watercolorist, notably adept at capturing the naturalistic effects of daylight. Notice how he captures the visual effect of light shining through—and onto— the opaque tent fabric.
John Singer Sargent (1856-1925) Sargent was an expert watercolorist, notably adept at capturing the naturalistic effects of daylight.