Georgia O’Keeffe Harlem Renaissance Grant Wood Edward Hopper REGIONALISM was a U.S. reaction against the modernism of the Armory Show. Objective, representational art based on American life. Hopper said "A nation's art is greatest when it reflects the character of it's people". Georgia O’Keeffe Harlem Renaissance Grant Wood Edward Hopper Dorothea Lange

Georgia O’ Keeffe Georgia O’Keeffe (1887-1986) Settled in New Mexico later in life – known for her paintings of the American Southwest Subjects usually include flowers, bones, rocks and landscapes Aesthetics – usually organic shapes up-close with crisp edges and many gradated parts

Georgia O’Keeffe Red Canna, 1923. REGIONALISM

Georgia O’Keeffe Horse’s Skull on Blue, 1930. REGIONALISM

Georgia O’Keeffe Music, Pink and Blue, 1919. REGIONALISM

Georgia O’ Keeffe Georgia O’Keeffe Iris, 1927. REGIONALISM

Georgia O’Keeffe, Ram's Head, White Hollyhock and Little Hills, 1935.

The Harlem Renaissance The northeast section of Manhattan island was home to many African Americans. During the decade of the 1920's witnesses a huge explosion of African Americans artists of all types from this area of the city- music, literature and visual art. Aaron Douglas Jacob Lawrence James Van Der Zee

One of the most famous African-American artists of the 20th Century Jacob Lawrence Jacob Lawrence (1917-2000) One of the most famous African-American artists of the 20th Century Known for ‘Great Migration’ series as part of the Harlem Renaissance Flat overlapped shapes indicative of Matisse Jacob Lawrence, 1941.

Jacob Lawrence Jacob Lawrence The Black Press Urged the People to Leave the South (Panel 34 of The Migration Series) 1940-41, Tempera on gesso on composition board

Jacob Lawrence, The Great Migration, Part I, 1940-41. "Around the time of WWI, many African-Americans from the South left home and traveled to cities in the North in search of a better life.“ Jacob Lawrence, The Great Migration, Part I, 1940-41.

Jacob Lawrence Jacob Lawrence The Studio, 1977.

Aaron Douglas, Into Bondage, 1936. Native of Topeka, Kansas – moved to New York City in 1925 Developed an abstract style influenced by African art as well as the emerging Art Deco Aesthetics: Flat, solid shapes; Transparent; Atmospheric perspective (dark in foreground) Aaron Douglas, Into Bondage, 1936.

Aaron Douglas Aaron Douglas, Aspects of Negro Life from Slavery through Reconstruction, 1934.

James Van Der Zee, Couple Wearing Raccoon Coats with a Cadillac, 1932.

James Van Der Zee, The Wedding Party, 1926.

James Van Der Zee, Dancing Girls, 1928.

Grant Wood Grant Wood Born in Iowa – best known for depicting scenes of the rural American Midwest Studied at the Art Institute of Chicago Though his forms are usually smooth and rounded, he was greatly influenced by the clarity in the landscapes of 15th-century Flemish Masters like Van Eyck.

Grant Wood, Fall Plowing, 1931.

Grant Wood, Daughters of the Revolution, 1932. (Cincinnati Art Museum)

Grant Wood, in a statement accompanying his final painting In making these paintings, as you may have guessed, I had in mind something which I hope to convey to a fairly wide audience in America -- the picture of a country rich in the arts of peace; a homely lovable nation, infinitely worth any sacrifice necessary to its preservation. Grant Wood, in a statement accompanying his final painting

Grant Wood Grant Wood American Gothic 1930.

Grant Wood

American Gothic house in Eldon, Iowa. Grant Wood American Gothic house in Eldon, Iowa.

Edward Hopper Edward Hopper Known for painting landscapes and cityscapes with a strong light source Very lonely, calm, isolated paintings Edward Hopper, Self-Portrait, 1925-30.

Edward Hopper, Early Sunday Morning, 1930.

Edward Hopper, Prospect Street, Gloucester, 1928, Watercolor.

Edward Hopper, Early Morning Sun, 1952.

Edward Hopper, Nighthawks, 1942.

Dorothea Lange Dorothea Lange in 1936. With the onset of the Great Depression, Lange turned her camera lens from the studio to the street. Her studies of unemployed and homeless people captured the attention of local photographers and led to her employment with the federal Farm Security Administration (FSA). From 1935 to 1939, Lange's work for the FSA brought the plight of the poor and forgotten - particularly sharecroppers, displaced farm families, and migrant workers - to public attention. Distributed free to newspapers across the country, her poignant images became icons of the era. Dorothea Lange in 1936.

Dorothea Lange, Migrant Mother, 1936. REGIONALISM

Dorothea Lange, Migrant Mother, 1936. Lange's most well-known picture is titled "Migrant Mother." The woman in the photo is Florence Owens Thompson, but Lange apparently never knew her name. I saw and approached the hungry and desperate mother, as if drawn by a magnet. I do not remember how I explained my presence or my camera to her, but I do remember she asked me no questions. I made five exposures, working closer and closer from the same direction. I did not ask her name or her history. She told me her age, that she was thirty-two. She said that they had been living on frozen vegetables from the surrounding fields, and birds that the children killed. She had just sold the tires from her car to buy food. There she sat in that lean-to tent with her children huddled around her, and seemed to know that my pictures might help her, and so she helped me. There was a sort of equality about it. Dorothea Lange, Migrant Mother, 1936.

Dorothea Lange, Japanese-American Internment, c1942.

Dorothea Lange, Migrant Workers Near Manteca, CA, 1938.

Dorothea Lange, Sharecropper's child suffering from rickets and malnutrition, 1938.

Dorothea Lange, San Francisco Social Security Office, 1937.

Dorothea Lange, Texas Tenant Farmer in California. Marysville Migrant Camp, September 1935.