Joseph Stella, " The Brooklyn Bridge," from "The Voice of the City of New York Interpreted," 1920-22. Oil and tempera on canvas. 88 x 54 “ Human and machine.

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Presentation transcript:

Joseph Stella, " The Brooklyn Bridge," from "The Voice of the City of New York Interpreted," Oil and tempera on canvas. 88 x 54 “ Human and machine The spiritual, the emotional in the mechanical, the urban A New Divinity

Charles Sheeler, American Landscape,1930, o/c, 24 x 31” Precisionism

Criss-Crossed Conveyors, one of the most famous industrial images of the 20th century. Sheeler, Ford Rouge, Michigan, Late 1920s

Cultural Nationalism – the rural, the local, the folk, the past Thomas Hart Benton, Slaves, 1924–27, Oil on cotton duck mounted on board, 66 x 72” Thomas Hart Benton, Industry (Women Spinning) 1924–27, Oil on canvas, 66 x30”

Matthew Josepson artist and his/her milieu Advertising as American exceptionalism Industry, mass production, advertising Adverts: virility “The American athlete, lover of unwarlike violence and motion is supreme in a collection of automobile announcements. His bronzed, handsome, genial visage gleams unblemished in such a statement as …….” (follows transcription of sports car advert) p. 62 (See Italian Futurism, Boccione)

Holger Cahill: Kabotie Stereotyping Patronizing Assimilation Appropriation No context The white’s idea about the Indian Romanticizing/patronizing Cultural primitivism See definition by Arthur Lovejoy, p. 63 Edward Alden Jewel: Motley Elemental heart of the race African forest Brutality/ Slavery Gaiety Child-like abandon

Search-Light: Georgia O’Keeffe Dark desires, simplicity Smiles, maternal splendor Peasant, strong hipped, esoteric Wisdom 1923 Red Canna, 1923

Iris, 1929

Against cultural primitivism Aaron Douglas, Aspects of Negro Life: From Slavery Through Reconstruction, 1934, oil on canvas, 5 x 11’

Archibald Motley, The Jockey Club, 1929, o/c