Edward Hopper
Soir bleu. 1914 (details)
4K notes
·
View notes
Bleecker Street, Saturday Night, John French Sloan, 1918
154 notes
·
View notes
Evening Blue (Tending the Lobster Traps, Early Morning) - George Wesley Bellows
169 notes
·
View notes
Picture Shop Window, 1907. John Sloan.
Oil on canvas.
88 notes
·
View notes
John Howitt, orchestra with violinist, 1920s. Oil on canvas.
Photo: 1st Dibs
68 notes
·
View notes
Backyards, Greenwich Village, John Sloan, 1914
Oil on canvas
26 x 31 15/16 in. (66 x 81.1 cm)
Whitney Museum of American Art, New York City, NY, USA
75 notes
·
View notes
Gertrude Vanderbilt Whitney, 1916
Robert Henri
205 notes
·
View notes
Robert Henri ( United States1865-1929 )
West Coast of Ireland 1913
259 notes
·
View notes
Robert Henri (American, 1865–1929) • Woman in White: Portrait of Eugenie Stein • 1904 • Hirshhorn Museum of American Art, Smithsonian, Washington D.C.
37 notes
·
View notes
The Ashcan School, also called the Ash Can School, was an artistic movement in the United States during the late 19th-early 20th century that produced works portraying scenes of daily life in New York, often in the city's poorer neighborhoods. The members were: Robert Henri (founder) William Glackens, John Sloan, George Luks, Everett Shinn, Arthur B. Davies, Maurice Prendergast, and Ernest Lawson. George Bellows was later associated with The Eight and a representation of his work will be included here.
Robert Henri (1865-1909) Snow in New York • 1902 • National Gallery of Art, Washington D.C.
William Glackens (1870–1938) East River Park (New York City) • c. 1900-04 • Brooklyn Museum, New York
Joan French Sloan (1871-1951) • McSorley's Bar • 1912 • Detroit Institute of Arts - Detroit, Michigan, U.S.
George Luks (1867-1933) • Bleeker and Carmine Street (Greenwich Village, NYC) • c. 1915
Everett Shinn (1876-1953) • Tightrope Walker • 1927 • Dayton Art Institute - Dayton, Ohio
Arthur B. Davies (1862-1928) • Every Saturday • 1895-96 • Brooklyn Museum, New York
Maurice Prendergast (1858–1924) • Central Park, New York • 1901 • pencil and watercolor • Whitney Museum of American Art, New York
Ernest Lawson (1873-1939) • The Flatiron Building (New York City) • c. 1903-05 • Private collection
George Bellows (1882-1925) • Cleaning Fish • 1913 • The Nelson-Atkins Museum of Art - Kansas City, Missouri
31 notes
·
View notes
COMPARTMENT C, CAR 293 (1938) BY EDWARD HOPPER.
191 notes
·
View notes
John Sloan
McSorley's Bar
1912
21 notes
·
View notes
Gwendolyn, John French Sloan, ca. 1918
82 notes
·
View notes
Picked up a nice etching by American, WPA artist Raphael Soyer (1933-1989) at a garage sale this morning.
Sorry for the poor photograph, it is under glass.
“Protected” was created in an edition of 250 in 1938.
It is in the collection of most major museums including the Smithsonian and the Metropolitan Museum of Art.
Once dubbed the “East Side Degas,” Russian-Jewish émigré and social-realist painter Raphael Soyer depicted ordinary men and women in contemporary settings. While studying at the Art Students League of New York under Guy Pène du Bois, he was influenced by the Ashcan School’s faithful representations of daily life in New York City’s poorer corners. Soyer rejected abstract art, stating, “I choose to be a realist and a humanist in art.” In sympathetic renderings of the unemployed during and after the great economic crash of 1929, many of Soyer’s paintings came to embody the Depression, as in the drawn, weary face and soft eyes that gaze out of Portrait of Walter Broe (1932). Soyer also painted women in large numbers and various forms throughout his career, including nudes, shop-girls, prostitutes, and pedestrians, displaying a love for and fascination with the manifold faces of humanity. WIKI
Moses and Raphael Soyer were identical twin brothers. Born in Russia, they immigrated with their family to America in 1913. They both studied art in New York, and went on to become successful figurative painters. During the 1930s, the brothers became involved with the Works Progress Administration and worked together on several large projects, including a mural for the Kingsessing Station Post Office in Philadelphia. Both Raphael and Moses were influenced by the Depression and painted many realistic scenes that expressed their concern for America’s poor and unemployed citizens. SMITHSONIAN
29 notes
·
View notes
The Red Mill, c. 1916. Ernest Lawson. Oil on Canvas.
101 notes
·
View notes
Abram Tromka, Tenement Market Scene, 1930s. Gouache. You should really enlarge this (click/tap) to see it.
Photo: 1st Dibs
44 notes
·
View notes