Urban realism, snow-covered streets of New York, boxing matches, children on the banks of a river, the painters of the Ash Can School preferred realistic images. Their paintings are a true hymn to noise and sensations. This unconventional movement enabled the birth of a true national artistic identity which broke free from the establishment. The Ash Can School resolutely promoted the affirmation of the modernist current of American art. Edward Hopper, who was a student of Robert Henri, embraced the principles of this movement and brought them to another level.
Оглавление
Gerry Souter. American Realism
Introduction
Eastman Johnson (1824–1906)
Winslow Homer (1836–1910)
Thomas Eakins (1844–1916)
William Michael Harnett (1848–1892)
Frederic Remington (1861–1909)
Robert Henri (1865–1929) and the “Ashcan Artists”
Robert Henri
Everett Shinn
George Luks
William Glackens
John Sloan
George Bellows
Summary of the Ashcan Artists
Edward Hopper (1882–1967)
Thomas Hart Benton (1889–1975)
Grant Wood (1892–1942)
Charles Burchfield (1893–1967)
Andrew Wyeth (1917–2009)
Bibliography
Books
Periodicals
Отрывок из книги
Frederic Remington, Boat House at Ingleneuk, c. 1903–1907.
Oil on academy board, 30.5 × 45.7 cm.
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Genre paintings slipped from favour. Johnson fell back upon his portraits for income but, like the old men seated around the stove in the general store, he reached back into his own memories. He had, for instance, a great desire to produce a large canvas depicting the process of maple sugar boiling. Over the years he made a number of studies of this unique ‘Down East’ scene, but never completed the finished canvas as interest in nostalgia waned. His fame as a portrait artist never vanished and he was in constant demand. Even into his seventies, he remained active, documenting both his era and the images in his memory.
Of the series, Henry T. Tuckerman, Boston essayist and critic, explained Johnson’s ability to capture “Maine, of old… rare materials… becoming more rare and less picturesque as locomotive facilities reduce costume, dress, speech and even faces to a monotonous uniformity.”[2]
