CH 35 America before 1930. 35.2 America, 1900 to 1930 From the previous century…. 2 Americans in Europe….

CH 35 America before 1930

35.2 America, 1900 to 1930• From the previous century….

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Americans in Europe….

Figure 35-31 JOHN SLOAN, Sixth Avenue and Thirtieth Street, New York City, 1907, 1909. Oil on canvas, 2’ 1/4” x 2’ 8”. Philadelphia Museum of Art, Philadelphia (gift of Meyer P. Potamkin and Vivian O. Potamkin, 2000). 3

Realistic look at life…

No varnish…compare To Sargeant….

The Ashcan School…Robert Henri is the leader of “The Eight”

Figure 35-32 Installation photo of the Armory Show, New York National Guard’s 69th Regiment, New York, 1913. Museum of Modern Art, New York.

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1913: The Armory Show Begins the European Dialogue…

With American Artists….

ChangesThe wayAmericaThinks About Art…

New York,Chicago,Boston

Figure 35-1 MARCEL DUCHAMP, Nude Descending a Staircase, No. 2, 1912. Oil on canvas, 4’ 10 “x 2’ 11”. Philadelphia Museum of Art, Philadelphia (Louise and Walter Arensberg Collection).

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“Cousins to the anarchists!”

“Bomb Throwers!”

“Lunatics!”

“Depravers!”

“Aliens” (bringing)

Modernism… imperiling theRepublic of art….”

“An explosion in a shingle factory”

American Art Forms

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Figure 35-33 MAN RAY, Cadeau (Gift), ca. 1958 (replica of 1921 original). Painted flatiron with row of 13 tacks with heads glued to the bottom, 6 1/8” x 3 5/8” x 4 1/2”. Museum of Modern Art, New York (James Thrall Soby Fund).

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Exploring psychologyOf perception of exteriorWorld….

Unsettling juxtapositions…

To create new awareness…

Figure 35-34 MARSDEN HARTLEY, Portrait of a German Officer, 1914. Oil on canvas, 5' 8 1/4” x 3' 5 3/8”. Metropolitan Museum of Art, New York (Alfred Stieglitz Collection).

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A different kind of heroicPortrait…

Classical references/Modernist ideals…

Figure 35-35 STUART DAVIS, Lucky Strike, 1921. Oil on canvas, 2’ 9 1/4” x 1’ 6”. Museum of Modern Art, New York (gift of The American Tobacco Company, Inc.). Art © Estate of Stuart Davis/Licensed by VAGA, New York, NY.

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Wants to convey the energyOf American culture…

A modernist still-life…

Sees packaging as evidence Of a sophisticated civilization

Deliberately creating an AmericanModernism…

Influence of synthetic cubism…

Figure 35-36 AARON DOUGLAS, Noah’s Ark, ca. 1927. Oil on masonite, 4’ x 3’. Fisk University Galleries, University of Tennessee, Nashville.

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Artist of the HarlemRenaissance…

Celebrating cultural Accomplishments of African Americans

Studied in Paris..An early Graphic ArtistIn New York…

Also influenced by AfricanSculptures….

Figure 35-37 CHARLES DEMUTH, My Egypt, 1927. Oil on composition board, 2’ 11 3/4” x 2’ 6”. Collection of Whitney Museum of American Art, New York (purchased with funds from Gertrude Vanderbilt Whitney).

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A “Precisionist”

Fascination with Machines and itsRoles in modern Life….

My Egypt?

Unstable Composition?

Figure 35-38 GEORGIA O’KEEFFE, New York, Night, 1929. Oil on canvas, 3’ 4 1/8” x 1’ 7 1/8”. Sheldon Memorial Art Gallery, Lincoln, (Nebraska Art Association, Thomas C. Woods Memorial Collection).

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Strips subjects to theirPurest forms…

Heightens their power byBringing out their strongestQualities and de-emphasizingThe extraneous….

Figure 35-39 ALFRED STIEGLITZ, The Steerage, 1907 (print 1915). Photogravure (on tissue), 1’ 3/8” x 10 1/8”. Courtesy of Amon Carter Museum, Fort Worth. 13

Founds Gallery 291

Took straight Unmanipulated Photos…

Creates a modernist Tableau that is createdBy the shapes and formsOf the images in the Photos coming togetherTo create a whole…

Taking us closer to a deeperFeeling and understandingOf humanity

Figure 35-40 EDWARD WESTON, Nude, 1925. Platinum print, 7 1/2” x9 1/2”. Center for Creative Photography, University of Arizona, Tucson.

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ExtremeAbstractionOf form..