Saturday, February 13, 2016

The Ashcan School


"In the early part of the twentieth century, a maverick group of painters in New York City set the foundation for depicting the sheer variety and scale of life in the changing, surging metropolis. Their name, like that of the Impressionists, was initially a term of derision branded by the prevailing critics, though it ultimately became their banner of pride. The painters of the Ashcan School wanted to create a new kind of art rooted in the raw, visceral day-to-day reality of the city—not the New York that was depicted by the popular painters of the time, the American Impressionists William Merritt Chase and Childe Hassam—the decidedly posh, haute bourgeoisie New York of Park Avenue, Central Park, and Washington Square—but the New York of the Lower East Side and the Bowery, of newly arrived immigrants, dockworkers, nightclub performers, saloon keepers, boxers, and the average worker trying to make ends meet while squeezing whatever small pleasure there was to be had out of life".  Source

"The Bridge, Blackwell's Island" (1909) George Bellows

"Cliff Dwelers"  George Bellows

"Men of the Docks" (1912) George Bellows

"New York"  (1909) George Bellows

"Snow in New York" Robert Henri

"Steaming Streets" (1908) George Bellows

Not sure how this relates to the Ashcan philosophy, but I like the kitty and the composition.

"Chinese Restaurant" (1909) John Sloan