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American realism , Dempsey and Firpo (1924), , New York (1911) artists & friends at 's Philadelphia Studio, 1898 See also: and American realism was an early 20th century idea in art, music and literature that showed through these different types of work, reflections of the time period. Whether it was a cultural portrayal, or a scenic view of downtown New York City, these images and works of literature, music and painting depicted a contemporary view of what was happening; an attempt at defining what was real. In America at the beginning of the 20th century a new generation of painters, writers and journalists were coming of age. Many of the painters felt the influence of older American artists such as , , , , , , , , and . However they were interested in creating new and more urbane works that reflected city life and a population that was more urban than rural in America as it entered the new century. Introduction artists, c. 1896,
l to r, , , During the late 19th century, and into the 20th century artists and musicians contributed to the idea of realism in the American setting. Each, though slightly different in concept or subject, was defining what was going on in front of his or her eyes, without imagining a past or a future. While it has been stated that American Realism was a movement borrowing from ancient classical interpretations of art and architecture, this statement is false. American Realism was actually the opposite; instead of reflecting back to antiquities, artists, writers and musicians were concerned with recording the grit and the true reality of the early 20th century in America. America in the early 20th century The in 1908. The 10 were , , , , , , , , , and . From the late 19th to the early 20th centuries, the experienced enormous industrial, economic, social and cultural change. A continuous wave of immigration and the rising potential for international trade brought increasing growth and prosperity to America. Through art and artistic expression (through all mediums including painting, literature and music), American Realism attempted to portray the exhaustion and cultural exuberance of the figurative American landscape and the life of ordinary Americans at home. Artists used the feelings, textures and sounds of the city to influence the color, texture and look of their creative projects. Musicians noticed the quick and fast paced nature of the early 20th century and responded with a fresh and new tempo. Writers and authors told a new story about Americans; boys and girls real Americans could have grown up with. Pulling away from fantasy and focusing on the now, American Realism presented a new gateway and a breakthrough—introducing modernism, and what it means to be in the present. The also known as The Eight and the group called created the core of the new in the visual arts. Ashcan School Main article: The was a group of New York City artists who sought to capture the feel of turn-of-the-20th-century New York City, through realistic portraits of everyday life. These artists were not only depicting the rich and promising , but the lower class richly and culturally textured immigrants. One critic of the time did not like their choice of subjects, which included alleys, tenements, slum dwellers, and in the case of , taverns frequented by the working class. They became known as the revolutionary black gang and apostles of ugliness. , Both Members of This Club (1909), Oil on canvas, 45 1/4 x 63 1/8 in. (115 x 160.5 cm), George Bellows (1882–1925), painted city life in New York City. His paintings had an boldness and a willingness to take risks. He had a fascination with violence as seen in his painting, Both Members of this Club, which depicts a rather gory boxing scene. In his painting titled Cliff Dwellers, (above), we find a city-scape that is not one particular view but a composite of many views. Robert Henri , Snow in New York 1902, oil on canvas, , (1865–1921) was an important American Realist and a member of The Ashcan School. Henri was interested in the spectacle of common life. He focused on individuals, strangers, quickly passing in the streets in towns and cities. He had a sympathetic portrayal rather that a comic portrayal of people, often using a dark background to add to the warmth of the person portrayed. His works have a heavy impasto which stressed the materiality of the paint and the painter. He influenced Glackens, Luks, Shinn and Sloan. In 1906, he was elected to the , but when painters in his circle were rejected for the Academy's 1907 exhibition, he accused fellow jurors of bias and walked off the jury, resolving to organize a show of his own. He would later refer to the Academy as a cemetery of art. Everett Shinn , , 1901 (1876–1953), a member of the Ashcan School, was most famous for his numerous paintings of New York and the theater, and of various aspects of luxury and modern life inspired by his home in New York City. He painted theater scenes from London, Paris and New York. He found interest in the urban spectacle of life, drawing parallels between the theater and crowded seats and life. Unlike , Shinn depicted interaction between the audience and performer. George Benjamin Luks , Allen Street, c.1905, (1866–1933) was an Ashcan school artist who lived on the of . In Luks' painting, (1905), he shows children being entertained by a man with a toy while a woman and shopkeeper have a conversation in the background. The viewer is among the crowd rather than above it. Luks puts a positive spin on the Lower East Side by showing two young girls dancing in The Spielers, which is a type of dance that working glass immigrants would engage in; despite the poverty, children dance on the street. He looks for the joy and beauty in the life of the poor rather than the tragedy. William Glackens , Coney Island Fruit Stand, 1898 Early in his career, (1870–1938) painted the neighborhood surrounding his studio in . He also was a successful commercial illustrator, producing numerous drawings and watercolors for contemporary magazines that humorously portrayed New Yorkers in their daily lives. Later in life, he was much better known as "the American Renoir" for his Impressionist views of the seashore and the French Riviera. John Sloan , McSorley's Bar, 1912, (1871–1951) was an early-20th-century Realist of the Ashcan School, whose concerns with American social conditions led him to join the Party in 1910. Originally from , he worked in New York after 1904. From 1912–1916, he contributed illustrations to the socialist monthly The Masses. Sloan disliked propaganda, and in his drawings for The Masses, as in his paintings, he focused on the everyday lives of people. He depicted the leisure of the working class with an emphasis on female subjects. Among his best known works are Picnic Grounds and Sunday, Women Drying their Hair. He disliked the Ashcan School label, and expressed his annoyance with art historians who identified him as a painter of the American Scene: "Some of us used to paint little rather sensitive comments about the life around us. We didn't know it was the American Scene. I don't like the name ... A symptom of nationalism, which has caused a great deal of trouble in this world." Edward Hopper , Summer Interior 1909, (1882–1967) was a prominent American realist painter and . Hopper is the most modern of the American realists, and the most contemporary. While most popularly known for his oil paintings, he was equally proficient as a watercolorist and printmaker in . In both his urban and rural scenes, his spare and finely calculated renderings reflected his personal vision of modern American life. Hopper's teacher, artist Robert Henri, encouraged his students to use their art to "make a stir in the world". He also advised his students, It isn’t the subject that counts but what you feel about it and Forget about art and paint pictures of what interests you in life. In this manner, Henri influenced Hopper, as well as famous students and , and motivated them to render realistic depictions of urban life. Some artists in Henri's circle, including another teacher of Hopper’s, , became members of “The Eight”, also known as the of . His first existing oil painting to hint at his famous interiors was Solitary Figure in a Theater (c.1904). During his student years, Hopper also painted dozens of nudes, still lifes, landscapes, and portraits, including his self-portraits. More visual artists , , , , , , ...
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