The Bath, 1891

Mary Cassatt

(print)

*influeced by Japanese prints which were popular at the time.

*Critics claimes she depicted women as harsh, not idealized.

Rainy Day, Boston  1885

Childe Hassam

*Hassam had least amount of contact with Impressionists,  but most renowned American Impressionist.

*TONALIST PAINTING - very somber colors, still interested in relective quality of light.  Infl. by Velasquez (in vogue at the time).

*Wide foreground suggests influence of photography.

*Studied in Paris.

The Daughters of Edward D. Boit, 1882

John Singer Sargent

*Non-traditional portrait shows personality of girls

*Box w/in box composition to show depth

*Dark tones like admired Velasquez

Lydia, Leaning on Her Arms, Seated in a Loge  1879

Mary Cassatt

(pastel)

*Impressionism; small marks of color placed near each other and repeated; bright glowing colors; beautiful subject (her sister)

The Oval Mirror, 1901

Mary Cassatt

*Cassatt liked the Renaissance artists and this was meant to conjure up Mary and Jesus with oval frame acting as halo.

*Black of the frame was unusual for Impressionists.

*loose, painterly style

*Very intimate portrait.

In the Studio, 1881

William Merritt Chase

*Interior view of his studio (very wealthy artist)

*Objects were collected from around the world meant to impress his patrons.

*Impressionism style, more realistic (perceptual)

*Rich, shimmery colors.

Peonies, 1895

William Merritt Chase

*Impressionism, perceptual realism.

*Subject influenced by Japanese (Woman's dress, fan, hairstyle ...)

*Beautiful subject, bright colors.

The New York Window, 1912

Childe Hassam

*Impressionism, perceptual realism.

*Subject is his wife; window takes up most of the picture plane.

*This picture is about how light is diffused through the gauzy curtains and how that affects the color in the scene.

Symphony in White, no.1 (Little White Girl), 1864

James McNiell Whistler

*Impressionism, perceptual realism.

*Subject is his lover in white dress.

*Artist interested in painting with white, not "about" the woman.

*Japanese influences in fan, porcelain vase, cherry blossoms, fan.

Portrait of Madame Poirson, 1885

John Singer Sargent

*Sargent made Impressionistic paintings for his own pleasure - made his name and living from portraits.

*Life size, idealized portrait.

*Beautiful colors.

Madame X, 1884

John Singer Sargent

*Painting done to keep Amelie Gatreau at top of society and JSS at top of art world.  Backfired when seen at Salon because the painting was seen as "snooty and seductive" with slipped strap, form fitting dress, look on her face.

Laughing Child, 1907

Robert Henri

*Leading member of Ash Can School; people of New York was subject matter.

*Thick layers of paint, choppy brush strokes.

*Painted from observation, lots of black used.

Hairdresser's Window, 1907

John Sloan

*Sloan went to gritty parts of the city and documented (multiculturalism) people and city.

*Sloan liked his subjects and loved the hustle and bustle of the city.  No moral overtone.

*Box within a box composition.

Both Members of this Club, 1909

George Bellows

Cliff Dwellers, 1913

George Bellows

*Ashcan School; urban, crowded, energy of the city; precursor of social realism.

*Name refers to Native Americans who lived in spaces inside cliffs.

*Tenement buildings are "new" to the scene.

*Bellows did not intend to demean his subjects.

Hester Street, 1905

Geoge Luks

The Speilers, 1905

George Luks

Forty-Two Kids, 1907

George Bellows

*Did not exhibit with but is Ashcan School; pupil of Henri; urban kids out swimming.

*Homage to Eakins' "Swimming Hole".

*Very quick, almost cartoonish, brushtrokes from jouranlism background; dark color palette.

Six O'Clock, Winter 1912

John Sloan

*Ashcan school; urban, crowded, includes new technology of gas lights in shop windows and elevated train.

*Sloan interested in hustle and bustle of the city.

Movie, 5 Cents 1907

John Sloan

*Ashcan school; urban subject matter that includes new technology of electricity within the movie theatre and mixing of classes.

Chez Mouquin, 1905

William Glackens

Nocturne in Black and Gold - The Falling Rockets, 1874

James McNiell Whistler

Horticultural Building, World's Columbian Exposition, Chicago 1893

Childe Hassam

Allies' Day, 1917

Childe Hassam

*Impressionism; light, airy colors, very beautiful.

*Picture shows flags on 5th Avenue in NY on Allies day (US start involvement in WWI) proceeds from prints to war effort.

*Hassam made a series of flag paintings.

*Hassam most like French Impressionists.

Near the Beach, Shinnecock, 1895

William Merritt Chase

*Impressionistic; pleain air; alla prima.

*Ran a summer art school and would accept all kinds of students. 

*Taught students to not paint anything "grand", but paint the "everyday". He felt a structure was not needed to establish the composition.

Girl Arranging Her Hair, 1886

Mary Cassatt

*Impressionist.

*"S" composition considered quite beautiful.

*Cassatt subject matter was primarily women and children (leisure class).

The Large Glass (The Bride Stripped Bare...), 1923

Marcel Duchamp

*DADA, made from multiple materials

*Top half represents female, bottom half is male.

*An attempt to make art more kinetic

*This piece is about sexual desire

The Fleets In!, 1934

Paul Cadmus

*Magic Realist, egg tempera painting

*Expressive, exaggerated figures

*Sexual in nature - tight clothing, everyone touching everyone else

*Was removed from Corcoran Gallery exhibition by Admiral (bad view of sailors)

Subway, 1950

George Tooker

*Magic Realis; influenced by Renaissance artists as seen in use of primary colors.

*Many perspectives shown, anxiety on homogonized faces.

*Picture about "urban anxiety"; weight of the world on their shoulders (subway), cut off from senses

Nude Descending a Staircase, 1912

Marcel Duchamp

* Cubist influence with flat, geometric planes in the figure.

* Futurist influence as this picture is about movement as suggested by repetition of figure.

Reproduction, 1888

John F. Haberle

* Trompe L'Oeil, shallow space in composition

*Care-worn bills, stamps; life sized objects, paint thickness matches actual objects (appeals to senses).

*Haberle intentionally provoked authorities who accused him of counterfitting.

*Newspaper article (legible) about his counterfitting charge.

Iron and Tacks, 1970

Man Ray

*DADA, nonsensical sculpture (assemblage) made from materials not used in art before.

*Tried to make a useful thing useless. Conceptual.

*Great friends with Duchamp, Steiglitz was his mentor.

*Earned his living as a fashion photographer.

After the HUnt, 1885

William M. Harnett

*Trompe L'oeil; appeals to the senses (careworn), life size objects, shallow space.

*Nostalgic props owned by artist, purchased in Europe.

*Harnett trained as a silversmith.

*Earned a living by selling his work to business owners (not gallery worthy art).

The Faithful Colt, 1890

William M. Harnett

*Trompe L'oeil; shallow space, aged, careworn door, life size.

*Colt manufactured in US - gun was common/ nostalgic to many.

* Revolving barrel made it a handy firearm; was mass-produced.

*Centralized, sparse composition points to the gun being an icon.

Charming Things, Rayograph, 1923

Man Ray

*DADA assemblage sculpture, questions "what is art".

*Man Ray inspired by the Armory Show of 1913.

*He coined the term "rayograph".

*Artful composition fo everyday items with a cameraless method.