Known for its gritty urban subject matter, dark palette, and gestural brushwork, the Ashcan School set the ground for the New York avant-garde.

The Ashcan School were a group of painters who pioneered one of the first art movements to originate in America. These 6 facts and artworks can help you understand them.

Ashcan School artists and friends at John French Sloan's Philadelphia Studio in 1898 I first discovered paintings by artists of the New York “Ashcan School” soon after leaving art school in the late 60’s and living for a while in New York, and have been a fan of the work ever since. I thought I’d take a fairly comprehensive look at the work of the Ashcan artists on this blog, but my research has so far run to about forty postings, which for many could become a little tedious for anyone that doesn't share my enthusiasm for the work, so I am going to make it an intermittent theme, starting here with a small overview written by H. Barbara Weinberg from the Department of American Paintings and Sculpture, The Metropolitan Museum of Art: “About 1900, a group of Realist artists set themselves apart from and challenged the American Impressionists and academics. The most extensively trained member of this group was Robert Henri (1865–1929), who had studied at the Pennsylvania Academy of the Fine Arts from 1886 to 1888 under Thomas Anshutz (1851–1912). Anshutz had himself studied at the Pennsylvania Academy from 1876 to 1882 with Thomas Eakins, who had defied Victorian decorum in his teaching principles and in his boldly realistic paintings. Eakins would become the lodestar to Henri and his associates. After spending the years from 1888 to 1891 working at the Académie Julian in Paris, Henri taught at the School of Design for Women in Philadelphia and gave private art classes in and around that city and, during return visits to France, in and around Paris. Robert Henri by John Sloan 1902 etching Robert Henri - 1902 Snow in New York oil on canvas 81 x 66 cm Beginning in 1892, Henri also became the mentor to four Philadelphia illustrators - William Glackens (1870–1938), George Luks (1866–1933), Everett Shinn (1876–1953), and John Sloan (1871–1951)—who worked together at several local newspapers and gathered to study, share studios, and travel. Between late 1896 and 1904, they all moved to New York, where Henri himself settled in 1900. William Glackens by Robert Henri 1904 oil on canvas 198.1 x 96.5 cm William Glackens - 1935 The Soda Fountain oil on canvas 121.9 x 91.4 cm George Luks by Robert Henri 1904 oil on canvas 194 x 97 cm George Luks - c1923 Noontime, St. Botolph Street, Boston oil on canvas 76.8 x 64.1 cm Everett Shinn Self-Portrait 1901 1930 Everett Shinn - Acrobat Falling oil on canvas 91.7 x 66.5 cm John Sloan Self-Portrait c1917-22 oil on canvas John Sloan - 1907 Hairdresser's Window oil on canvas 81 x 66 cm Henri and his former-Philadelphia associates comprised the first generation of what came to be known as the Ashcan School. A second generation consisted of Henri's New York students, of whom George Bellows (1882–1925) was the most devoted. George Bellows by Robert Henri 1911 oil on canvas 81 x 66 cm George Bellows - 1910 A Morning Snow, Hudson River oil on canvas 114.6 x 160.66 cm The term Ashcan School was suggested by a drawing by Bellows captioned "Disappointments of the Ash Can", which appeared in the Philadelphia Record in April 1915; was invoked by cartoonist Art Young in a disparaging critique that appeared in the New York Sun in April 1916; and was given curatorial currency by Holger Cahill and Alfred H. Barr Jr. in a 1934 exhibition at New York's Museum of Modern Art. Disappointments of the Ash Can "Dey woims in it" 1882 Although the Ashcan artists were not an organised "school" and espoused somewhat varied styles and subjects, they were all urban Realists who supported Henri's credo—"art for life's sake," rather than "art for art's sake." They also presented their works in several important early twentieth-century New York exhibitions, including a group show at the National Arts Club in 1904; the landmark show of The Eight at Macbeth Galleries in February 1908, which included the five senior Ashcan School painters along with Ernest Lawson (1873–1939), Maurice Prendergast (1858–1924), and Arthur B. Davies (1862–1928); the Exhibition of Independent Artists in 1910; and the Armory Show - an immense display dominated by modern European art - in 1913. Ernest Lawson by William Glackens 1910 oil on canvas 76.2 x 63.5 cm Ernest Lawson - 1913 Spring Night, Harlem River oil on canvas 64 x 77 cm Maurice Prendergast Maurice Prendergast - c1907-10 East Boston Ferry oil on panel 36.8 x 32.4 cm Arthur B. Davies Arthur B. Davies - 1915 The Dawning oil on canvas 275.3 x 275 cm In their paintings as in their illustrations, etchings, and lithographs, Henri and his fellow Ashcan artists concentrated on portraying New York's vitality and recording its seamy side, keeping a keen eye on current events and their era's social and political rhetoric. Stylistically, they depended upon the dark palette and gestural brushwork of Diego Velázquez, Frans Hals, Francisco de Goya, Honoré Daumier, and recent Realists such as Wilhelm Leibl, Édouard Manet, and Edgar Degas. They preferred broad, calligraphic forms, which they could render "on the run" or from memory, thereby enlisting skills that most of them had cultivated as newspaper illustrators. Although the Ashcan artists advocated immersion in modern actualities, they were neither social critics nor reformers and they did not paint radical propaganda. While they identified with the vitality of the lower classes and resolved to register the dismal aspects of urban existence, they themselves led pleasant middle-class lives, enjoying New York's restaurants and bars, its theatre and vaudeville, and its popular nearby resorts such as Coney Island. Because they avoided civil unease, class tensions, and the grit of the streets, their works are never as direct or disturbing as those of their European counterparts or of the reformist images of American photographers such as Jacob Riis. Jacob Riis - 1888 Bandit's Roost The Ashcan artists selectively documented an unsettling, transitional time in American culture that was marked by confidence and doubt, excitement and trepidation. Ignoring or registering only gently harsh new realities such as the problems of immigration and urban poverty, they shone a positive light on their era. Along with the American Impressionists, the Ashcan artists defined the avant-garde in the United States until the 1913 Armory Show introduced to the American public the works of true modernists Henri Matisse, Pablo Picasso, Marcel Duchamp, and others. Henri and most of his Ashcan colleagues continued to paint—even into the 1940s, in the case of Sloan and Shinn. Although their creativity waned and their pioneering character faded, they infused some of their late canvases with their earlier vigor.” H. Barbara Weinberg, Department of American Paintings and Sculpture, The Metropolitan Museum of Art The first Ashcan School post will feature the work of William Glackens ( next Post ).

The Ashcan School were a group of painters who pioneered one of the first art movements to originate in America. These 6 facts and artworks can help you understand them.

Art and Artists, Paintings, Painters, Prints, Printmakers, Illustration, Illustrators

Known for its gritty urban subject matter, dark palette, and gestural brushwork, the Ashcan School set the ground for the New York avant-garde.

the Spielers - George Luks 1905 Ashcan School

Robert Henri (1865 – 1929) was an American painter and teacher. He was a leading figure of the Ashcan School in art. For biographical notes on Henri see part 1. For earlier works see parts 1-4. This is part 5 of 6-part post on the works of Robert Henri: 1916 The Laundress oil on canvas 90 x 74 cm 1916 Young Buck of the Tesuque Pueblo oil on canvas 61 x 50.8 cm 1917 Gregorita with the Santa Clara Bowl oil on canvas 1917 Juanita oil on canvas 61.3 x 50.8 cm 1917 Juanita oil on canvas 81.3 x 66 cm 1917 Julianita Ready for the Dance oil on canvas 81.3 x 66 cm 1917 Miguel of Tesuque oil on canvas 61.3 x 51.44 cm 1917 Portrait of Mary Fanton Roberts oil on canvas 32 x 26 in 1917 The Goat Herder oil on canvas 61 x 51 cm 1917 Upper Hudson oil on canvas 46 x 56 cm 1918 Fay Bainter oil on canvas 104.1 x 83.8 cm 1918 Sketchers in the Woods pastel on paper 31 x 50 cm 1919 Beatrice Whittaker oil on canvas 81.3 x 66 cm 1919 Portrait of Jean McVitty oil on canvas 61 x 50.8 cm 1920 Mata Moana oil on canvas 81.3 x 66 cm 1921 Agnes in Red oil on canvas 61 x 51 cm 1921 Agnes oil on canvas 61 x 50.8 cm 1921 Boy in Blue Overalls oil on canvas 61 x 50.8 cm 1921 Carl Schleicher oil on canvas 61 x 50.8 cm 1921 Francine oil on canvas 61 x 50.8 cm 1921 Isolina Maldonado - Spanish Dancer oil on canvas 81.3 x 66 cm 1922 Berna Escudero oil on canvas 61 x 50.8 cm 1922 Boy with a Green Cap ( aka Chico ) oil on canvas 61 x 51 cm 1922 Young Sport oil on canvas 61 x 50.8 cm 1923 Dorita oil on canvas 132 x 101.6 cm 1923 Francisquita oil on canvas 32.5 x 26.2 cm 1923 Segovia Man in Fur-Trimmed Hat oil on canvas 104.1 x 83.8 cm 1923 Zara Levy, Nude oil on canvas 81.3 x 66 cm c1923 Old Spaniard - "Lagartija," Florencio Rodriques oil on canvas 81.3 x 66 cm 1924 Buck O'Malley ( Charles ) oil on canvas 61 x 50.8 cm 1924 Johnnie Patten oil on canvas 59.7 x 49.5 cm 1924 Listening Boy oil on canvas 61 x 50.8 cm 1924 Moira oil on canvas 1924 Portrait of Catherine O'Malley oil on canvas 61 x 50.8 cm 1924 Portrait of Mary Patten oil on canvas 81.3 x 66 cm 1924 Sarah B. oil on canvas 59 x 75.2 cm 1924 Seated Woman pencil on paper 24.8 x 15.5 cm 1924 Sissy in Yellow oil on canvas 61.6 x 51.4 cm 1924 Smiling Tom 1924 Tommy ( Thomas Cafferty ) oil on canvas 73.7 x 63.5 cm 1925 Annie Beg oil on canvas 61 x 50.8 cm

Continuing the intermittent theme on the New York "Ashcan School." See also William Glackens, Robert Henri, and George Luks (in the index). The next artist I'm featuring is Everett Shinn. Self-Portrait 1901 pastel on paper Everett Shinn (1876 – 1953) was born in Woodstown, New Jersey, a large Quaker community. His parents were rural farmers. Shinn left Woodstown at the age of fourteen and enrolled at a technical institution known as the Spring Garden Institute in Philadelphia from 1888-1890. The school specialised in the teaching of mechanical drawing and architecture and was also attended by fellow member of “The Eight,” John Sloan. Following his education, Shinn spent a year working at the Thackery Gas Fixture Works designing light fixtures. After being fired for doodling in the margins of his plans, his former employer urged him to go into a more creative field, citing the newspaper and magazine industries as examples. He began his work for the Philadelphia Press in 1893 as an illustrator. Many, including Shinn, consider this the true beginning of his art career. In later years, Shinn would express his great dismay over the development of photography as the major source of pictorials in newspapers because it eventually largely replaced his form of art. He continually moved from paper to paper for the rest of his illustrating career, receiving a pay increase with each move. The attention to detail necessary for his newspaper illustrations is reflected in his style and later paintings, especially those of urban nature. Shinn has said of his experience at the Philadelphia Press: "In the Art Department of the Philadelphia Press on wobbling, ink-stained drawing boards William J. Glackens, George Luks, Everett Shin and John Sloan went to school, a school now lamentably extinct…a school that trained memory and quick perception." It was during Shinn's time in Philadelphia that artists John Sloan and Joseph Laub established the Charcoal Club as an alternative art school. The group, whose members were members of "The Eight" such as Henri, Sloan, Glackens, Luks and Shinn, reached a peak membership of 38 and sketched nudes and did critiques of each others work. The club is often thought of as the establishing point of the Philadelphia group, later known as ‘The Eight’. In 1897, Shinn was offered a higher paying job as an illustrator for the New York newspaper, The World. He moved there and was joined shortly there after by his wife, Flossie, and by other members of the Charcoal Club. Shinn enjoyed living in the city and observing the eccentric daily hustle and bustle exemplified by living in New York. Much of Shinn's life and opinions were reflected in his work. His life in New York was a major subject in many of his paintings. Shinn often depicted scenes of drama and violence, rallying for social change and urban understanding. Coinciding with the dramatic themes found throughout his work, theatre was also a major subject in Shinn's pastels. In 1899, he quit the newspaper business and began working for Ainslee's Magazine, a magazine that also employed his wife, who was by that time a very successful illustrator and who brought in a good deal of the household income. Shinn also started displaying his work publicly in 1899 with mixed reactions. In 1900, he and Flossie travelled to Europe for him study and prepare to produce another exhibit. The trip greatly influenced his art in years to come during his visit, he saw European art that was focused on theatrical portrayals, as well as impressionist works. He suffered many losses during the Great Depression and sold very few paintings during that time. Between 1910 and 1937, Shinn held only one exhibition of paintings at Knoedler's in 1920. Between 1937 and his death in 1953, Shinn received several awards commending his innovative paintings and participated in several exhibitions. He died of lung cancer in 1953. This is part 1 of a 3-part post on the works of Everett Shinn: 1898 Snow Storm, Madison Square, New York pencil and pastel 57.8 x 65.7 cm c1898 New York Harbour pastel 21.6 x 33.7 cm 1899 Street Scene at a Fire printed illustration 16 x 18 cm 1899 Chinese Restaurant gouache on paper 21.6 x 33.7 cm 1899 Horse-drawn Bus pastel on paper 55.2 x 74.9 cm 1899 Madison Square and the Dewey Arch, Cross Streets of New York pastel, watercolour and gouache on board 74.3 x 46.3 cm 1899 Magazine Poster 1899 The Fight ink and watercolour on paper 21 x 33.7 cm 1899 Winter on 21st Street, New York pastel on grey paper 51.8 x 61.9 cm c1899 Fifth Avenue mixed media on paper 51 x 41 cm 1900 Back Row, Follies Bergere pastel on paper 52 x 69 cm 1900 Fleishman's Bread Line pastel and watercolour on paper 21.6 x 34.3 cm 1900 Print from Harper's Weekly magazine 35 x 23 cm 1900 Progress of the Work on the Underground Railroad printed illustration from Harper's Weekly 17 x 22 cm c1900-05 Sullivan Street oil on canvas 20.3 x 25.4 cm c1900 All Night Café pastel, watercolour and graphite on paper 25 x 33.8 cm 1901 Broadway, Late in the Afternoon printed illustration from Century magazine 15 x 19 cm 1901 Cabs on the Fifth Avenue Side of Madison Square printed illustration from Century magazine 15 x 19 cm 1901 The Docks, New York City pastel on paper 39.4 x 55.9 cm 1902 Spanish Music Hall 1902 The Hippodrome, London oil on canvas 66.9 x 89.4 cm 1902 The Singer oil on canvas 66.7 x 44.1 cm 1902-06 Keith's Union Square oil on canvas 51.6 x 61.6 cm 1903 34th Street pastel on paper 22.9 x 33 cm 1903 Girl in Bathtub pastel on paper 40.6 x 35.6 cm 1903 In the Loge oil and pastel on canvas 64.8 x 43.5 cm 1903 Steps Between Houses Paris Street pastel on paper 53 x 71 cm 1903 Theatre Scene oil on canvas 55.9 x 63.2 cm 1903 Window Shopping pastel on paper 36.2 x 45.72 cm 1904 Eviction ( Lower East Side ) gouache on paper 21.3 x 33.3 cm 1904 Matinée Crowd, Manhattan pastel and gouache on illustration board 46.4 x 27.9 cm 1904 The Tightrope Walker pastel on board 30.5 x 33 cm 1904 The White Ballet oil on canvas 74.9 x 93.3 cm 1905 Concert Stage oil on canvas 41.9 x 50.8 cm 1905 Outdoor Stage, France oil on canvas 62.9 x 54.6 cm 1905 Saturday Night watercolour and pastel on paper 45.1 x 60.3 cm c1905-06 Rehearsal of the Ballet oil on canvas 45 x 67 cm 1906 A French Music Hall oil on canvas 61 x 74.9 cm

Continuing the intermittent theme on the New York "Ashcan School." See also William Glackens, Robert Henri, and George Luks (in the index). The next artist I'm featuring is Everett Shinn. Self-Portrait 1901 pastel on paper Everett Shinn (1876 – 1953) was born in Woodstown, New Jersey, a large Quaker community. His parents were rural farmers. Shinn left Woodstown at the age of fourteen and enrolled at a technical institution known as the Spring Garden Institute in Philadelphia from 1888-1890. The school specialised in the teaching of mechanical drawing and architecture and was also attended by fellow member of “The Eight,” John Sloan. Following his education, Shinn spent a year working at the Thackery Gas Fixture Works designing light fixtures. After being fired for doodling in the margins of his plans, his former employer urged him to go into a more creative field, citing the newspaper and magazine industries as examples. He began his work for the Philadelphia Press in 1893 as an illustrator. Many, including Shinn, consider this the true beginning of his art career. In later years, Shinn would express his great dismay over the development of photography as the major source of pictorials in newspapers because it eventually largely replaced his form of art. He continually moved from paper to paper for the rest of his illustrating career, receiving a pay increase with each move. The attention to detail necessary for his newspaper illustrations is reflected in his style and later paintings, especially those of urban nature. Shinn has said of his experience at the Philadelphia Press: "In the Art Department of the Philadelphia Press on wobbling, ink-stained drawing boards William J. Glackens, George Luks, Everett Shin and John Sloan went to school, a school now lamentably extinct…a school that trained memory and quick perception." It was during Shinn's time in Philadelphia that artists John Sloan and Joseph Laub established the Charcoal Club as an alternative art school. The group, whose members were members of "The Eight" such as Henri, Sloan, Glackens, Luks and Shinn, reached a peak membership of 38 and sketched nudes and did critiques of each others work. The club is often thought of as the establishing point of the Philadelphia group, later known as ‘The Eight’. In 1897, Shinn was offered a higher paying job as an illustrator for the New York newspaper, The World. He moved there and was joined shortly there after by his wife, Flossie, and by other members of the Charcoal Club. Shinn enjoyed living in the city and observing the eccentric daily hustle and bustle exemplified by living in New York. Much of Shinn's life and opinions were reflected in his work. His life in New York was a major subject in many of his paintings. Shinn often depicted scenes of drama and violence, rallying for social change and urban understanding. Coinciding with the dramatic themes found throughout his work, theatre was also a major subject in Shinn's pastels. In 1899, he quit the newspaper business and began working for Ainslee's Magazine, a magazine that also employed his wife, who was by that time a very successful illustrator and who brought in a good deal of the household income. Shinn also started displaying his work publicly in 1899 with mixed reactions. In 1900, he and Flossie travelled to Europe for him study and prepare to produce another exhibit. The trip greatly influenced his art in years to come during his visit, he saw European art that was focused on theatrical portrayals, as well as impressionist works. He suffered many losses during the Great Depression and sold very few paintings during that time. Between 1910 and 1937, Shinn held only one exhibition of paintings at Knoedler's in 1920. Between 1937 and his death in 1953, Shinn received several awards commending his innovative paintings and participated in several exhibitions. He died of lung cancer in 1953. This is part 1 of a 3-part post on the works of Everett Shinn: 1898 Snow Storm, Madison Square, New York pencil and pastel 57.8 x 65.7 cm c1898 New York Harbour pastel 21.6 x 33.7 cm 1899 Street Scene at a Fire printed illustration 16 x 18 cm 1899 Chinese Restaurant gouache on paper 21.6 x 33.7 cm 1899 Horse-drawn Bus pastel on paper 55.2 x 74.9 cm 1899 Madison Square and the Dewey Arch, Cross Streets of New York pastel, watercolour and gouache on board 74.3 x 46.3 cm 1899 Magazine Poster 1899 The Fight ink and watercolour on paper 21 x 33.7 cm 1899 Winter on 21st Street, New York pastel on grey paper 51.8 x 61.9 cm c1899 Fifth Avenue mixed media on paper 51 x 41 cm 1900 Back Row, Follies Bergere pastel on paper 52 x 69 cm 1900 Fleishman's Bread Line pastel and watercolour on paper 21.6 x 34.3 cm 1900 Print from Harper's Weekly magazine 35 x 23 cm 1900 Progress of the Work on the Underground Railroad printed illustration from Harper's Weekly 17 x 22 cm c1900-05 Sullivan Street oil on canvas 20.3 x 25.4 cm c1900 All Night Café pastel, watercolour and graphite on paper 25 x 33.8 cm 1901 Broadway, Late in the Afternoon printed illustration from Century magazine 15 x 19 cm 1901 Cabs on the Fifth Avenue Side of Madison Square printed illustration from Century magazine 15 x 19 cm 1901 The Docks, New York City pastel on paper 39.4 x 55.9 cm 1902 Spanish Music Hall 1902 The Hippodrome, London oil on canvas 66.9 x 89.4 cm 1902 The Singer oil on canvas 66.7 x 44.1 cm 1902-06 Keith's Union Square oil on canvas 51.6 x 61.6 cm 1903 34th Street pastel on paper 22.9 x 33 cm 1903 Girl in Bathtub pastel on paper 40.6 x 35.6 cm 1903 In the Loge oil and pastel on canvas 64.8 x 43.5 cm 1903 Steps Between Houses Paris Street pastel on paper 53 x 71 cm 1903 Theatre Scene oil on canvas 55.9 x 63.2 cm 1903 Window Shopping pastel on paper 36.2 x 45.72 cm 1904 Eviction ( Lower East Side ) gouache on paper 21.3 x 33.3 cm 1904 Matinée Crowd, Manhattan pastel and gouache on illustration board 46.4 x 27.9 cm 1904 The Tightrope Walker pastel on board 30.5 x 33 cm 1904 The White Ballet oil on canvas 74.9 x 93.3 cm 1905 Concert Stage oil on canvas 41.9 x 50.8 cm 1905 Outdoor Stage, France oil on canvas 62.9 x 54.6 cm 1905 Saturday Night watercolour and pastel on paper 45.1 x 60.3 cm c1905-06 Rehearsal of the Ballet oil on canvas 45 x 67 cm 1906 A French Music Hall oil on canvas 61 x 74.9 cm

Robert Henri (1865 – 1929) was an American painter and teacher. He was a leading figure of the Ashcan School in art. For biographical notes on Henri see part 1. For earlier works see parts 1-3. This is part 4 of 6-part post on the works of Robert Henri: 1913 Mary O'Dee oil on canvas 61 x 50.8 cm 1913 Mary of Connemara oil on canvas 104.1 x 83.8 cm 1913 Mary oil on canvas 61.3 x 50.8 cm 1913 My Friend Brien oil on canvas 104.1 x 83.8 cm 1913 Nora oil on canvas 61 x 50.8 cm 1913 Nora oil on canvas 61 x 51 cm 1913 O'Malley Home oil on panel 31 x 39 cm 1913 Old Johnnie oil on canvas 61 x 52 cm 1913 Old Johnnie's Wife oil on canvas 79 x 63 cm 1913 Pat oil on canvas 81.3 x 66 cm 1913 Road to Corrymore oil on panel 31 x 41 cm 1913 Sis oil on canvas 61 x 50.2 cm 1913 The Guide to Croaghan oil on canvas 104.8 x 83.8 cm 1913 The Little Irishman oil on canvas 61 x 50.8 cm 1913 Thomas in his Red Coat oil on canvas 81.3 x 66 cm 1913 West Coast of Ireland oil on canvas 66 x 81.3 cm 1914 Chinese Girl with Fan oil on canvas 61 x 50.8 cm 1914 Chow Boy oil on canvas 81.3 x 66 cm 1914 Mildred Clarke von Kienbusch oil on canvas 61 x 51 cm 1914 Nelson oil on canvas 61 x 50.8 cm 1914 Po-Tse-Water Eagle oil on board 84 x 104 cm 1914 Sylvester - Smiling oil on canvas 61 x 51 cm 1914 Tam Gan oil on canvas 61 x 50.8 cm 1914 The Beach Hat oil on canvas 61 x 50.8 cm 1914 Viv in Blue Stripe oil on canvas 81 x 66 cm 1915 Edna oil on canvas 81.3 x 66 cm 1915 Laughing Gypsy Girl oil on canvas 61 x 50.8 cm 1915 Lily Cow and the Queen oil on canvas 61 x 50.8 cm 1915 Patience oil on canvas 45.7 x 38.1 cm 1915 Patience oil on canvas 61 x 50.8 cm 1915 Sammy and His Mother oil on canvas 81.3 x 66 cm 1915 Thammy oil on canvas 61 x 50.8 cm 1915 The Model Nude oil on canvas 81.3 x 66 cm 1915 The Young Girl oil on canvas 104.1 x 83.8 cm 1915 Viv ( New York ) oil on canvas 104.1 x 83.8 cm c1915 Edna Smith in a Japanese Wrap oil on canvas 20 x 24 in 1916 Betalo, Nude oil on canvas 83.8 x 104.1 cm 1916 Boy with Plaid Scarf oil on canvas 61 x 50.8 cm 1916 Dancer of Delhi ( Betalo Rubino ) oil on canvas 97.8 x 146 cm 1916 Gertrude Vanderbilt oil on canvas 127 x 182.9 cm 1916 Indian Girl 61 x 50.8 cm 1916 Reclining Nude ( Barbara Brown ) oil on canvas 83.8 x 111.8 cm

George Bellows by Robert Henri 1911 oil on canvas 81 x 66 cm Continuing the intermittent theme on the New York "Ashcan School" (see William Glackens, Robert Henri, George Luks, Everett Shinn in the index) the next artist I'm featuring is George Bellows. George Wesley Bellows (1882-1925) was a prolific and accomplished leader among American painters who approached representation of the American scene realistically. George Bellows was born in Columbus, Ohio in 1882. At Ohio State University (1901-1904) he distinguished himself as an athlete, but he determined that he wanted to be an artist and went to New York City in 1904 without graduating. For a time he supported himself as a professional athlete. He studied at the New York School of Art under Robert Henri, who became an influential and lifelong friend. Bellow's early paintings are swift and vivid character studies, of sombre tonality. His development was very rapid, and from 1906 on his works were accepted in national exhibitions. He was fascinated with the spectacle of the great city: its buildings, crowds, types, and rivers. Though he was denounced by conservative critics as one of the "apostles of ugliness," his technical brilliance made him more acceptable than any of the other painters of similar impulse. He became an associate of the National Academy of Design at the age of 27, the youngest person ever so honoured, and was elected a full academician four years later. His work is marked by exuberance, variety of subject matter, humour, and vitality. In 1907 Bellows produced the first of several paintings of prizefighters in action in the ring; these expressed violent action with power and seeming spontaneity. He married in 1910, rebuilt an old house on 19th Street, and started his teaching career at the Art Students League. He was a teacher of the Henri variety - bringing out the individuality of each student with excitement and imagination. He spent several summers in Maine, where he painted windswept landscapes and sea scenes. In the summer of 1912 Bellows visited California and New Mexico - his only excursion to the Far West. He never went to Europe. Bellows was well represented in the important Armory Show of 1913. The new European movements exhibited there may have had an unsettling influence on him, as they did on many progressive American painters who discovered that their innovations had been in subject matter rather than in method or form. In 1916 Bellows turned to lithography (at this time seldom used by serious artists) because its immediacy attracted him, His nearly 200 lithographs deal with a wide variety of subjects - genre scenes, nudes, portraits, landscapes, literary illustrations, and humorous or satiric commentaries. He was deeply and emotionally affected by World War I and recorded his reactions in a series of powerful and painful prints that have been compared with those of Goya. In 1918 he became interested in Jay Hambidge's theory of dynamic symmetry, which provided a geometric system of composition for controlling the artist's work. Hambidge (and Bellows) believed it was followed by many of the great artists of antiquity. Bellows taught at the Chicago Art Institute in 1919; his sojourn there was remembered as a whirlwind of enthusiasm and activity. A neglected attack of appendicitis caused Bellows's death in January 1925 in New York. I am mainly showing Bellows’ paintings in this series of posts along with a chosen handful of his lithographs – showing all his lithographs would be overkill. This is part 1 of a 6-part post on the works of George Bellows: 1898 Sag Harbour watercolour 28.9 x 53 cm after 1904 Old Fisherman oil on canvas 61 x 48.6 cm 1905 Bethesda Fountain ( Fountain in Central Park ) oil on canvas 51.4 x 61.8 cm 1905 Central Park oil on canvas 54.6 x 64.8 cm 1905 May Day in Central Park oil on canvas 45.7 x 55.9 cm 1905 Robin oil on canvas 107.9 x 77.47 cm c1905 Head of Boy ( aka Gray Boy ) oil on canvas 66.7 x 52.1 cm 1906 Cross-Eyed Boy oil on canvas 50.8 x 66 cm 1906 Kids oil on canvas 81.3 x 106.7 cm 1906 Portrait of My Father oil on canvas 72 x 55.9 cm 1906 River Rats oil on canvas 77.5 x 97.8 cm 1906 Swans in Central Park oil on canvas 47 x 53.3 cm c1906 Election Night Times Square charcoal, lithographic crayon, conté crayon, ink on paper 46.1 x 66 cm c1906 On the East Side crayon, charcoal and ink on paper 31.8 x 25.4 cm 1907 August Lundberg oil on canvas 64 x 46 cm 1907 Club Night oil on canvas 109.2 x 134.2 cm 1907 Dance at Insane Asylum charcoal with stumping, pen and ink, crayon, chalk on paper 48 x 63 cm 1907 Forty-Two Kids oil on canvas 107.6 x 153 cm 1907 Frankie the Organ Boy oil on canvas 122 x 88 cm 1907 Little Girl in White oil on canvas 157.5 x 86.4 cm 1907 Pennsylvania Excavation oil on canvas 88 x 111.8 cm 1907 The Knock Out ink and pastel on paper 55.2 x 71.1 cm 1907 Tin Can Battle, San Juan Hill, New York ink, crayon and charcoal on paper 50.8 x 60.3 cm 1908 A Cloudy Day ( Hudson River, Coming Squall ) oil on fabric mounted on fibreboard 76.3 x 98 cm 1908 Excavation at Night oil on canvas 86.4 x 111.8 cm 1908 In Virginia oil on canvas 74.3 x 94 cm 1908 Noon oil on canvas 55.9 x 71.1 cm 1908 North River oil on canvas 83.5 x 109.2 cm 1908 Paddy Flannigan oil on canvas 76.2 x 63.5 cm 1908 Rain on the River oil 81.9 x 97.2 cm 1908 Steaming Streets oil on canvas 97.5 x 76.8 cm 1908 Up the Hudson oil on canvas 91.1 x 122.2 cm 1908-10 Beach at Coney Island oil on canvas 106.7 x 152.4 cm 1909 Blue Morning oil on canvas 80.3 x 110.2 cm 1909 Both Members of this Club oil on canvas 114.9 x 160.4 cm 1909 Excavation work for the Pennsylvania Station oil on canvas 1909 Lone Tenement oil on canvas 91.8 x 122.3 cm 1909 Nude Girl, Miss Leslie Hall oil on canvas 152.4 x 106.7 cm 1909 Stag at Sharkey's oil on canvas 92.1 x 122.6 cm 1917 Stag at Sharkey's lithograph 47.3 x 60.5 cm ( image ) 1909 Summer City oil on canvas 96.5 x 121.9 cm 1909 Summer Night, Riverside Drive oil on canvas 90.2 x 120.6 cm 1909 The Bridge, Blackwell's Island oil on canvas 86.5 x 111.9 cm

Maurice Brazil Prendergast (1858 – 1924) was born in Saint John's, Newfoundland, to a shopkeeper who moved the family to Boston in 1868. He left school after only eight or nine years and went to work for a commercial art firm. He never married and throughout his life was accompanied and supported by his brother Charles, a gifted craftsman and artist in his own right. According to Charles, Maurice always wanted to be an artist and spent every available moment sketching. In 1892, Maurice travelled to Paris, where he spent three years. Studying first under Gustave Courtois at the Atelier Colorossi, he eventually moved on to the Académie Julian. There he met the Canadian painter James Wilson Morrice, under whose influence he began executing pochades, small sketches on wood panels depicting elegantly dressed women and playful children at the seaside resorts of Dieppe and Saint-Malo. Back in Paris, he developed a sophisticated modern style inspired in large part by the postimpressionists, particularly Pierre Bonnard and Edouard Vuillard. In 1895, home from abroad, Prendergast joined his brother in Winchester, Massachusetts. Working in watercolour, oil, and monotype, he continued to focus on men, women, and children at leisure, strolling in parks, on the beach, or travelling the city streets. In 1898 he went to Venice and returned a year later with a series of watercolours of the city. In 1900 the Macbeth Galleries in New York mounted an exhibition of his work. In1907 he returned to France, where he was profoundly influenced by Cezanne and the Fauves. Integrating these new influences into his work, he painted more forceful works of art, with very bright colours and staccato brushstrokes. As one of "The Eight," he was sharply criticised for his more abstract and brightly coloured style. Following another trip to Venice, in 1911-1912, he returned to New York to select works for and participate in the Armory Show of 1913. A year later he and Charles moved to New York. In 1915 he was given an exhibition at the Carroll Galleries. Although the critical reception was mixed. he was able to attract a number of important patrons. During the final years of his career.he spent his summers sketching in New Engalns, and his winters painting in New York. In 1921 the Brummer Gallery in New York held a small retrospective exhibition of his work. By 1923 he was in frail health and died a year later at the age of 65. This part 1 of a 7-part post on the works of Maurice Prendergast: 1888 Portrait of Maurice Prendergast's Father oil on canvas 39.7 x 35.6 cm c1891-94 The Red Cape monotype on paper 40 x 27.9 cm 1891 Picking Flowers watercolour 17.8 x 12.7 cm 1892 La Porte San Denis watercolour 35.6 x 25.4 cm 1892 Low Tide, Afternoon, Treport pencil and watercolour 32.4 x 21.3 cm 1892 Treport Beach pencil and watercolour 21.9 x 30.8 cm 1892-4 Evening Shower, Paris oil on panel 31.7 x 47 cm 1892-94 Along the Seine oil on canvas 33 x 24.1 cm c1892-94 Dieppe oil on canvas 12.2 x 9.5 cm c1892-94 Figures on the Beach pencil and watercolour 25.4 x 17.8 cm c1892-94 Sunday Morning, Paris oil on panel 23.8 x 15.6 cm 1893-94 Can-Can Dancer pencil and watercolour 21.6 x 14 cm 1893-94 Ladies Seated on a Bench pencil and watercolour 18.8 x 16.2 cm 1893 Paris Boulevard in the Rain pencil and watercolour 13 x 25.4 cm 1893-94 Ladies in the Rain pencil and watercolour 34.3 x 14.6 cm c1893-94 In the Park pencil, ink and watercolour 27.3 x 11.4 cm c1893-94 Side Show pencil and watercolour 26.7 x 19 cm c1893-94 The Dancers pencil and watercolour 27.9 x 21 cm c1893-94 Two Women in a Park pencil and watercolour 40 x 20.3 cm 1894 Small Fishing Boats, Treport, France watercolour 22.9 x 31.1 cm 1895 Figures on the Grass pencil and watercolour 24.4 x 34.3 cm 1895-7 Low Tide oil on panel 34.3 x 45.7 cm c1895-1900 Horseback Riders monotype and pencil on paper 23.2 x 31.1 cm 1895 Three Little Girls in Red monotype 14.3 x 15.2 cm c1895-7 Lady with a Red Sash oil on canvas 61 x 21 cm c1895-97 City Point Bridge pencil, gouache and watercolour 48.6 x 38.7 cm c1895-96 Sunset, Boston pastel on paper 50.8 x 27.9 c1895-97 Evening on a Pleasure Boat oil on canvas 14 x 22 cm c1895-97 Jumping Rope monotype on paper 17.1 x 13.3 cm c1895-97 The Race monotype on paper 20 x 22.9 cm c1895-97 South Boston Pier pencil and watercolour 12.2 x 19.1 c1895 Charles Street, Boston pencil and watercolour 36.5 x 27.9 cm c1895-97 The Pretty Ships oil on panel 34.9 x 34.3 cm c1895 Circus Band monotype and pencil 31.3 x 23.8 cm c1895 The Ocean Palace monotype 19 x 15.9 cm c1895 Woman on Ship Deck, Looking out to Sea monotype on paper 15.9 x 10.5 cm 1896 Nantasket Beach pencil and watercolour 33.7 x 51.4 cm 1896 Children on a Raft pencil and watercolour 45.7 x 33.3 cm 1896 At the Park pencil and watercolour 35.6 x 52.7 cm 1896 Revere Beach pencil and watercolour 13.6 x 9.9 cm 1896 Revere Beach watercolour 25.4 x 35.6 cm 1896 Revere Beach pencil and watercolour 35.6 x 25.4 cm 1896 South Boston Pier pencil and watercolour 46.4 x 35.6 cm 1896 Summer Visitors pencil and watercolour 48.3 x 38.1 cm c1896-7 Children at the Beach watercolour 35.6 x 25.4 cm c1896-7 Float at Low Tide, Revere Beach watercolour 33.6 x 23.5 cm c1896-97 Early Beach pencil and watercolour 34.3 x 31.1 cm 1896-97 Excursionists, Nahant pencil, watercolour and gouache 49.5 x 36 cm

Continuing the intermittent theme on the New York "Ashcan School." See also William Glackens, Robert Henri, and George Luks (in the index). The next artist I'm featuring is Everett Shinn. Self-Portrait 1901 pastel on paper Everett Shinn (1876 – 1953) was born in Woodstown, New Jersey, a large Quaker community. His parents were rural farmers. Shinn left Woodstown at the age of fourteen and enrolled at a technical institution known as the Spring Garden Institute in Philadelphia from 1888-1890. The school specialised in the teaching of mechanical drawing and architecture and was also attended by fellow member of “The Eight,” John Sloan. Following his education, Shinn spent a year working at the Thackery Gas Fixture Works designing light fixtures. After being fired for doodling in the margins of his plans, his former employer urged him to go into a more creative field, citing the newspaper and magazine industries as examples. He began his work for the Philadelphia Press in 1893 as an illustrator. Many, including Shinn, consider this the true beginning of his art career. In later years, Shinn would express his great dismay over the development of photography as the major source of pictorials in newspapers because it eventually largely replaced his form of art. He continually moved from paper to paper for the rest of his illustrating career, receiving a pay increase with each move. The attention to detail necessary for his newspaper illustrations is reflected in his style and later paintings, especially those of urban nature. Shinn has said of his experience at the Philadelphia Press: "In the Art Department of the Philadelphia Press on wobbling, ink-stained drawing boards William J. Glackens, George Luks, Everett Shin and John Sloan went to school, a school now lamentably extinct…a school that trained memory and quick perception." It was during Shinn's time in Philadelphia that artists John Sloan and Joseph Laub established the Charcoal Club as an alternative art school. The group, whose members were members of "The Eight" such as Henri, Sloan, Glackens, Luks and Shinn, reached a peak membership of 38 and sketched nudes and did critiques of each others work. The club is often thought of as the establishing point of the Philadelphia group, later known as ‘The Eight’. In 1897, Shinn was offered a higher paying job as an illustrator for the New York newspaper, The World. He moved there and was joined shortly there after by his wife, Flossie, and by other members of the Charcoal Club. Shinn enjoyed living in the city and observing the eccentric daily hustle and bustle exemplified by living in New York. Much of Shinn's life and opinions were reflected in his work. His life in New York was a major subject in many of his paintings. Shinn often depicted scenes of drama and violence, rallying for social change and urban understanding. Coinciding with the dramatic themes found throughout his work, theatre was also a major subject in Shinn's pastels. In 1899, he quit the newspaper business and began working for Ainslee's Magazine, a magazine that also employed his wife, who was by that time a very successful illustrator and who brought in a good deal of the household income. Shinn also started displaying his work publicly in 1899 with mixed reactions. In 1900, he and Flossie travelled to Europe for him study and prepare to produce another exhibit. The trip greatly influenced his art in years to come during his visit, he saw European art that was focused on theatrical portrayals, as well as impressionist works. He suffered many losses during the Great Depression and sold very few paintings during that time. Between 1910 and 1937, Shinn held only one exhibition of paintings at Knoedler's in 1920. Between 1937 and his death in 1953, Shinn received several awards commending his innovative paintings and participated in several exhibitions. He died of lung cancer in 1953. This is part 1 of a 3-part post on the works of Everett Shinn: 1898 Snow Storm, Madison Square, New York pencil and pastel 57.8 x 65.7 cm c1898 New York Harbour pastel 21.6 x 33.7 cm 1899 Street Scene at a Fire printed illustration 16 x 18 cm 1899 Chinese Restaurant gouache on paper 21.6 x 33.7 cm 1899 Horse-drawn Bus pastel on paper 55.2 x 74.9 cm 1899 Madison Square and the Dewey Arch, Cross Streets of New York pastel, watercolour and gouache on board 74.3 x 46.3 cm 1899 Magazine Poster 1899 The Fight ink and watercolour on paper 21 x 33.7 cm 1899 Winter on 21st Street, New York pastel on grey paper 51.8 x 61.9 cm c1899 Fifth Avenue mixed media on paper 51 x 41 cm 1900 Back Row, Follies Bergere pastel on paper 52 x 69 cm 1900 Fleishman's Bread Line pastel and watercolour on paper 21.6 x 34.3 cm 1900 Print from Harper's Weekly magazine 35 x 23 cm 1900 Progress of the Work on the Underground Railroad printed illustration from Harper's Weekly 17 x 22 cm c1900-05 Sullivan Street oil on canvas 20.3 x 25.4 cm c1900 All Night Café pastel, watercolour and graphite on paper 25 x 33.8 cm 1901 Broadway, Late in the Afternoon printed illustration from Century magazine 15 x 19 cm 1901 Cabs on the Fifth Avenue Side of Madison Square printed illustration from Century magazine 15 x 19 cm 1901 The Docks, New York City pastel on paper 39.4 x 55.9 cm 1902 Spanish Music Hall 1902 The Hippodrome, London oil on canvas 66.9 x 89.4 cm 1902 The Singer oil on canvas 66.7 x 44.1 cm 1902-06 Keith's Union Square oil on canvas 51.6 x 61.6 cm 1903 34th Street pastel on paper 22.9 x 33 cm 1903 Girl in Bathtub pastel on paper 40.6 x 35.6 cm 1903 In the Loge oil and pastel on canvas 64.8 x 43.5 cm 1903 Steps Between Houses Paris Street pastel on paper 53 x 71 cm 1903 Theatre Scene oil on canvas 55.9 x 63.2 cm 1903 Window Shopping pastel on paper 36.2 x 45.72 cm 1904 Eviction ( Lower East Side ) gouache on paper 21.3 x 33.3 cm 1904 Matinée Crowd, Manhattan pastel and gouache on illustration board 46.4 x 27.9 cm 1904 The Tightrope Walker pastel on board 30.5 x 33 cm 1904 The White Ballet oil on canvas 74.9 x 93.3 cm 1905 Concert Stage oil on canvas 41.9 x 50.8 cm 1905 Outdoor Stage, France oil on canvas 62.9 x 54.6 cm 1905 Saturday Night watercolour and pastel on paper 45.1 x 60.3 cm c1905-06 Rehearsal of the Ballet oil on canvas 45 x 67 cm 1906 A French Music Hall oil on canvas 61 x 74.9 cm

Ashcan School artists and friends at John French Sloan's Philadelphia Studio in 1898 I first discovered paintings by artists of the New York “Ashcan School” soon after leaving art school in the late 60’s and living for a while in New York, and have been a fan of the work ever since. I thought I’d take a fairly comprehensive look at the work of the Ashcan artists on this blog, but my research has so far run to about forty postings, which for many could become a little tedious for anyone that doesn't share my enthusiasm for the work, so I am going to make it an intermittent theme, starting here with a small overview written by H. Barbara Weinberg from the Department of American Paintings and Sculpture, The Metropolitan Museum of Art: “About 1900, a group of Realist artists set themselves apart from and challenged the American Impressionists and academics. The most extensively trained member of this group was Robert Henri (1865–1929), who had studied at the Pennsylvania Academy of the Fine Arts from 1886 to 1888 under Thomas Anshutz (1851–1912). Anshutz had himself studied at the Pennsylvania Academy from 1876 to 1882 with Thomas Eakins, who had defied Victorian decorum in his teaching principles and in his boldly realistic paintings. Eakins would become the lodestar to Henri and his associates. After spending the years from 1888 to 1891 working at the Académie Julian in Paris, Henri taught at the School of Design for Women in Philadelphia and gave private art classes in and around that city and, during return visits to France, in and around Paris. Robert Henri by John Sloan 1902 etching Robert Henri - 1902 Snow in New York oil on canvas 81 x 66 cm Beginning in 1892, Henri also became the mentor to four Philadelphia illustrators - William Glackens (1870–1938), George Luks (1866–1933), Everett Shinn (1876–1953), and John Sloan (1871–1951)—who worked together at several local newspapers and gathered to study, share studios, and travel. Between late 1896 and 1904, they all moved to New York, where Henri himself settled in 1900. William Glackens by Robert Henri 1904 oil on canvas 198.1 x 96.5 cm William Glackens - 1935 The Soda Fountain oil on canvas 121.9 x 91.4 cm George Luks by Robert Henri 1904 oil on canvas 194 x 97 cm George Luks - c1923 Noontime, St. Botolph Street, Boston oil on canvas 76.8 x 64.1 cm Everett Shinn Self-Portrait 1901 1930 Everett Shinn - Acrobat Falling oil on canvas 91.7 x 66.5 cm John Sloan Self-Portrait c1917-22 oil on canvas John Sloan - 1907 Hairdresser's Window oil on canvas 81 x 66 cm Henri and his former-Philadelphia associates comprised the first generation of what came to be known as the Ashcan School. A second generation consisted of Henri's New York students, of whom George Bellows (1882–1925) was the most devoted. George Bellows by Robert Henri 1911 oil on canvas 81 x 66 cm George Bellows - 1910 A Morning Snow, Hudson River oil on canvas 114.6 x 160.66 cm The term Ashcan School was suggested by a drawing by Bellows captioned "Disappointments of the Ash Can", which appeared in the Philadelphia Record in April 1915; was invoked by cartoonist Art Young in a disparaging critique that appeared in the New York Sun in April 1916; and was given curatorial currency by Holger Cahill and Alfred H. Barr Jr. in a 1934 exhibition at New York's Museum of Modern Art. Disappointments of the Ash Can "Dey woims in it" 1882 Although the Ashcan artists were not an organised "school" and espoused somewhat varied styles and subjects, they were all urban Realists who supported Henri's credo—"art for life's sake," rather than "art for art's sake." They also presented their works in several important early twentieth-century New York exhibitions, including a group show at the National Arts Club in 1904; the landmark show of The Eight at Macbeth Galleries in February 1908, which included the five senior Ashcan School painters along with Ernest Lawson (1873–1939), Maurice Prendergast (1858–1924), and Arthur B. Davies (1862–1928); the Exhibition of Independent Artists in 1910; and the Armory Show - an immense display dominated by modern European art - in 1913. Ernest Lawson by William Glackens 1910 oil on canvas 76.2 x 63.5 cm Ernest Lawson - 1913 Spring Night, Harlem River oil on canvas 64 x 77 cm Maurice Prendergast Maurice Prendergast - c1907-10 East Boston Ferry oil on panel 36.8 x 32.4 cm Arthur B. Davies Arthur B. Davies - 1915 The Dawning oil on canvas 275.3 x 275 cm In their paintings as in their illustrations, etchings, and lithographs, Henri and his fellow Ashcan artists concentrated on portraying New York's vitality and recording its seamy side, keeping a keen eye on current events and their era's social and political rhetoric. Stylistically, they depended upon the dark palette and gestural brushwork of Diego Velázquez, Frans Hals, Francisco de Goya, Honoré Daumier, and recent Realists such as Wilhelm Leibl, Édouard Manet, and Edgar Degas. They preferred broad, calligraphic forms, which they could render "on the run" or from memory, thereby enlisting skills that most of them had cultivated as newspaper illustrators. Although the Ashcan artists advocated immersion in modern actualities, they were neither social critics nor reformers and they did not paint radical propaganda. While they identified with the vitality of the lower classes and resolved to register the dismal aspects of urban existence, they themselves led pleasant middle-class lives, enjoying New York's restaurants and bars, its theatre and vaudeville, and its popular nearby resorts such as Coney Island. Because they avoided civil unease, class tensions, and the grit of the streets, their works are never as direct or disturbing as those of their European counterparts or of the reformist images of American photographers such as Jacob Riis. Jacob Riis - 1888 Bandit's Roost The Ashcan artists selectively documented an unsettling, transitional time in American culture that was marked by confidence and doubt, excitement and trepidation. Ignoring or registering only gently harsh new realities such as the problems of immigration and urban poverty, they shone a positive light on their era. Along with the American Impressionists, the Ashcan artists defined the avant-garde in the United States until the 1913 Armory Show introduced to the American public the works of true modernists Henri Matisse, Pablo Picasso, Marcel Duchamp, and others. Henri and most of his Ashcan colleagues continued to paint—even into the 1940s, in the case of Sloan and Shinn. Although their creativity waned and their pioneering character faded, they infused some of their late canvases with their earlier vigor.” H. Barbara Weinberg, Department of American Paintings and Sculpture, The Metropolitan Museum of Art The first Ashcan School post will feature the work of William Glackens ( next Post ).

Continuing the intermittent theme on the New York "Ashcan School." See also William Glackens, Robert Henri, and George Luks (in the index). The next artist I'm featuring is Everett Shinn. Self-Portrait 1901 pastel on paper Everett Shinn (1876 – 1953) was born in Woodstown, New Jersey, a large Quaker community. His parents were rural farmers. Shinn left Woodstown at the age of fourteen and enrolled at a technical institution known as the Spring Garden Institute in Philadelphia from 1888-1890. The school specialised in the teaching of mechanical drawing and architecture and was also attended by fellow member of “The Eight,” John Sloan. Following his education, Shinn spent a year working at the Thackery Gas Fixture Works designing light fixtures. After being fired for doodling in the margins of his plans, his former employer urged him to go into a more creative field, citing the newspaper and magazine industries as examples. He began his work for the Philadelphia Press in 1893 as an illustrator. Many, including Shinn, consider this the true beginning of his art career. In later years, Shinn would express his great dismay over the development of photography as the major source of pictorials in newspapers because it eventually largely replaced his form of art. He continually moved from paper to paper for the rest of his illustrating career, receiving a pay increase with each move. The attention to detail necessary for his newspaper illustrations is reflected in his style and later paintings, especially those of urban nature. Shinn has said of his experience at the Philadelphia Press: "In the Art Department of the Philadelphia Press on wobbling, ink-stained drawing boards William J. Glackens, George Luks, Everett Shin and John Sloan went to school, a school now lamentably extinct…a school that trained memory and quick perception." It was during Shinn's time in Philadelphia that artists John Sloan and Joseph Laub established the Charcoal Club as an alternative art school. The group, whose members were members of "The Eight" such as Henri, Sloan, Glackens, Luks and Shinn, reached a peak membership of 38 and sketched nudes and did critiques of each others work. The club is often thought of as the establishing point of the Philadelphia group, later known as ‘The Eight’. In 1897, Shinn was offered a higher paying job as an illustrator for the New York newspaper, The World. He moved there and was joined shortly there after by his wife, Flossie, and by other members of the Charcoal Club. Shinn enjoyed living in the city and observing the eccentric daily hustle and bustle exemplified by living in New York. Much of Shinn's life and opinions were reflected in his work. His life in New York was a major subject in many of his paintings. Shinn often depicted scenes of drama and violence, rallying for social change and urban understanding. Coinciding with the dramatic themes found throughout his work, theatre was also a major subject in Shinn's pastels. In 1899, he quit the newspaper business and began working for Ainslee's Magazine, a magazine that also employed his wife, who was by that time a very successful illustrator and who brought in a good deal of the household income. Shinn also started displaying his work publicly in 1899 with mixed reactions. In 1900, he and Flossie travelled to Europe for him study and prepare to produce another exhibit. The trip greatly influenced his art in years to come during his visit, he saw European art that was focused on theatrical portrayals, as well as impressionist works. He suffered many losses during the Great Depression and sold very few paintings during that time. Between 1910 and 1937, Shinn held only one exhibition of paintings at Knoedler's in 1920. Between 1937 and his death in 1953, Shinn received several awards commending his innovative paintings and participated in several exhibitions. He died of lung cancer in 1953. This is part 1 of a 3-part post on the works of Everett Shinn: 1898 Snow Storm, Madison Square, New York pencil and pastel 57.8 x 65.7 cm c1898 New York Harbour pastel 21.6 x 33.7 cm 1899 Street Scene at a Fire printed illustration 16 x 18 cm 1899 Chinese Restaurant gouache on paper 21.6 x 33.7 cm 1899 Horse-drawn Bus pastel on paper 55.2 x 74.9 cm 1899 Madison Square and the Dewey Arch, Cross Streets of New York pastel, watercolour and gouache on board 74.3 x 46.3 cm 1899 Magazine Poster 1899 The Fight ink and watercolour on paper 21 x 33.7 cm 1899 Winter on 21st Street, New York pastel on grey paper 51.8 x 61.9 cm c1899 Fifth Avenue mixed media on paper 51 x 41 cm 1900 Back Row, Follies Bergere pastel on paper 52 x 69 cm 1900 Fleishman's Bread Line pastel and watercolour on paper 21.6 x 34.3 cm 1900 Print from Harper's Weekly magazine 35 x 23 cm 1900 Progress of the Work on the Underground Railroad printed illustration from Harper's Weekly 17 x 22 cm c1900-05 Sullivan Street oil on canvas 20.3 x 25.4 cm c1900 All Night Café pastel, watercolour and graphite on paper 25 x 33.8 cm 1901 Broadway, Late in the Afternoon printed illustration from Century magazine 15 x 19 cm 1901 Cabs on the Fifth Avenue Side of Madison Square printed illustration from Century magazine 15 x 19 cm 1901 The Docks, New York City pastel on paper 39.4 x 55.9 cm 1902 Spanish Music Hall 1902 The Hippodrome, London oil on canvas 66.9 x 89.4 cm 1902 The Singer oil on canvas 66.7 x 44.1 cm 1902-06 Keith's Union Square oil on canvas 51.6 x 61.6 cm 1903 34th Street pastel on paper 22.9 x 33 cm 1903 Girl in Bathtub pastel on paper 40.6 x 35.6 cm 1903 In the Loge oil and pastel on canvas 64.8 x 43.5 cm 1903 Steps Between Houses Paris Street pastel on paper 53 x 71 cm 1903 Theatre Scene oil on canvas 55.9 x 63.2 cm 1903 Window Shopping pastel on paper 36.2 x 45.72 cm 1904 Eviction ( Lower East Side ) gouache on paper 21.3 x 33.3 cm 1904 Matinée Crowd, Manhattan pastel and gouache on illustration board 46.4 x 27.9 cm 1904 The Tightrope Walker pastel on board 30.5 x 33 cm 1904 The White Ballet oil on canvas 74.9 x 93.3 cm 1905 Concert Stage oil on canvas 41.9 x 50.8 cm 1905 Outdoor Stage, France oil on canvas 62.9 x 54.6 cm 1905 Saturday Night watercolour and pastel on paper 45.1 x 60.3 cm c1905-06 Rehearsal of the Ballet oil on canvas 45 x 67 cm 1906 A French Music Hall oil on canvas 61 x 74.9 cm

The Ashcan School were a group of painters who pioneered one of the first art movements to originate in America. These 6 facts and artworks can help you understand them.

March Day Washington Square, 1912, William Glackens. American Ashcan School Painter (1870 - 1938)

Maurice Brazil Prendergast (1858 – 1924) was born in Saint John's, Newfoundland, to a shopkeeper who moved the family to Boston in 1868. He left school after only eight or nine years and went to work for a commercial art firm. He never married and throughout his life was accompanied and supported by his brother Charles, a gifted craftsman and artist in his own right. According to Charles, Maurice always wanted to be an artist and spent every available moment sketching. In 1892, Maurice travelled to Paris, where he spent three years. Studying first under Gustave Courtois at the Atelier Colorossi, he eventually moved on to the Académie Julian. There he met the Canadian painter James Wilson Morrice, under whose influence he began executing pochades, small sketches on wood panels depicting elegantly dressed women and playful children at the seaside resorts of Dieppe and Saint-Malo. Back in Paris, he developed a sophisticated modern style inspired in large part by the postimpressionists, particularly Pierre Bonnard and Edouard Vuillard. In 1895, home from abroad, Prendergast joined his brother in Winchester, Massachusetts. Working in watercolour, oil, and monotype, he continued to focus on men, women, and children at leisure, strolling in parks, on the beach, or travelling the city streets. In 1898 he went to Venice and returned a year later with a series of watercolours of the city. In 1900 the Macbeth Galleries in New York mounted an exhibition of his work. In1907 he returned to France, where he was profoundly influenced by Cezanne and the Fauves. Integrating these new influences into his work, he painted more forceful works of art, with very bright colours and staccato brushstrokes. As one of "The Eight," he was sharply criticised for his more abstract and brightly coloured style. Following another trip to Venice, in 1911-1912, he returned to New York to select works for and participate in the Armory Show of 1913. A year later he and Charles moved to New York. In 1915 he was given an exhibition at the Carroll Galleries. Although the critical reception was mixed. he was able to attract a number of important patrons. During the final years of his career.he spent his summers sketching in New Engalns, and his winters painting in New York. In 1921 the Brummer Gallery in New York held a small retrospective exhibition of his work. By 1923 he was in frail health and died a year later at the age of 65. This part 1 of a 7-part post on the works of Maurice Prendergast: 1888 Portrait of Maurice Prendergast's Father oil on canvas 39.7 x 35.6 cm c1891-94 The Red Cape monotype on paper 40 x 27.9 cm 1891 Picking Flowers watercolour 17.8 x 12.7 cm 1892 La Porte San Denis watercolour 35.6 x 25.4 cm 1892 Low Tide, Afternoon, Treport pencil and watercolour 32.4 x 21.3 cm 1892 Treport Beach pencil and watercolour 21.9 x 30.8 cm 1892-4 Evening Shower, Paris oil on panel 31.7 x 47 cm 1892-94 Along the Seine oil on canvas 33 x 24.1 cm c1892-94 Dieppe oil on canvas 12.2 x 9.5 cm c1892-94 Figures on the Beach pencil and watercolour 25.4 x 17.8 cm c1892-94 Sunday Morning, Paris oil on panel 23.8 x 15.6 cm 1893-94 Can-Can Dancer pencil and watercolour 21.6 x 14 cm 1893-94 Ladies Seated on a Bench pencil and watercolour 18.8 x 16.2 cm 1893 Paris Boulevard in the Rain pencil and watercolour 13 x 25.4 cm 1893-94 Ladies in the Rain pencil and watercolour 34.3 x 14.6 cm c1893-94 In the Park pencil, ink and watercolour 27.3 x 11.4 cm c1893-94 Side Show pencil and watercolour 26.7 x 19 cm c1893-94 The Dancers pencil and watercolour 27.9 x 21 cm c1893-94 Two Women in a Park pencil and watercolour 40 x 20.3 cm 1894 Small Fishing Boats, Treport, France watercolour 22.9 x 31.1 cm 1895 Figures on the Grass pencil and watercolour 24.4 x 34.3 cm 1895-7 Low Tide oil on panel 34.3 x 45.7 cm c1895-1900 Horseback Riders monotype and pencil on paper 23.2 x 31.1 cm 1895 Three Little Girls in Red monotype 14.3 x 15.2 cm c1895-7 Lady with a Red Sash oil on canvas 61 x 21 cm c1895-97 City Point Bridge pencil, gouache and watercolour 48.6 x 38.7 cm c1895-96 Sunset, Boston pastel on paper 50.8 x 27.9 c1895-97 Evening on a Pleasure Boat oil on canvas 14 x 22 cm c1895-97 Jumping Rope monotype on paper 17.1 x 13.3 cm c1895-97 The Race monotype on paper 20 x 22.9 cm c1895-97 South Boston Pier pencil and watercolour 12.2 x 19.1 c1895 Charles Street, Boston pencil and watercolour 36.5 x 27.9 cm c1895-97 The Pretty Ships oil on panel 34.9 x 34.3 cm c1895 Circus Band monotype and pencil 31.3 x 23.8 cm c1895 The Ocean Palace monotype 19 x 15.9 cm c1895 Woman on Ship Deck, Looking out to Sea monotype on paper 15.9 x 10.5 cm 1896 Nantasket Beach pencil and watercolour 33.7 x 51.4 cm 1896 Children on a Raft pencil and watercolour 45.7 x 33.3 cm 1896 At the Park pencil and watercolour 35.6 x 52.7 cm 1896 Revere Beach pencil and watercolour 13.6 x 9.9 cm 1896 Revere Beach watercolour 25.4 x 35.6 cm 1896 Revere Beach pencil and watercolour 35.6 x 25.4 cm 1896 South Boston Pier pencil and watercolour 46.4 x 35.6 cm 1896 Summer Visitors pencil and watercolour 48.3 x 38.1 cm c1896-7 Children at the Beach watercolour 35.6 x 25.4 cm c1896-7 Float at Low Tide, Revere Beach watercolour 33.6 x 23.5 cm c1896-97 Early Beach pencil and watercolour 34.3 x 31.1 cm 1896-97 Excursionists, Nahant pencil, watercolour and gouache 49.5 x 36 cm

Everett Shinn (1876 - 1953) was an American realist painter and member of the Ashcan School, also known as 'the Eight.' He was the youngest member of the group of modernist painters who explored the depiction of real life. He is most famous for his numerous paintings of New York and the theatre, and of various aspects of luxury and modern life inspired by his home in New York City. For biographical notes on Shinn, and for earlier works, see part 1 also. THis is part 2 of a 3-part post on the works of Everett Shinn: 1906 Frédérique Follows her Husband illustration for Frédérique conté crayon on paper 39.7 x 53.3 cm 1906 I Leaned Over Her and Plucked from her Lips a Kiss conté crayon on paper 38.7 x 51 cm 1906 Strong Man, Clown, and Dancer oil on canvas board 25.2 x 20 cm 1906 The East River at Night pastel 33.3 x 53.3 cm 1906-07 Julie Bonbon chalk on paper 45.7 x 45.1 cm c1906-07 The Orchestra Pit, Old Proctor's Fifth Avenue Theatre oil on canvas 43.8 x 49.5 cm c1906 Girl on Stage oil on canvas 25.4 x 30.5 cm 1907 Fire on 24th Street, New York City pastel on board 59.1 x 45.7 cm 1907 Julie Bonbon pastel on paper 54.6 x 39.4 cm 1907 Olympic Theater pencil, watercolour and gouache on paper 20.3 x 24.8 cm 1907 Paris Stage pastel on board 38.1 x 44.4 cm 1908 Green Park, London 35.6 x 45.7 cm 1908 Night Life, The Accident pastel, watercolour and gouache on paper 33 x 43.8 cm 1908 Out of a Job - News of the Unemployed pencil, black crayon and wash on board 34.3 x 70.5 cm 1908 Revue oil on canvas 45.7 x 61 cm 1908 The Bar at McSorley's watercolour on paper 27.3 x 47 cm 1910 Actress in Red Before Mirror pastel 32 x 37 cm 1910 Fifth Avenue pastel on paper 31.4 x 38.7 cm 1910 Mrs. A. Stewart Walker in a Fur pastel on paperboard 71.1 x 35.6 cm 1910 Nude Bathers oil on canvas 64 x 76.8 cm 1910 Nude pastel on paper 56.5 x 41.3 cm 1910 Paris Exposition pastel on paper 22.2 x 29.8 cm 1910 Washington Square pastel 1910c Nude Getting into Bath monotype on paper 23.4 x 31.2 cm 1911 Ballet Dancers pastel 66 x 91.4 cm 1912 After the Rehearsal pastel on paper 44.4 x 65.4 cm 1912 Canfield’s Gambling House gouache on paper 23.5 x 30.5 cm 1912 Footlight Flirtation oil on canvas 73.7 x 92.1 cm 1912 Girl with Japanese Lanterns oil on canvas 30.5 x 25.4 cm 1912 Vaudeville Dancer pastel on board 51.4 x 41.9 cm 1914 Tinsel Toes watercolour 68.5 x 75.2 cm 1914 Two Girls Dressing for a Party pastel and gouache on paper 73.7 x 69.2 cm 1915 Bonnie Glass pastel on paper 85.1 x 40.6 cm 1915 View of Washington Square, New York conté crayon and watercolour 1916 Cover of Vanity Fair 1916 Look Out for the Autoped Girl advertisement from Puck magazine 1918 London Music Hall oil on canvas 25.4 x 30.5 cm

John French Sloan (1871 – 1951) was an American artist. As a member of The Eight, he became a leading figure in the Ashcan School of realist artists. He was known for his urban genre painting and ability to capture the essence of neighbourhood life in New York City, often through his window. Sloan has been called "the premier artist of the Ashcan School who painted the inexhaustible energy and life of New York City during the first decades of the twentieth century", and an "early twentieth-century realist painter who embraced the principles of socialism and placed his artistic talents at the service of those beliefs." For biographical notes and earlier works see part 1. This is part 2 of a 5-part post on the works of John Sloan: 1907 Hairdresser's Window oil on canvas 81 x 66 cm 1907 Movies, Five Cents oil on canvas 59.7 x 80 cm 1907 The Cot oil on canvas 92 x 76.2 cm 1907 The Haymarket oil on canvas 66.7 x 81.6 cm 1907 The Wake of the Ferry oil on canvas 66 x 81.3 cm 1971 Issued 8 Cent United States Postage Stamp 1907 The Wake of the Ferry oil on canvas 66 x 81.3 cm 1907 Throbbing Fountain in Madison Square 1907-8 Picture Shop Window c1907-8 South Beach Bathers oil on canvas 66 x 81 cm 1908 Country Road oil on canvas 22.9 x 28.6 cm 1908 Fishing for Lafayettes oil on linen 21.6 x 26.7 cm 1908 Our Home in Fort Washington, Pennsylvania oil on canvas 33 x 40.6 cm 1908 Sixth Avenue and Thirtieth Street lithograph 48.5 x 40.1 cm c1908-10 Copyist at the Metropolitan Museum etching 19 x 23 cm c1908 Family monotype in sepia ink 1909 Chinese Restaurant oil on canvas 66 x 81.3 cm 1909 Clown Making Up oil on canvas 81 x 66 cm 1909 Spanish Girl ( Fur Hat, Red Coat ) oil on canvas 81.3 x 66 cm 1909 Three a.m. oil on canvas 81.3 x 66.7 cm 1909 Yolande in Grey Tippet oil on canvas 81.3 x 66 cm 1909 Fifth Avenue etching 31.3 x 23.7 cm c1909-11 Fifth Avenue, New York oil on canvas 81 x 66 cm 1910 Night Windows etching 13.3 x 17.8 cm 1910 Pigeons oil on canvas 66 x 81 cm 1910 Expecting a Turkey from Uncle etching 19.2 x 13.3 cm 1910-11 Scrubwoman, Astor Library oil on canvas 81.3 x 66 cm c1910-14 Yeats at Petepas' oil on canvas 67 x 81.9 cm 1911 Grey Day, Jersey Coast oil on canvas 55.9 x 66.7 cm 1911 Isadora Duncan oil on canvas 81.9 x 66.7 cm 1912 A Window on the Street oil on canvas 66 x 81.3 cm 1912 A Woman's Work oil on canvas 80.3 x 65.4 cm 1912 Carmine Theater oil on canvas 66 x 81 cm 1912 McSorley's Back Room oil on canvas 66 x 81 cm 1912 McSorley's Bar oil on canvas 66 x 81.3 cm 1912 Rainbow, New York City oil on canvas 50.8 x 61 cm 1912 Renganeschi's Saturday Night oil on canvas 66.7 x 81.3 cm 1912 Six O'Clock, Winter oil on canvas 66 x 81 cm 1912 Spring Rain, New York oil on canvas 1912 Spring, Grammercy Park oil on canvas 61 x 51 cm 1912 Sunday Afternoon in Union Square oil on canvas 66.7 x 81.9 cm 1912 Sunday, Women Drying Their Hair oil on canvas 66 x 81.3 cm 1912 The Serenade etching 20.5 x 14.4 cm 1913 Carol with Red Curls oil on canvas 61 x 50.8 cm 1913 Rain, Rooftops, West 4th Street oil on canvas 51 x 61 cm

Maurice Brazil Prendergast (1858 – 1924) was born in Saint John's, Newfoundland, to a shopkeeper who moved the family to Boston in 1868. He left school after only eight or nine years and went to work for a commercial art firm. He never married and throughout his life was accompanied and supported by his brother Charles, a gifted craftsman and artist in his own right. According to Charles, Maurice always wanted to be an artist and spent every available moment sketching. In 1892, Maurice travelled to Paris, where he spent three years. Studying first under Gustave Courtois at the Atelier Colorossi, he eventually moved on to the Académie Julian. There he met the Canadian painter James Wilson Morrice, under whose influence he began executing pochades, small sketches on wood panels depicting elegantly dressed women and playful children at the seaside resorts of Dieppe and Saint-Malo. Back in Paris, he developed a sophisticated modern style inspired in large part by the postimpressionists, particularly Pierre Bonnard and Edouard Vuillard. In 1895, home from abroad, Prendergast joined his brother in Winchester, Massachusetts. Working in watercolour, oil, and monotype, he continued to focus on men, women, and children at leisure, strolling in parks, on the beach, or travelling the city streets. In 1898 he went to Venice and returned a year later with a series of watercolours of the city. In 1900 the Macbeth Galleries in New York mounted an exhibition of his work. In1907 he returned to France, where he was profoundly influenced by Cezanne and the Fauves. Integrating these new influences into his work, he painted more forceful works of art, with very bright colours and staccato brushstrokes. As one of "The Eight," he was sharply criticised for his more abstract and brightly coloured style. Following another trip to Venice, in 1911-1912, he returned to New York to select works for and participate in the Armory Show of 1913. A year later he and Charles moved to New York. In 1915 he was given an exhibition at the Carroll Galleries. Although the critical reception was mixed. he was able to attract a number of important patrons. During the final years of his career.he spent his summers sketching in New Engalns, and his winters painting in New York. In 1921 the Brummer Gallery in New York held a small retrospective exhibition of his work. By 1923 he was in frail health and died a year later at the age of 65. This part 1 of a 7-part post on the works of Maurice Prendergast: 1888 Portrait of Maurice Prendergast's Father oil on canvas 39.7 x 35.6 cm c1891-94 The Red Cape monotype on paper 40 x 27.9 cm 1891 Picking Flowers watercolour 17.8 x 12.7 cm 1892 La Porte San Denis watercolour 35.6 x 25.4 cm 1892 Low Tide, Afternoon, Treport pencil and watercolour 32.4 x 21.3 cm 1892 Treport Beach pencil and watercolour 21.9 x 30.8 cm 1892-4 Evening Shower, Paris oil on panel 31.7 x 47 cm 1892-94 Along the Seine oil on canvas 33 x 24.1 cm c1892-94 Dieppe oil on canvas 12.2 x 9.5 cm c1892-94 Figures on the Beach pencil and watercolour 25.4 x 17.8 cm c1892-94 Sunday Morning, Paris oil on panel 23.8 x 15.6 cm 1893-94 Can-Can Dancer pencil and watercolour 21.6 x 14 cm 1893-94 Ladies Seated on a Bench pencil and watercolour 18.8 x 16.2 cm 1893 Paris Boulevard in the Rain pencil and watercolour 13 x 25.4 cm 1893-94 Ladies in the Rain pencil and watercolour 34.3 x 14.6 cm c1893-94 In the Park pencil, ink and watercolour 27.3 x 11.4 cm c1893-94 Side Show pencil and watercolour 26.7 x 19 cm c1893-94 The Dancers pencil and watercolour 27.9 x 21 cm c1893-94 Two Women in a Park pencil and watercolour 40 x 20.3 cm 1894 Small Fishing Boats, Treport, France watercolour 22.9 x 31.1 cm 1895 Figures on the Grass pencil and watercolour 24.4 x 34.3 cm 1895-7 Low Tide oil on panel 34.3 x 45.7 cm c1895-1900 Horseback Riders monotype and pencil on paper 23.2 x 31.1 cm 1895 Three Little Girls in Red monotype 14.3 x 15.2 cm c1895-7 Lady with a Red Sash oil on canvas 61 x 21 cm c1895-97 City Point Bridge pencil, gouache and watercolour 48.6 x 38.7 cm c1895-96 Sunset, Boston pastel on paper 50.8 x 27.9 c1895-97 Evening on a Pleasure Boat oil on canvas 14 x 22 cm c1895-97 Jumping Rope monotype on paper 17.1 x 13.3 cm c1895-97 The Race monotype on paper 20 x 22.9 cm c1895-97 South Boston Pier pencil and watercolour 12.2 x 19.1 c1895 Charles Street, Boston pencil and watercolour 36.5 x 27.9 cm c1895-97 The Pretty Ships oil on panel 34.9 x 34.3 cm c1895 Circus Band monotype and pencil 31.3 x 23.8 cm c1895 The Ocean Palace monotype 19 x 15.9 cm c1895 Woman on Ship Deck, Looking out to Sea monotype on paper 15.9 x 10.5 cm 1896 Nantasket Beach pencil and watercolour 33.7 x 51.4 cm 1896 Children on a Raft pencil and watercolour 45.7 x 33.3 cm 1896 At the Park pencil and watercolour 35.6 x 52.7 cm 1896 Revere Beach pencil and watercolour 13.6 x 9.9 cm 1896 Revere Beach watercolour 25.4 x 35.6 cm 1896 Revere Beach pencil and watercolour 35.6 x 25.4 cm 1896 South Boston Pier pencil and watercolour 46.4 x 35.6 cm 1896 Summer Visitors pencil and watercolour 48.3 x 38.1 cm c1896-7 Children at the Beach watercolour 35.6 x 25.4 cm c1896-7 Float at Low Tide, Revere Beach watercolour 33.6 x 23.5 cm c1896-97 Early Beach pencil and watercolour 34.3 x 31.1 cm 1896-97 Excursionists, Nahant pencil, watercolour and gouache 49.5 x 36 cm

Maurice Brazil Prendergast (1858 – 1924) was an American Post-Impressionist artist who worked in oil, watercolour, and monotype. He exhibited as a member of The Eight associated with the Ashcan School, though the delicacy of his compositions and mosaic-like beauty of his style differed from the philosophy of the group. Prendergast's work was strongly associated from the beginning with leisurely scenes set on beaches and in parks. His early work was mostly watercolour or monotype, and he produced over two hundred monotypes between 1895 and 1902. He also experimented with oil painting in the 1890s, but didn't focus on that medium until the early 1900s. He developed and continued to elaborate a highly personal style, with boldly contrasting, jewel-like colours, and flattened, pattern-like forms rhythmically arranged on the canvas. For fuller biographical notes see part 1. This is part 2 of a 7 - part series on the works of Maurice Prendergast: c1896-97 Franklin Park, Boston pencil and watercolour 32.4 x 49.5 cm c1896-97 Franklin Park, Boston pencil and watercolour 45.1 x 33.7 cm c1896-97 Float at Low Tide, Revere Beach pencil and watercolour 33.7 x 23.5 cm c1896-97 Handkerchief Point ( Coastal Scene ) pencil and watercolour 34.3 x 49.8 cm c1896-97 Ladies with Parasols pencil and watercolour 32.4 x 25.4 cm c1896-97 Handkerchief Point pencil and watercolour 50.5 x 34.9 cm c1896-97 Low Tide pencil and watercolour 30.5 x 47.6 cm c1896-97 Low Tide pencil and watercolour 40 x 28.4 cm c1896-97 Low Tide pencil and watercolour 35.6 x 25.4 cm c1896-97 Low Tide, Nantucket pencil and watercolour 20.1 x 14 cm c1896-97 New England Beach Scene pencil and watercolour 34.9 x 50.2 cm c1896-97 Revere Beach pencil and watercolour 35.2 x 50.8 cm c1896-97 Revere Beach pencil and watercolour 24.1 x 34 cm c1896-97 Revere Beach, Boston watercolour 34.6 x 30.8 cm c1896-97 The Stony Beach, Ogunquit watercolour 53 x 35.6 cm c1896-97 Strolling in the Park pencil and watercolour 35.2 x 25.4 cm 1898 St. Mark's, Venice pencil and watercolour 35.9 x 49.5 cm 1898 Venice pencil, watercolour and gouache 47 x 38.7 cm 1898 Pincian Hill, Rome pencil and watercolour 52.7 x 68.3 cm 1898-99 Market Scene monotype and pencil on paper 20 x 23.8 cm 1898-99 Lacemakers, Venice pencil and watercolour 34.9 x 24.8 cm 1898-99 Fiesta - Venice - S. Pietri in Volta pencil and watercolour 34 x 31.7 cm 1898-99 Roma, Flower Stall monotype and pencil on paper 23.8 x 19 cm c1898-99 Easter Procession, St. Marks pencil and watercolour 45.7 x 35.6 cm c1898-99 Afternoon, Pincian Hill pencil and watercolour 38.4 x 27 cm c1898-99 Head of a Girl ( with Roses ) monotype on paper 15.9 x 13.6 cm c1898-99 Grand Canal, Venice pencil and watercolour 23.5 x 34.6 cm c1898-99 Piazza of St. Marks pencil and watercolour 41 x 35.9 cm c1898-99 Picnic with Red Umbrella monotype and pencil on paper 23.5 x 19 cm c1898-99 Ponte della Paglia pencil and watercolour 45.1 x 35.9 cm c1898-99 Ponte della Paglia pencil and watercolour on paper c1898-99 Rainy Day, Sienna pencil and watercolour 47.6 x 33 cm c1898-99 Riva San Biagio, Venice pencil and watercolour 30.5 x 26.7 cm c1898-99 Riva degli Schiavoni pencil and watercolour on paper c1898-99 Sienna - Column of the Wolf pencil and watercolour 48.3 x 24.1 cm c1898-99 Sienna pencil and watercolour 31.7 x 51.5 cm c1898-99 St. Mark's Square, Venice pencil and watercolour 66 x 15.2 cm c1898-99 The Grand Canal, Venice pencil and watercolour 46.4 x 38.1 cm c1898-99 The Lido, Venice pencil and watercolour 26.7 x 38.1 cm c1898-99 The Porch with the Old Mosaics, St. Marks, Venice pencil and watercolour 40.6 x 29.2 cm c1898-99 Umbrellas in the Rain pencil and watercolour 35.6 x 53 cm c1898-99 The Spanish Steps monotype on paper 29.7 x 19 cm c1898-99 Venetian Canal Scene pencil and watercolour 35.2 x 51.7 cm c1898-99 Venetian Scene pencil and watercolour 22.9 x 27.9 cm c1898-9 Assisi watercolour 39.1 x 28 cm c1898-9 At the Shore ( Capri) watercolour 25.4 x 35.6 cm c1898-99 Venice pencil and watercolour 43.8 x 39.4 cm 1899 Procession, Venice watercolour and gouache 27.9 x 31 cm

Everett Shinn (1876 - 1953) was an American realist painter and member of the Ashcan School, also known as 'the Eight.' He was the youngest member of the group of modernist painters who explored the depiction of real life. He is most famous for his numerous paintings of New York and the theatre, and of various aspects of luxury and modern life inspired by his home in New York City. For biographical notes on Shinn, and for earlier works, see part 1 also. THis is part 2 of a 3-part post on the works of Everett Shinn: 1906 Frédérique Follows her Husband illustration for Frédérique conté crayon on paper 39.7 x 53.3 cm 1906 I Leaned Over Her and Plucked from her Lips a Kiss conté crayon on paper 38.7 x 51 cm 1906 Strong Man, Clown, and Dancer oil on canvas board 25.2 x 20 cm 1906 The East River at Night pastel 33.3 x 53.3 cm 1906-07 Julie Bonbon chalk on paper 45.7 x 45.1 cm c1906-07 The Orchestra Pit, Old Proctor's Fifth Avenue Theatre oil on canvas 43.8 x 49.5 cm c1906 Girl on Stage oil on canvas 25.4 x 30.5 cm 1907 Fire on 24th Street, New York City pastel on board 59.1 x 45.7 cm 1907 Julie Bonbon pastel on paper 54.6 x 39.4 cm 1907 Olympic Theater pencil, watercolour and gouache on paper 20.3 x 24.8 cm 1907 Paris Stage pastel on board 38.1 x 44.4 cm 1908 Green Park, London 35.6 x 45.7 cm 1908 Night Life, The Accident pastel, watercolour and gouache on paper 33 x 43.8 cm 1908 Out of a Job - News of the Unemployed pencil, black crayon and wash on board 34.3 x 70.5 cm 1908 Revue oil on canvas 45.7 x 61 cm 1908 The Bar at McSorley's watercolour on paper 27.3 x 47 cm 1910 Actress in Red Before Mirror pastel 32 x 37 cm 1910 Fifth Avenue pastel on paper 31.4 x 38.7 cm 1910 Mrs. A. Stewart Walker in a Fur pastel on paperboard 71.1 x 35.6 cm 1910 Nude Bathers oil on canvas 64 x 76.8 cm 1910 Nude pastel on paper 56.5 x 41.3 cm 1910 Paris Exposition pastel on paper 22.2 x 29.8 cm 1910 Washington Square pastel 1910c Nude Getting into Bath monotype on paper 23.4 x 31.2 cm 1911 Ballet Dancers pastel 66 x 91.4 cm 1912 After the Rehearsal pastel on paper 44.4 x 65.4 cm 1912 Canfield’s Gambling House gouache on paper 23.5 x 30.5 cm 1912 Footlight Flirtation oil on canvas 73.7 x 92.1 cm 1912 Girl with Japanese Lanterns oil on canvas 30.5 x 25.4 cm 1912 Vaudeville Dancer pastel on board 51.4 x 41.9 cm 1914 Tinsel Toes watercolour 68.5 x 75.2 cm 1914 Two Girls Dressing for a Party pastel and gouache on paper 73.7 x 69.2 cm 1915 Bonnie Glass pastel on paper 85.1 x 40.6 cm 1915 View of Washington Square, New York conté crayon and watercolour 1916 Cover of Vanity Fair 1916 Look Out for the Autoped Girl advertisement from Puck magazine 1918 London Music Hall oil on canvas 25.4 x 30.5 cm

Continuing the intermittent theme on the New York "Ashcan School" (see Introduction 4 Oct 2012, William Glackens 6 Oct - 14 Oct 2012, Robert Henri 22 Oct - 1 Nov 2012) the next artist I'm featuring is George Luks. George Luks by Robert Henri 1904 oil on canvas 194 x 97 cm George Benjamin Luks (1867-1933) was a pioneer realist, a member of "The Eight," and a vigorous opponent of academic and conservative standards in subject matter. He was born in Williamsport, Pa. in 1867. In about 1884 he entered the Pennsylvania Academy of Fine Arts but soon made his way to Europe, where he remained for several years. His chronology and many details of his life remain obscure because of the extravagant claims he made about exploits which seem to have been wholly fictitious. At Düsseldorf he acquired a taste for sombre colours and became an admirer of Rembrandt and Frans Hals. He abandoned Düsseldorf for the more stimulating spheres of London and Paris. He then returned to Philadelphia in 1893 where he was an illustrator for the Philadelphia Press where he met John Sloan, William Glackens, and Everett Shinn. They would meet at the studio of Robert Henri, an artist who emphasized the depiction of ordinary life, shunning genteel subjects and painting quickly. The group became known as the “Philadelphia Five.” He was sent by the Bulletin to cover the Spanish-American War in 1895. His illustrations were lively and exciting but apparently largely imaginary, as was the story that he had been captured, sentenced to death, and deported. In 1896, Luks moved to New York and began his art career there as the premier humourist artist for the New York World. During his time as an illustrator there, he lived with William Glackens. Glackens, along with Everett Shinn and Robert Henri, encouraged him to paint seriously, and Luks developed an interest in painting "New York Street Life". The Philadelphia Five eventually became “The Eight.” The rejection of one of Luks's paintings from the 1907 exhibition of the National Academy of Design motivated Henri's followers to form their own independent exhibiting group. Consisting of Robert Henri, George Luks, William Glackens, John Sloan, Everett Shinn, Arthur B. Davies, Ernest Lawson, and Maurice Prendergast, the group exhibited as "The Eight" in January 1908. Their exhibition was one of the most important events in the development of twentieth-century American art. Although the styles of "The Eight" differed immensely, what unified the group was their advocacy of exhibition opportunities free from the jury system, as well as each of their desires to use painting techniques that were not sanctioned by the Academy. "The Eight" expanded into what is now known as the Ashcan School of artists. Luks made many paintings of working class subjects and scenes of the urban street. "Hester Street" captures the Jewish court through Luks's vigorously painted representation of immigrant shoppers, pushcart peddlers, casual strollers and curious onlookers of the ethnic variety that characterised metropolitan, turn-of-the century New York. 1905 Hester Street oil on canvas 66.4 x 91.8 cm In 1905, Luks painted what would become one of his most famous works as well as an Ashcan School icon “The Spielers.” 1905 The Spielers oil on canvas 91.8 x 66.7 cm Two young girls make up this painting. Their happy faces contrast with their grimy hands. George Luks successfully portrays lower-class children's ability to enjoy life despite their circumstances. He painted the truth, as he saw it. In regard to colour, Luks said himself when interviewed, "I'll tell you the whole secret! Colour is simply light and shade. You don't need pink or grey or blue so long as you have volume. Pink and blue change with light or time. Volume endures." Luks was a radical only in subject matter, not in style or technique. He was involved in the formation of the 1913 Armory Show, in which he was well represented. However, he was unable to understand or accept the genuinely radical European art, which was shown in America for the first time, and resigned from the society which had formed the show. Luks, always lusty and belligerent, was apparently killed as the result of a tavern fight in October 1933, dying in New York on the streets which he had immortalised on many canvasses. This is part 1 of a 4-part post on the works of George Luks: 1884 Child Eating Apple graphite, pen and ink on paper 26.7 x 20.6 cm 1889 London Bus Driver oil on canvas 68.6 x 55.9 cm 1895 In Horte Fayal watercolour and graphite on cardboard 17.8 x 11.4 cm 1896 Havana, Cuba watercolour 39 x 20 cm 1899 Queen Liliokalani from Verdict magazine 1899 The Amateurs oil on canvas 61 x 45.7 cm 1900 In the Steerage oil on canvas 77.8 x 48.9 cm 1901 The Butcher Cart oil on canvas 55.9 x 68.6 cm c1902-10 Prospect Park oil on panel 28.5 x 21.5 cm 1904 Bear and Cubs conté crayon 25.2 x 17.8 cm 1904 Bear and Cubs conté crayon 17.8 x 25.4 cm 1904 Bear conté crayon 17.8 x 25.4 cm 1904 Bear conté crayon 17.8 x 25.4 cm 1904 Bear conté crayon 25.4 x 17.8 cm17.8 1904 Bears conté crayon 17.8 x 25.4 cm 1904 Bears conté crayon 17.8 x 25.4 cm 1904 Bears conté crayon 17.8 x 25.4 cm 1904 Bears conté crayon 17.8 x 25.4 cm 1904 Bears conté crayon 25.4 x 17.8 cm 1904 Black Bear conté crayon 17.8 x 25.4 cm 1904 Brown Bear conté crayon 17.8 x 25.4 cm c1904 Copley Square oil on canvas 50.8 x 61 cm c1904 Little Lore with Her Hat oil on canvas 101.6 x 76.2 cm 1905 Gramercy Park watercolour 41.3 x 61.3 cm 1905 The Sand Artist oil on canvs 74.9 x 73 cm 1905 The Wrestlers oil on canvas 122.9 x 168.6 cm c1905 Study for The Wrestlers conté crayon on paper 19.1 x 24.8 cm c1905 Allen Street oil on canvas 81.3 x 114.3 cm c1905 Child in Grey oil on canvas 50.8 x 38.1 cm c1905 Children Throwing Snowballs oil on canvas 41 x 51 cm c1905 The Pawnbroker's Daughter oil on canvas 64.1 x 76.2 cm c1905 The Rag Picker oil on canvas 66 x 55.9 cm c1907 Pals oil on canvas 76.2 x 63.5 cm c1907 The Little Madonna oil on canvas 69.5 x 56.5 cm cm 1908 The Guitar oil on canvas 72 x 74 cm c1908 At the Café oil on panel 24.8 x 34.9 cm c1908 Sulky Boy oil on canvas 111.8 x 86.4 cm 1909-10 Roundhouse at High Bridge oil on canvas 77.1 x 92 cm c1909 Lily Williams oil on canvas 44.7 x 39.5 cm c1910-15 The Wedding Cake oil on canvas 76.2 x 63.5 cm c1910 The North River, New York oil on canvas 52 x 62.2 cm

Maurice Brazil Prendergast (1858 – 1924) was born in Saint John's, Newfoundland, to a shopkeeper who moved the family to Boston in 1868. He left school after only eight or nine years and went to work for a commercial art firm. He never married and throughout his life was accompanied and supported by his brother Charles, a gifted craftsman and artist in his own right. According to Charles, Maurice always wanted to be an artist and spent every available moment sketching. In 1892, Maurice travelled to Paris, where he spent three years. Studying first under Gustave Courtois at the Atelier Colorossi, he eventually moved on to the Académie Julian. There he met the Canadian painter James Wilson Morrice, under whose influence he began executing pochades, small sketches on wood panels depicting elegantly dressed women and playful children at the seaside resorts of Dieppe and Saint-Malo. Back in Paris, he developed a sophisticated modern style inspired in large part by the postimpressionists, particularly Pierre Bonnard and Edouard Vuillard. In 1895, home from abroad, Prendergast joined his brother in Winchester, Massachusetts. Working in watercolour, oil, and monotype, he continued to focus on men, women, and children at leisure, strolling in parks, on the beach, or travelling the city streets. In 1898 he went to Venice and returned a year later with a series of watercolours of the city. In 1900 the Macbeth Galleries in New York mounted an exhibition of his work. In1907 he returned to France, where he was profoundly influenced by Cezanne and the Fauves. Integrating these new influences into his work, he painted more forceful works of art, with very bright colours and staccato brushstrokes. As one of "The Eight," he was sharply criticised for his more abstract and brightly coloured style. Following another trip to Venice, in 1911-1912, he returned to New York to select works for and participate in the Armory Show of 1913. A year later he and Charles moved to New York. In 1915 he was given an exhibition at the Carroll Galleries. Although the critical reception was mixed. he was able to attract a number of important patrons. During the final years of his career.he spent his summers sketching in New Engalns, and his winters painting in New York. In 1921 the Brummer Gallery in New York held a small retrospective exhibition of his work. By 1923 he was in frail health and died a year later at the age of 65. This part 1 of a 7-part post on the works of Maurice Prendergast: 1888 Portrait of Maurice Prendergast's Father oil on canvas 39.7 x 35.6 cm c1891-94 The Red Cape monotype on paper 40 x 27.9 cm 1891 Picking Flowers watercolour 17.8 x 12.7 cm 1892 La Porte San Denis watercolour 35.6 x 25.4 cm 1892 Low Tide, Afternoon, Treport pencil and watercolour 32.4 x 21.3 cm 1892 Treport Beach pencil and watercolour 21.9 x 30.8 cm 1892-4 Evening Shower, Paris oil on panel 31.7 x 47 cm 1892-94 Along the Seine oil on canvas 33 x 24.1 cm c1892-94 Dieppe oil on canvas 12.2 x 9.5 cm c1892-94 Figures on the Beach pencil and watercolour 25.4 x 17.8 cm c1892-94 Sunday Morning, Paris oil on panel 23.8 x 15.6 cm 1893-94 Can-Can Dancer pencil and watercolour 21.6 x 14 cm 1893-94 Ladies Seated on a Bench pencil and watercolour 18.8 x 16.2 cm 1893 Paris Boulevard in the Rain pencil and watercolour 13 x 25.4 cm 1893-94 Ladies in the Rain pencil and watercolour 34.3 x 14.6 cm c1893-94 In the Park pencil, ink and watercolour 27.3 x 11.4 cm c1893-94 Side Show pencil and watercolour 26.7 x 19 cm c1893-94 The Dancers pencil and watercolour 27.9 x 21 cm c1893-94 Two Women in a Park pencil and watercolour 40 x 20.3 cm 1894 Small Fishing Boats, Treport, France watercolour 22.9 x 31.1 cm 1895 Figures on the Grass pencil and watercolour 24.4 x 34.3 cm 1895-7 Low Tide oil on panel 34.3 x 45.7 cm c1895-1900 Horseback Riders monotype and pencil on paper 23.2 x 31.1 cm 1895 Three Little Girls in Red monotype 14.3 x 15.2 cm c1895-7 Lady with a Red Sash oil on canvas 61 x 21 cm c1895-97 City Point Bridge pencil, gouache and watercolour 48.6 x 38.7 cm c1895-96 Sunset, Boston pastel on paper 50.8 x 27.9 c1895-97 Evening on a Pleasure Boat oil on canvas 14 x 22 cm c1895-97 Jumping Rope monotype on paper 17.1 x 13.3 cm c1895-97 The Race monotype on paper 20 x 22.9 cm c1895-97 South Boston Pier pencil and watercolour 12.2 x 19.1 c1895 Charles Street, Boston pencil and watercolour 36.5 x 27.9 cm c1895-97 The Pretty Ships oil on panel 34.9 x 34.3 cm c1895 Circus Band monotype and pencil 31.3 x 23.8 cm c1895 The Ocean Palace monotype 19 x 15.9 cm c1895 Woman on Ship Deck, Looking out to Sea monotype on paper 15.9 x 10.5 cm 1896 Nantasket Beach pencil and watercolour 33.7 x 51.4 cm 1896 Children on a Raft pencil and watercolour 45.7 x 33.3 cm 1896 At the Park pencil and watercolour 35.6 x 52.7 cm 1896 Revere Beach pencil and watercolour 13.6 x 9.9 cm 1896 Revere Beach watercolour 25.4 x 35.6 cm 1896 Revere Beach pencil and watercolour 35.6 x 25.4 cm 1896 South Boston Pier pencil and watercolour 46.4 x 35.6 cm 1896 Summer Visitors pencil and watercolour 48.3 x 38.1 cm c1896-7 Children at the Beach watercolour 35.6 x 25.4 cm c1896-7 Float at Low Tide, Revere Beach watercolour 33.6 x 23.5 cm c1896-97 Early Beach pencil and watercolour 34.3 x 31.1 cm 1896-97 Excursionists, Nahant pencil, watercolour and gouache 49.5 x 36 cm

Maurice Brazil Prendergast (1858 – 1924) was an American Post-Impressionist artist who worked in oil, watercolour, and monotype. He exhibited as a member of The Eight associated with the Ashcan School, though the delicacy of his compositions and mosaic-like beauty of his style differed from the philosophy of the group. Prendergast's work was strongly associated from the beginning with leisurely scenes set on beaches and in parks. His early work was mostly watercolour or monotype, and he produced over two hundred monotypes between 1895 and 1902. He also experimented with oil painting in the 1890s, but didn't focus on that medium until the early 1900s. He developed and continued to elaborate a highly personal style, with boldly contrasting, jewel-like colours, and flattened, pattern-like forms rhythmically arranged on the canvas. For fuller biographical notes see part 1. This is part 2 of a 7 - part series on the works of Maurice Prendergast: c1896-97 Franklin Park, Boston pencil and watercolour 32.4 x 49.5 cm c1896-97 Franklin Park, Boston pencil and watercolour 45.1 x 33.7 cm c1896-97 Float at Low Tide, Revere Beach pencil and watercolour 33.7 x 23.5 cm c1896-97 Handkerchief Point ( Coastal Scene ) pencil and watercolour 34.3 x 49.8 cm c1896-97 Ladies with Parasols pencil and watercolour 32.4 x 25.4 cm c1896-97 Handkerchief Point pencil and watercolour 50.5 x 34.9 cm c1896-97 Low Tide pencil and watercolour 30.5 x 47.6 cm c1896-97 Low Tide pencil and watercolour 40 x 28.4 cm c1896-97 Low Tide pencil and watercolour 35.6 x 25.4 cm c1896-97 Low Tide, Nantucket pencil and watercolour 20.1 x 14 cm c1896-97 New England Beach Scene pencil and watercolour 34.9 x 50.2 cm c1896-97 Revere Beach pencil and watercolour 35.2 x 50.8 cm c1896-97 Revere Beach pencil and watercolour 24.1 x 34 cm c1896-97 Revere Beach, Boston watercolour 34.6 x 30.8 cm c1896-97 The Stony Beach, Ogunquit watercolour 53 x 35.6 cm c1896-97 Strolling in the Park pencil and watercolour 35.2 x 25.4 cm 1898 St. Mark's, Venice pencil and watercolour 35.9 x 49.5 cm 1898 Venice pencil, watercolour and gouache 47 x 38.7 cm 1898 Pincian Hill, Rome pencil and watercolour 52.7 x 68.3 cm 1898-99 Market Scene monotype and pencil on paper 20 x 23.8 cm 1898-99 Lacemakers, Venice pencil and watercolour 34.9 x 24.8 cm 1898-99 Fiesta - Venice - S. Pietri in Volta pencil and watercolour 34 x 31.7 cm 1898-99 Roma, Flower Stall monotype and pencil on paper 23.8 x 19 cm c1898-99 Easter Procession, St. Marks pencil and watercolour 45.7 x 35.6 cm c1898-99 Afternoon, Pincian Hill pencil and watercolour 38.4 x 27 cm c1898-99 Head of a Girl ( with Roses ) monotype on paper 15.9 x 13.6 cm c1898-99 Grand Canal, Venice pencil and watercolour 23.5 x 34.6 cm c1898-99 Piazza of St. Marks pencil and watercolour 41 x 35.9 cm c1898-99 Picnic with Red Umbrella monotype and pencil on paper 23.5 x 19 cm c1898-99 Ponte della Paglia pencil and watercolour 45.1 x 35.9 cm c1898-99 Ponte della Paglia pencil and watercolour on paper c1898-99 Rainy Day, Sienna pencil and watercolour 47.6 x 33 cm c1898-99 Riva San Biagio, Venice pencil and watercolour 30.5 x 26.7 cm c1898-99 Riva degli Schiavoni pencil and watercolour on paper c1898-99 Sienna - Column of the Wolf pencil and watercolour 48.3 x 24.1 cm c1898-99 Sienna pencil and watercolour 31.7 x 51.5 cm c1898-99 St. Mark's Square, Venice pencil and watercolour 66 x 15.2 cm c1898-99 The Grand Canal, Venice pencil and watercolour 46.4 x 38.1 cm c1898-99 The Lido, Venice pencil and watercolour 26.7 x 38.1 cm c1898-99 The Porch with the Old Mosaics, St. Marks, Venice pencil and watercolour 40.6 x 29.2 cm c1898-99 Umbrellas in the Rain pencil and watercolour 35.6 x 53 cm c1898-99 The Spanish Steps monotype on paper 29.7 x 19 cm c1898-99 Venetian Canal Scene pencil and watercolour 35.2 x 51.7 cm c1898-99 Venetian Scene pencil and watercolour 22.9 x 27.9 cm c1898-9 Assisi watercolour 39.1 x 28 cm c1898-9 At the Shore ( Capri) watercolour 25.4 x 35.6 cm c1898-99 Venice pencil and watercolour 43.8 x 39.4 cm 1899 Procession, Venice watercolour and gouache 27.9 x 31 cm

Maurice Brazil Prendergast (1858 – 1924) was born in Saint John's, Newfoundland, to a shopkeeper who moved the family to Boston in 1868. He left school after only eight or nine years and went to work for a commercial art firm. He never married and throughout his life was accompanied and supported by his brother Charles, a gifted craftsman and artist in his own right. According to Charles, Maurice always wanted to be an artist and spent every available moment sketching. In 1892, Maurice travelled to Paris, where he spent three years. Studying first under Gustave Courtois at the Atelier Colorossi, he eventually moved on to the Académie Julian. There he met the Canadian painter James Wilson Morrice, under whose influence he began executing pochades, small sketches on wood panels depicting elegantly dressed women and playful children at the seaside resorts of Dieppe and Saint-Malo. Back in Paris, he developed a sophisticated modern style inspired in large part by the postimpressionists, particularly Pierre Bonnard and Edouard Vuillard. In 1895, home from abroad, Prendergast joined his brother in Winchester, Massachusetts. Working in watercolour, oil, and monotype, he continued to focus on men, women, and children at leisure, strolling in parks, on the beach, or travelling the city streets. In 1898 he went to Venice and returned a year later with a series of watercolours of the city. In 1900 the Macbeth Galleries in New York mounted an exhibition of his work. In1907 he returned to France, where he was profoundly influenced by Cezanne and the Fauves. Integrating these new influences into his work, he painted more forceful works of art, with very bright colours and staccato brushstrokes. As one of "The Eight," he was sharply criticised for his more abstract and brightly coloured style. Following another trip to Venice, in 1911-1912, he returned to New York to select works for and participate in the Armory Show of 1913. A year later he and Charles moved to New York. In 1915 he was given an exhibition at the Carroll Galleries. Although the critical reception was mixed. he was able to attract a number of important patrons. During the final years of his career.he spent his summers sketching in New Engalns, and his winters painting in New York. In 1921 the Brummer Gallery in New York held a small retrospective exhibition of his work. By 1923 he was in frail health and died a year later at the age of 65. This part 1 of a 7-part post on the works of Maurice Prendergast: 1888 Portrait of Maurice Prendergast's Father oil on canvas 39.7 x 35.6 cm c1891-94 The Red Cape monotype on paper 40 x 27.9 cm 1891 Picking Flowers watercolour 17.8 x 12.7 cm 1892 La Porte San Denis watercolour 35.6 x 25.4 cm 1892 Low Tide, Afternoon, Treport pencil and watercolour 32.4 x 21.3 cm 1892 Treport Beach pencil and watercolour 21.9 x 30.8 cm 1892-4 Evening Shower, Paris oil on panel 31.7 x 47 cm 1892-94 Along the Seine oil on canvas 33 x 24.1 cm c1892-94 Dieppe oil on canvas 12.2 x 9.5 cm c1892-94 Figures on the Beach pencil and watercolour 25.4 x 17.8 cm c1892-94 Sunday Morning, Paris oil on panel 23.8 x 15.6 cm 1893-94 Can-Can Dancer pencil and watercolour 21.6 x 14 cm 1893-94 Ladies Seated on a Bench pencil and watercolour 18.8 x 16.2 cm 1893 Paris Boulevard in the Rain pencil and watercolour 13 x 25.4 cm 1893-94 Ladies in the Rain pencil and watercolour 34.3 x 14.6 cm c1893-94 In the Park pencil, ink and watercolour 27.3 x 11.4 cm c1893-94 Side Show pencil and watercolour 26.7 x 19 cm c1893-94 The Dancers pencil and watercolour 27.9 x 21 cm c1893-94 Two Women in a Park pencil and watercolour 40 x 20.3 cm 1894 Small Fishing Boats, Treport, France watercolour 22.9 x 31.1 cm 1895 Figures on the Grass pencil and watercolour 24.4 x 34.3 cm 1895-7 Low Tide oil on panel 34.3 x 45.7 cm c1895-1900 Horseback Riders monotype and pencil on paper 23.2 x 31.1 cm 1895 Three Little Girls in Red monotype 14.3 x 15.2 cm c1895-7 Lady with a Red Sash oil on canvas 61 x 21 cm c1895-97 City Point Bridge pencil, gouache and watercolour 48.6 x 38.7 cm c1895-96 Sunset, Boston pastel on paper 50.8 x 27.9 c1895-97 Evening on a Pleasure Boat oil on canvas 14 x 22 cm c1895-97 Jumping Rope monotype on paper 17.1 x 13.3 cm c1895-97 The Race monotype on paper 20 x 22.9 cm c1895-97 South Boston Pier pencil and watercolour 12.2 x 19.1 c1895 Charles Street, Boston pencil and watercolour 36.5 x 27.9 cm c1895-97 The Pretty Ships oil on panel 34.9 x 34.3 cm c1895 Circus Band monotype and pencil 31.3 x 23.8 cm c1895 The Ocean Palace monotype 19 x 15.9 cm c1895 Woman on Ship Deck, Looking out to Sea monotype on paper 15.9 x 10.5 cm 1896 Nantasket Beach pencil and watercolour 33.7 x 51.4 cm 1896 Children on a Raft pencil and watercolour 45.7 x 33.3 cm 1896 At the Park pencil and watercolour 35.6 x 52.7 cm 1896 Revere Beach pencil and watercolour 13.6 x 9.9 cm 1896 Revere Beach watercolour 25.4 x 35.6 cm 1896 Revere Beach pencil and watercolour 35.6 x 25.4 cm 1896 South Boston Pier pencil and watercolour 46.4 x 35.6 cm 1896 Summer Visitors pencil and watercolour 48.3 x 38.1 cm c1896-7 Children at the Beach watercolour 35.6 x 25.4 cm c1896-7 Float at Low Tide, Revere Beach watercolour 33.6 x 23.5 cm c1896-97 Early Beach pencil and watercolour 34.3 x 31.1 cm 1896-97 Excursionists, Nahant pencil, watercolour and gouache 49.5 x 36 cm

Everett Shinn (1876 - 1953) was an American realist painter and member of the Ashcan School, also known as 'the Eight.' He was the youngest member of the group of modernist painters who explored the depiction of real life. He is most famous for his numerous paintings of New York and the theatre, and of various aspects of luxury and modern life inspired by his home in New York City. For biographical notes on Shinn, and for earlier works, see part 1 also. THis is part 2 of a 3-part post on the works of Everett Shinn: 1906 Frédérique Follows her Husband illustration for Frédérique conté crayon on paper 39.7 x 53.3 cm 1906 I Leaned Over Her and Plucked from her Lips a Kiss conté crayon on paper 38.7 x 51 cm 1906 Strong Man, Clown, and Dancer oil on canvas board 25.2 x 20 cm 1906 The East River at Night pastel 33.3 x 53.3 cm 1906-07 Julie Bonbon chalk on paper 45.7 x 45.1 cm c1906-07 The Orchestra Pit, Old Proctor's Fifth Avenue Theatre oil on canvas 43.8 x 49.5 cm c1906 Girl on Stage oil on canvas 25.4 x 30.5 cm 1907 Fire on 24th Street, New York City pastel on board 59.1 x 45.7 cm 1907 Julie Bonbon pastel on paper 54.6 x 39.4 cm 1907 Olympic Theater pencil, watercolour and gouache on paper 20.3 x 24.8 cm 1907 Paris Stage pastel on board 38.1 x 44.4 cm 1908 Green Park, London 35.6 x 45.7 cm 1908 Night Life, The Accident pastel, watercolour and gouache on paper 33 x 43.8 cm 1908 Out of a Job - News of the Unemployed pencil, black crayon and wash on board 34.3 x 70.5 cm 1908 Revue oil on canvas 45.7 x 61 cm 1908 The Bar at McSorley's watercolour on paper 27.3 x 47 cm 1910 Actress in Red Before Mirror pastel 32 x 37 cm 1910 Fifth Avenue pastel on paper 31.4 x 38.7 cm 1910 Mrs. A. Stewart Walker in a Fur pastel on paperboard 71.1 x 35.6 cm 1910 Nude Bathers oil on canvas 64 x 76.8 cm 1910 Nude pastel on paper 56.5 x 41.3 cm 1910 Paris Exposition pastel on paper 22.2 x 29.8 cm 1910 Washington Square pastel 1910c Nude Getting into Bath monotype on paper 23.4 x 31.2 cm 1911 Ballet Dancers pastel 66 x 91.4 cm 1912 After the Rehearsal pastel on paper 44.4 x 65.4 cm 1912 Canfield’s Gambling House gouache on paper 23.5 x 30.5 cm 1912 Footlight Flirtation oil on canvas 73.7 x 92.1 cm 1912 Girl with Japanese Lanterns oil on canvas 30.5 x 25.4 cm 1912 Vaudeville Dancer pastel on board 51.4 x 41.9 cm 1914 Tinsel Toes watercolour 68.5 x 75.2 cm 1914 Two Girls Dressing for a Party pastel and gouache on paper 73.7 x 69.2 cm 1915 Bonnie Glass pastel on paper 85.1 x 40.6 cm 1915 View of Washington Square, New York conté crayon and watercolour 1916 Cover of Vanity Fair 1916 Look Out for the Autoped Girl advertisement from Puck magazine 1918 London Music Hall oil on canvas 25.4 x 30.5 cm

Everett Shinn and many of his contemporaries spent their early years as newspaper illustrators, learning, as he said, to "observe...and get the job done." For The White Ballet, he used his reportorial eye and the compositional devices of Degas and

Post-Impressionist artist who worked in oil, watercolour, and monotype. He exhibited as a member of The Eight associated with the Ashcan School, though the delicacy of his compositions and mosaic-like beauty of his style differed from the philosophy of the group. Prendergast's work was strongly associated from the beginning with leisurely scenes set on beaches and in parks. His early work was mostly watercolour or monotype, and he produced over two hundred monotypes between 1895 and 1902. He also experimented with oil painting in the 1890s, but didn't focus on that medium until the early 1900s. He developed and continued to elaborate a highly personal style, with boldly contrasting, jewel-like colours, and flattened, pattern-like forms rhythmically arranged on the canvas. For fuller biographical notes see part 1. This is part 3 of a 7 - part series on the works of Maurice Prendergast: 1899 Venetian Palaces on The Grand Canal watercolour 36.2 x 53.3 cm c1899 Bed of Flowers pencil & watercolour 33 x 48.9 cm 1899 Splash of Sunshine and Rain pencil & watercolour 49.2 x 36.2 cm c1899 Festa del Redentore pencil & watercolour 27.9 x 43.2 cm 1900 Central Park pencil, charcoal, pastel & watercolour 36.5 x 49.5 cm c1900-01 In Central Park, New York pencil & watercolour 31.1 x 50.8 cm 1900-01 West Church, Boston watercolour 27.6 x 39 cm c1900-01 Merry-Go-Round, Nahant pencil & watercolour 34.9 x 48.3 cm c1900-01 The Flying Horses pencil & watercolour 33.7 x 53.3 cm c1900-01 The West Church pencil & watercolour 53.3 x 37.5 cm 1900-02 Lady with Red Cape and Muff monotype on paper 25.2 x 9.8 cm 1900-02 May Day, Central Park pencil & watercolour 36.8 x 54.9 cm 1900-02 Lighthouse monotype & pencil on Paper 24.8 x 38.1 cm 1900-02 Shadow monotype on paper 24.1 x 19.7 cm 1900-02 Summer Day oil on canvas c1900-02 Beach Scene with Lighthouse 24 x 35.2 cm c1900-02 Seated Woman in Blue monotype & pencil on paper 24.3 x 17.9 cm c1900-02 Shipyard, Children Playing monotype on paper 20 x 25.4 cm 1900-03 May Day, Central Park pencil & watercolour 33 x 55.2 cm c1900-03 Columbus Circle ( New York ) watercolour 35.6 x 58.4 cm 1900-03 Central Park pencil & watercolour on paper 24.1 x 34.3 cm c1900-03 Ring around the Rosy pencil & watercolour 35.6 x 53.3 cm c1900-03 In the Park pencil & watercolour on paper 29.8 x 29.2 cm c1900-03 May Party pencil & watercolour 29.2 x 49.5 cm 1900-4 Docks, East Boston pencil & watercolour 38.1 x 55.9 cm 1900-05 Figures under the Flag pencil & watercolour 52.1 x 26 cm 1900-05 A Dock Scene watercolour 38 x 55.9 cm 1900-05 Beechmont pencil & watercolour 48.3 x 33 cm 1900-05 Promenade at Nantasket pencil & watercolour 31.4 x 49 cm c1900-05 Boston Harbor pencil & watercolour 28.3 x 39.7 cm c1900-05 Holiday, Nahant pencil & watercolour 31.7 x 39.4 cm c1900-05 Nantasket pencil & watercolour 40.6 x 33.7 cm c1900-05 Holiday, Headlands watercolour 38.7 x 27.3 cm c1900-05 Surf, Cohasset pencil & watercolour 27 x 38.1 cm c1900-05 Surf, Nantasket pencil & watercolour 39.7 x 28.3 cm 1901 East River Park pencil & watercolour 34.6 x 50.5 cm 1901 The Mall, Central Park pencil & watercolour 38.7 x 57.1 cm c1901 The Balloon watercolour 51.7 x 38.2 cm 1901 The East River pencil & watercolour 35.2 x 50.8 cm 1902 The Bridle Path, Central Park pencil, charcoal & watercolour 36.5 x 55.2 cm c1902-04 Rainbow oil on panel 27.3 x 38.1 cm c1902-06 After the Storm oil on panel 27 x 34.6 cm c1903-06 Beach Scene No. 4 oil on panel 26.3 x 34.6 cm c1903-06 Harbour, Afternoon oil on panel 40 x 53.3 cm 1904 Salem Windows oil on canvas 66 x 86.4 cm 1904 The Paris Omnibus charcoal & watercolour 30.5 x 45.7 cm

Art and Artists, Paintings, Painters, Prints, Printmakers, Illustration, Illustrators

Everett Shinn (1876 - 1953) was an American realist painter and member of the Ashcan School, also known as 'the Eight.' He was the youngest member of the group of modernist painters who explored the depiction of real life. He is most famous for his numerous paintings of New York and the theatre, and of various aspects of luxury and modern life inspired by his home in New York City. For biographical notes on Shinn see part 1. For earlier works by Shinn see parts 1 - 2 also. This is part 3 of a 3-part post on the works of Everett Shinn: 1920 Punch and Judy pencil, charcoal, watercolour and gouache on paperboard 33 x 24.8 cm 1921 Ladies on a Swing oil on canvas 149.7 x 59.7 cm 1924 Masquerade pastel on paper 1925 Curtain Call oil on canvas 23.1 x 28.2 cm 1927 Untitled pencil, watercolour and carbon pencil on paperboard 50.7 x 74 cm 1933 Dancers Backstage 1934 Nightclub Scene oil on canvas 91.4 x 8.46 cm 1937 French Vaudeville oil on canvas 63.8 x 76.5 cm 1940 Woman Bathing graphite c1940 Clown with Drum oil on board 29.8 x 27.3 cm 1942 Clown with Big Pants oil on canvas 30.5 x 25.4 cm 1942 Street Scene, Paris pastel on board 36 x 46 cm c1945 Washington Square oil on canvas 95.2 x 105.4 cm 1948 Drawing for "David Copperfield" A Light Shines my Way ink on paper 16.2 x 9.2 cm 1948 Drawing for David Copperfield Visits Steerforth at his Home Again ink on paper 41.9 x 24.2 cm 1950 Figure ink and pencil on paper 20 x 15 cm 1950 Little Theatre pencil and watercolour 1952 Before the Flatiron Building was Built pastel, charcoal and watercolour on paperboard 27.6 x 37.4 cm Ballet Dancer pastel 22.9 x 14.8 cm Ballet Bob Cratchitt's Wife with Toys ( illustration from Dickens' "A Christmas Carol" ) ink on paper 26.7 x 31.8 cm Cane Man ( illustration from Dickens' "A Christmas Carol" ) ink on paper 48.3 x 29.2 cm Christmas Wreath ( illustration from Dickens' "A Christmas Carol" ) ink on paper Jumping the Hole in the Ice ( illustration for "Peter Rabbit" ) ink on paper 40.6 x 29.2 cm Kitchen at Bob Cratchitt's ( illustration from Dickens' "A Christmas Carol" ) ink on paper 39.4 x 19.4 cm Masquerade pastel on paper 77.5 x 53.6 cm Rabbits at Home ( illustration for "Peter Rabbit" ) ink on paper 23.2 x 34.3 cm Rabbits in Formal Attire ( illustration for "Peter Rabbit" ) ink on paper 25.4 x 40.6 cm Saturday Night pastel on paper Seated Nude conté crayon and watercolour 21.6 x 19.1 cm The Hatpin sanguine on paper 31.9 x 45 cm The Mirror sanguine on paper 31.8 x 44.9 cm The Revue The Slattern Maid ( Miss Slowboy ) ink on paper 24.8 x 7 cm Untitled ( Illustration for Dicken's "Cricket on the Hearth" ) ink on paper 29.8 x 21.6 cm Woman Combing her Hair sanguine on paper 31.8 x 45 cm Woman Getting into Bed sanguine on paper 31.8 x 45.1 cm Woman in a Bed sanguine on paper 31.9 x 43.9 cm Woman with Fox Collar sanguine on paper 31.9 x 44.9 cm

Maurice Brazil Prendergast (1858 – 1924) was an American Post-Impressionist artist who worked in oil, watercolour, and monotype. He exhibited as a member of The Eight associated with the Ashcan School, though the delicacy of his compositions and mosaic-like beauty of his style differed from the philosophy of the group. Prendergast's work was strongly associated from the beginning with leisurely scenes set on beaches and in parks. His early work was mostly watercolour or monotype, and he produced over two hundred monotypes between 1895 and 1902. He also experimented with oil painting in the 1890s, but didn't focus on that medium until the early 1900s. He developed and continued to elaborate a highly personal style, with boldly contrasting, jewel-like colours, and flattened, pattern-like forms rhythmically arranged on the canvas. For fuller biographical notes see part 1. This is part 2 of a 7 - part series on the works of Maurice Prendergast: c1896-97 Franklin Park, Boston pencil and watercolour 32.4 x 49.5 cm c1896-97 Franklin Park, Boston pencil and watercolour 45.1 x 33.7 cm c1896-97 Float at Low Tide, Revere Beach pencil and watercolour 33.7 x 23.5 cm c1896-97 Handkerchief Point ( Coastal Scene ) pencil and watercolour 34.3 x 49.8 cm c1896-97 Ladies with Parasols pencil and watercolour 32.4 x 25.4 cm c1896-97 Handkerchief Point pencil and watercolour 50.5 x 34.9 cm c1896-97 Low Tide pencil and watercolour 30.5 x 47.6 cm c1896-97 Low Tide pencil and watercolour 40 x 28.4 cm c1896-97 Low Tide pencil and watercolour 35.6 x 25.4 cm c1896-97 Low Tide, Nantucket pencil and watercolour 20.1 x 14 cm c1896-97 New England Beach Scene pencil and watercolour 34.9 x 50.2 cm c1896-97 Revere Beach pencil and watercolour 35.2 x 50.8 cm c1896-97 Revere Beach pencil and watercolour 24.1 x 34 cm c1896-97 Revere Beach, Boston watercolour 34.6 x 30.8 cm c1896-97 The Stony Beach, Ogunquit watercolour 53 x 35.6 cm c1896-97 Strolling in the Park pencil and watercolour 35.2 x 25.4 cm 1898 St. Mark's, Venice pencil and watercolour 35.9 x 49.5 cm 1898 Venice pencil, watercolour and gouache 47 x 38.7 cm 1898 Pincian Hill, Rome pencil and watercolour 52.7 x 68.3 cm 1898-99 Market Scene monotype and pencil on paper 20 x 23.8 cm 1898-99 Lacemakers, Venice pencil and watercolour 34.9 x 24.8 cm 1898-99 Fiesta - Venice - S. Pietri in Volta pencil and watercolour 34 x 31.7 cm 1898-99 Roma, Flower Stall monotype and pencil on paper 23.8 x 19 cm c1898-99 Easter Procession, St. Marks pencil and watercolour 45.7 x 35.6 cm c1898-99 Afternoon, Pincian Hill pencil and watercolour 38.4 x 27 cm c1898-99 Head of a Girl ( with Roses ) monotype on paper 15.9 x 13.6 cm c1898-99 Grand Canal, Venice pencil and watercolour 23.5 x 34.6 cm c1898-99 Piazza of St. Marks pencil and watercolour 41 x 35.9 cm c1898-99 Picnic with Red Umbrella monotype and pencil on paper 23.5 x 19 cm c1898-99 Ponte della Paglia pencil and watercolour 45.1 x 35.9 cm c1898-99 Ponte della Paglia pencil and watercolour on paper c1898-99 Rainy Day, Sienna pencil and watercolour 47.6 x 33 cm c1898-99 Riva San Biagio, Venice pencil and watercolour 30.5 x 26.7 cm c1898-99 Riva degli Schiavoni pencil and watercolour on paper c1898-99 Sienna - Column of the Wolf pencil and watercolour 48.3 x 24.1 cm c1898-99 Sienna pencil and watercolour 31.7 x 51.5 cm c1898-99 St. Mark's Square, Venice pencil and watercolour 66 x 15.2 cm c1898-99 The Grand Canal, Venice pencil and watercolour 46.4 x 38.1 cm c1898-99 The Lido, Venice pencil and watercolour 26.7 x 38.1 cm c1898-99 The Porch with the Old Mosaics, St. Marks, Venice pencil and watercolour 40.6 x 29.2 cm c1898-99 Umbrellas in the Rain pencil and watercolour 35.6 x 53 cm c1898-99 The Spanish Steps monotype on paper 29.7 x 19 cm c1898-99 Venetian Canal Scene pencil and watercolour 35.2 x 51.7 cm c1898-99 Venetian Scene pencil and watercolour 22.9 x 27.9 cm c1898-9 Assisi watercolour 39.1 x 28 cm c1898-9 At the Shore ( Capri) watercolour 25.4 x 35.6 cm c1898-99 Venice pencil and watercolour 43.8 x 39.4 cm 1899 Procession, Venice watercolour and gouache 27.9 x 31 cm