Art and Artists, Paintings, Painters, Prints, Printmakers, Illustration, Illustrators
CHARLES SHEELER 1883-1965 Upper Deck 1929, óleo sobre lienzo, 29 1/9″ x 22 1/9″. Museo de Arte Fogg, Universidad de Harvard. El arte de Charles Sheeler es, en muchos sentidos, una fusió…
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Charles Sheeler by Alfred Eisenstaedt The LIFE Picture Collection / Getty Images Charles Sheeler (1883 - 1965) was born in Philadelphia. His education included instruction in industrial drawing and the applied arts at the School of Industrial Art in Philadelphia (1900–1903), followed by a traditional training in drawing and painting at the Pennsylvania Academy of the Fine Arts (1903–6). He found early success as a painter and exhibited at the Macbeth Gallery in 1908. He realised that he would not be able to make a living with Modernist painting. Instead, he took up commercial photography, focusing particularly on architectural subjects. Sheeler painted using a technique that complemented his photography and has been described as “quasi-photographic". He was a self-proclaimed Precisionist, a term that emphasised the linear precision he employed in his depictions. As in his photographic works, his subjects were generally material things such as machinery and structures. This is part 3 of 5-part series on the works of Charles Sheeler. For more biographical notes see part 1, and for earlier works see parts 1 & 2 also. 1927-30 Ford Plant: In 1927, an advertising agency hired Charles Sheeler to photograph the Ford Motor Company’s new River Rouge plant, a vast complex ten miles outside Detroit, Michigan. Covering 2,000 acres and employing 75,000 people, River Rouge was the world’s largest factory and the first to fully manufacture cars on site. After finishing the photography assignment, Sheeler produced a series of paintings of the factory complex, including River Rouge Plant. Here, Sheeler depicted the plant’s coal processing and storage facility, set on the serene waters of a boat slip, using the crisp lines and hard-edge geometries of Precisionism. Although the plant had experienced severe labor disputes in the early years of the Depression, Sheeler repressed the human dimension of manufacturing work and focused instead on the factory as a paradigm of modern rationality and order. For Sheeler, American factories were the contemporary equivalent of the cathedral, “our substitute,” he said, “for religious experience.” 1927 Blast Furnace and Dust Catcher, Ford Plant gelatin silver print 24 x 19.3 cm (image) Art Institute of Chicago, IL 1927 Bleeder Stacks, River Rouge Plant, Ford Motor Company gelatin silver print 23.5 x 18.8 cm SFMoMa, San Francisco, CA 1927 Coke Ovens - River Rouge gelatin silver print 22.2 19.1 cm 1927 Criss-Crossed Conveyors, River Rouge Plant, Ford Motor Company gelatin silver print, printed 1941 23.9 x 19 cm MoMA, New York 1927 Ford Plant – Stamping Press gelatin silver print Museum of Fine Arts, Boston, MA 1927 Ford Plant, River Rouge, Bleeder Stacks, Detroit gelatin silver print 24.1 x 19.1 cm 1927 Ladle on a Hot Metal Car, Ford Plant gelatin silver print 24 x 19.1 cm Art Institute of Chicago, IL c1927 Ford Plant – Ladle Hooks, Open Hearth Building gelatin silver print Museum of Fine Arts, Boston, MA © The Lane Collection 1930 American Landscape (Ford Plant) oil on canvas 61 x 78.8 cm MoMA, New York 1932 River Rouge Plant (Ford Plant) pencil and oil on canvas 51.9 x 61.9 cm Whitney Museum of American Art, New York Pulverizer Building silver gelatin print 1928 Industrial Series #1 lithograph 20.7 x 28.2 cm MoMA, New York * * * * * c1928 Office Interior, Whitney Studio Club, 10 West 8 Street gelatin silver print 19.1 x 23.5 cm Whitney Museum of American Art, New York c1928 Office Interior, Whitney Studio Club, 10 West 8 Street gelatin silver print 19.1 x 23.8 cm Whitney Museum of American Art, New York c1928 Selected Architectual Studies: A group of 3 photographs, each mounted, credited, titled, and dated, possibly by the photographer, in crayon and with annotations in pencil, on the reverse, circa 1928. c1928 Selected architectural studies c1928 Selected architectural studies c1928 Selected architectural studies 1929 Chartres Cathedral, France: 1929 Chartres Cathedral - Buttresses gelatin silver print 24.4 x 19.3 cm MoMA, New York © 2020 The Lane Collection 1929 Chartres Cathedral - Flying Buttresses gelatin silver print 24.1 x 19 cm SFMoMA, San Francisco, CA 1929 Chartres Cathedral gelatin silver print 22.9 x 17.8 cm Museum of Fine Arts, Boston, MA © The Lane Collection 1929 Chartres Cathedral gelatin silver print 24.3 x 19.3 cm MoMA, New York © 2020 The Lane Collection 1929 Chartres Cathedral gelatin silver print 24.4 x 19.4 cm 1929 Chartres, The Mother of Bacon gelatin silver print 24.6 x 19.4 cm Philadelphia Museum of Art, PA 1929 Chartres, Vendome Chapel Exterior gelatin silver print 34.2 x 26.8 cm The Cleveland Museum of Art, Ohio 1929 Steam Turbine gelatin silver print 22.2 x 18.2 cm 1929 Upper Deck gelatin silver print 25.3 x 20.2 cm The Metropolitan Museum of Art, New York 1929 Upper Deck oil on canvas 73 x 55.3 cm 1930 Berlin Power Plant under Construction graphite on yellow-beige wove paper 34.4 x 47.8 cm (image) The Cleveland Museum of Art, Ohio c1930 Modern Progress in Transportation tempera and graphite 20.4 x 45.5 cm (image) The Cleveland Museum of Art, Ohio c1930 Shaker Stove gelatin silver print 17.9 x 24.3 cm Philadelphia Museum of Art, PA 1931 Americana oil on canvas 121.9 x 91.4 cm The Metropolitan Museum of Art, New York 1931 Cactus and Photographer's Lamp, New York gelatin silver print 23.5 x 16.6 cm MoMA, New York © 2020 The Lane Collection 1931 Cactus oil on canvas 114.6 x 76.4 cm Philadelphia Museum of Art, PA 1931 Home, Sweet Home oil on canvas 91.4 x 73.7 cm Detroit Institute of Arts, Michigan 1931 Industrial Architecture conté crayon and graphite on paper mounted on board 26 x 36.3 cm Amon Carter Museum of American Art, Fort Worth, Texas 1931 View of New York oil on canvas 121.9 x 92.3 cm The Hayden Collection—Charles Henry Hayden Fund Museum of Fine Arts, Boston, MA 1931-32 Self-Portrait at Easel gelatin silver print 24.4 x 18.8 cm Art Institute of Chicago, IL 1943 The Artist looks at Nature oil on canvas 53.3 x 45.7 cm Art Institute of Chicago, IL 1932 Interior, Bucks County Barn charcoal on paper 49.7 x 58.4 cm Whitney Museum of American Art, New York 1932 Portrait of Newtown House oil on gesso board 10.1 x 12.7 cm 1932 View of Central Park conté crayon on paper 45.4 x 48.6 cm 1932 Winter gelatin silver print 24.8 x 18.7 cm 1933 Newhaven silver gelatin print 25 x 19.5 cm 1933 Of Domestic Utility conté crayon on paper 63.5 x 49.2 cm MoMA, New York 1934 American Interior oil on canvas 84.5 x 76.8 cm Yale University Art Gallery © 2020 The Yale University Art Gallery. All rights reserved 1934 Connecticut Barns in Landscape oil on canvas 58.7 x 74 cm Smithsonian American Art Museum 1934 Ephrata oil 19.5 x 23.5 cm D'Amour Museum of Fine Arts, Springfield Museums, MA 1934 Ephrata tempera on wood panel 8.8 x 12 cm c1934c Study for American Interior watercolour, opaque watercolour and pencil on paper 9.8 x 8.8 cm Smithsonian American Art Museum 1935 Industrial Study No. 2 gelatin silver print 25.7 x 33 cm c1935 Salt and Pepper Shakers 3.8 x 2.6 cm Smithsonian American Art Museum 1935 Stairwell, Williamsburg gelatin silver print 23.6 x 15.3 cm MoMA, New York © 2020 The Lane Collection
1931-32 Self-Portrait at Easel gelatin silver print 24.4 x 18.8 cm Art Institute of Chicago, IL Charles Sheeler (1883 – 1965) was an American painter and commercial photographer. He is recognised as one of the founders of American modernism, developing a "quasi-photographic" style of painting known as Precisionism and becoming one of the master photographers of the 20th century. Charles Rettew Sheeler Jr. was born in Philadelphia, Pennsylvania. He attended the Pennsylvania Museum School of Industrial Art from 1900 to 1903, and then the Pennsylvania Academy of Fine Arts where he studied under William Merrit Chase. He found early success as a painter and exhibited at the Macbeth Gallery in 1908. Most of his education was in drawing and other applied arts. He went to Italy with other students, where he was intrigued by the Italian painters of the Middle Ages, such as Giotto and Piero della Francesca. Later, he was inspired by works of Cubist artists like Picasso and Braque after a trip to Paris in 1909, when the popularity of the style was skyrocketing. Returning to the United States, he realised that he would not be able to make a living with Modernist painting. Instead, he took up commercial photography, focusing particularly on architectural subjects. He was a self-taught photographer, learning his trade on a five dollar Brownie camera. Early in his career, he was dramatically impacted by the death of his close friend Morton Livingston Schamberg in the influenza epidemic of 1918. Schamberg's painting had focused heavily on machinery and technology, a theme which would come to feature prominently in Sheeler's own work. Sheeler owned a farmhouse in Doylestown, Pennsylvania, about 39 miles outside Philadelphia, which he shared with Schamberg until the latter's death. He was so fond of the home's 19th century stove that he called it his "companion" and made it a subject of his photographs. The farmhouse itself serves a prominent role in many of his photographs, which include shots of the bedroom, kitchen, and stairway. At one point he was quoted as calling it his "cloister." His work was also part of the painting event in the art competition at the 1932 Summer Olympics. In 1939, Sheeler married Muusya Metas Sokolova his second wife, six years after the death in 1933 of first wife Katharine Baird Shaffer (married 1921). In 1942 Sheeler joined the Met museum as a senior research fellow in photography, worked on a project in Connecticut with the photographer Edward Weston, and moved with Musya to Irvington-on-Hudson, some twenty miles north of New York. Sheeler worked for the Metropolitan Museum's Department of Publications from 1942 to 1945, photographing artworks and historical objects. Sheeler painted using a technique that complemented his photography and has been described as “quasi-photographic". He was a self-proclaimed Precisionist, a term that emphasised the linear precision he employed in his depictions. As in his photographic works, his subjects were generally material things such as machinery and structures. This is part 1 of 5-part series on the works of Charles Sheeler: 1907 Gloucester Harbour oil on board 26.7 x 34.9 cm 1910 Peaches in a White Bowl oil on canvas 10.5 x 13.7 cm 1912 Chrysanthemums oil on linen 61.3 x 51.1 cm Whitney Museum of American Art, New York Still-life painting was of such importance to Sheeler that he wrote an essay on the subject in about 1925 (unpublished, Forbes Watson Papers, Archives of American Art, Reel D56: 1094). In this essay, Sheeler made clear his admiration of Paul Cézanne, whose work he had seen during a trip to Europe in 1908-09 and subsequently in New York City. He realised that Cézanne's "selection [of objects] is based upon preference in the matter of shapes, surfaces, and quantities related to a geometric structure," and attempted to develop a similar underlying structure in his own work. Sheeler, like Cézanne, favoured the genre because he could control the content, layout, and lighting in the pictures. He began making tabletop still lifes as early as 1910, but the mid-1920s were a particularly productive period for him. Sheeler's compositions usually included either fruit or flowers, often arranged in his growing collection of early American glassware and pottery. 1912 Three White Tulips oil on panel 34.9 x 26.6 cm Museum of Fine Arts, Boston, MA Gift of the William H. Lane Foundation 1914-17 Doylestown House: 1914-17 Doylestown House, Stairway, Open Door gelatin silver print 24.2 x 17.6 cm MoMA, New York © 2020 The Lane Collection 1914-17 Doylestown House, Stairwell gelatin silver print 24.2 x 16.8 cm MoMA, New York © 2020 The Lane Collection 1917 Doylestown House - The Stove gelatin silver print Pepita Milmore Memorial Fund National Gallery of Art, Washington DC c1917 Doylestown House - Closet Door with Scythe gelatin silver print 23.5 x 17 cm SFMoMA, San Francisco, CA c1917 Doylestown House - Closet, Stairs gelatin silver print 24 x 16.5 cm SFMoMA, San Francisco, CA c1917 Doylestown House - Downstairs Window gelatin silver print 24 x 16.5 cm SFMoMA, San Francisco, CA c1917 Doylestown House - Stairway, Open Door gelatin silver print 24 x 17.5 cm SFMoMA, San Francisco, CA c1917 Doylestown House—Open Window gelatin silver print 22.7 x 16.6 cm The Nelson-Atkins Museum of Art 1915 Bucks County Barn gelatin silver print 24.5 x 19.7 cm (image) Whitney Museum of American Art, New York 1915 Zinnia and Nasturtium Leaves gelatin silver print 1915-17 Side of White Barn, Bucks County, Pennsylvania gelatin silver print 19.4 x 24.6 cm MoMA, New York © 2020 The Lane Collection 1916 Barn Abstraction lithograph 20.9 x 47 cm (compostion) MoMA, New York c1916-22 Untitled (Danaïde - Sculpture by Brancusi) gelatin silver print 24 x 17.4 cm Philadelphia Museum of Art, PA 1917 Barn conté crayon on paper 10.8 x 15.2 cm MoMA, New York 1917 Barns (Fence in Foreground) conté crayon on paper 13.9 x 22.8 cm Albright-Knox Art Gallery, Buffalo, New York 1917 Barns conté crayon on paper 15.2 x 22.8 cm Albright-Knox Art Gallery, Buffalo, New York 1917 Buggy, Doylestown, Pennsylvania gelatin silver print MoMA, New York © 2020 The Lane Collection 1917-18 African Sculpture gelatin silver print 24.2 x 19.2 cm MoMA, New York © 2020 The Lane Collection 1918 Bucks County Barn matt opaque paint (possibly casein) and black fabricated chalk on wove paper 27.9 x 35.6 cm Philadelphia Museum of Art, PA 1918 Flower in a Bowl details not found 1932 Bucks County Barn artwork 60.6 x 75.9 cm MoMA, New York 1918 Bucks County Barn gelatin silver print 19.2 x 25 cm 1918-19 Interior, Arensberg's Apartment, New York: c1918 Living Room of New York Apartment of Louise and Walter Arensberg (Section of East Wall) gelatin silver print 19.4 x 24.5 cm Whitney Museum of American Art, New York 1919 Interior of the Arensberg Apartment (east wall, elevated view) gelatin silver print 19.1 x 24.1 cm c1919 (after May 1919) Interior, Arensberg's Apartment, New York casein silver print 19.4 x 24.4 cm Philadelphia Museum of Art, PA c1919 (after May 1919) Interior, Arensberg's Apartment, New York casein silver print 19.4 x 24.6 cm Philadelphia Museum of Art, PA c1919 (after May 1919) Interior, Arensberg's Apartment, New York casein silver print 19.4 x 24.9 cm Philadelphia Museum of Art, PA c1919 African Negro Wood Sculpture bound book with 20 silver prints 41.1 x 33.7 cm Smithsonian American Art Museum: c1919 African Negro Wood Sculpture African Negro Sculpture, plate 1 gelatin silver print 23.8 x 14.6 cm Smithsonian American Art Museum African Negro Sculpture, plate 2 gelatin silver print 23.8 x 14.6 cm Smithsonian American Art Museum African Negro Sculpture, plate 3 gelatin silver print 23.7 x 18.3 cm Smithsonian American Art Museum African Negro Sculpture, plate 4 gelatin silver print 22.5 x 14.9 cm Smithsonian American Art Museum African Negro Sculpture, plate 5 gelatin silver print 24.3 x 19.4 cm Smithsonian American Art Museum African Negro Sculpture, plate 6 gelatin silver print 23.2 x 16.1 cm Smithsonian American Art Museum African Negro Sculpture, plate 7 gelatin silver print 22.9 x 17.2 cm Smithsonian American Art Museum African Negro Sculpture, plate 8 gelatin silver print 24.2 x 14.4 cm Smithsonian American Art Museum African Negro Sculpture, plate 9 gelatin silver print 24.5 x 19.5 cm Smithsonian American Art Museum African Negro Sculpture, plate 10 gelatin silver print 23.7 x 15.2 cm Smithsonian American Art Museum African Negro Sculpture, plate 11 gelatin silver print 21.9 x 16.8 cm Smithsonian American Art Museum African Negro Sculpture, plate 12 gelatin silver print 24.2 x 17.3 cm Smithsonian American Art Museum African Negro Sculpture, plate 13 gelatin silver print 21.6 x 13.7 cm Smithsonian American Art Museum African Negro Sculpture, plate 14 gelatin silver print 24.3 x 15.7 cm Smithsonian American Art Museum c1919 African Negro Sculpture, plate 15 gelatin silver print 23.9 x 15.7 cm Smithsonian American Art Museum c1919 African Negro Sculpture, plate 17 gelatin silver print 21.9 x 16.1 cm Smithsonian American Art Museum African Negro Sculpture gelatin silver print 23.7 x 12.3 cm Smithsonian American Art Museum African Negro Sculpture, plate 18 gelatin silver print 23.3 x 13.2 cm Smithsonian American Art Museum African Negro Sculpture, plate 19 gelatin silver print 23.5 x 11.2 cm Smithsonian American Art Museum African Negro Sculpture, plate 20 gelatin silver print 24.2 x 17 cm Smithsonian American Art Museum
Charles Sheeler - New England Irrelevancies (1953) Charles Sheeler - church street (1920) Charles Sheeler - Canyons (1951) Charles Sheeler ...
Charles Sheeler, 1955
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The painter and photographer Charles Sheeler was a seminal member of the American avant-garde circle of Alfred Stieglitz...
Charles Sheeler - New England Irrelevancies (1953) Charles Sheeler - church street (1920) Charles Sheeler - Canyons (1951) Charles Sheeler ...
Art and Artists, Paintings, Painters, Prints, Printmakers, Illustration, Illustrators
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