Thomas Hart Benton - After many springs (1945)

artist- Thomas Hart Benton

Going Hollywood: Amon Carter spotlights American painter Thomas Hart Benton. The exhibit focuses on the artist’s ties to the film industry and forms an...

UMB Bank, which runs the artist's estate, is managed by the Kemper family.

Henry Adams writes, "In 1963 [Benton] spent the summer sketching in Wyoming...That same year he took a riding trip with his friend Lyman Field in the Canadian Rockies. In 1965 he took a five-week trip following the routes of Lewis and Clark: first he went up the Missouri River from Omaha to Three Forks, Montana, and from there he journeyed to the Rendezvous area of the Wind River Mountains in Wyoming.” The present work, according to Dr. Adams, was likely painted during this period. [Sotheby’s, New York - Oil on tin, 12.7 x 15.2 cm]

The Music Lesson, Thomas Hart Benton Mural Nashville, Thomas Hart Benton (1943)

UMB Bank, which runs the artist's estate, is managed by the Kemper family.

This Thomas Hart Benton print was carefully removed from a book that was published in 2000. Titled “Homestead”, the original was made in 1934. This is a genuine vintage print, not a modern reproduction. All our prints removed from books will be backed with card except for double-sided prints and prints larger than A4. Perfect for mounting and framing. Please note that these prints are not the same size as the original paintings. Sizes are stated in the listing ‘Highlights’ section. The print is unframed. The frame shown in the photo is for illustration purposes only. Prints are wrapped in acid-free tissue paper and a clear plastic bag and shipped in cardboard-backed envelopes or rolled in a cardboard tube, depending on size, so they reach you in good condition.

Thomas Hart Benton

Thomas Hart Benton (American, 1889-1975), Hollywood, 1937-38. Tempera and oil on canvas mounted on board, 56 x 84 in. via allthoughtsintrusive

Lithograph, 1972. Signed in pencil. Edition 300. Circulated by Associated American Artists. Image size 19 5/8 x 13 3/4" (49.8 x 34.9 cm). "This is a study, from the mirror image, of an old artist, 'grandaddy Benton' as all the kids call me. I had a belly when I did it but after building a stone retaining wall, 65 feel long and in some places 10 feet high, on our place in Martha's Vineyard, I got rid of it." Thomas Hart Benton.

1532 - Study for Swing your Partner by Thomas Hart Benton - Giclee Fine Art Print Giclee Fine Art Print The reproductions you buy have been carefully retouched and restored as close as possible to the original. Please do not forget that most of the original pictures are over 100 years old and older. The prints are printed with high quality archive pigment ink on premium photo paper. - the photo is without border in sizes 5 x 7 inches, 8.5 x 11.5 inches, 12 x 16 inches, 16 x 20 inches as well as 13 x 18 cm, 21 x 29.4 cm ( DIN A4 ), 29.7 x 42 cm ( DIN A3 ), 42 x 59.4 cm ( DIN A2 ). Shipping takes place in a stable photo shipping box RETURN POLICY: All our prints come with a full money-back guarantee. If you are not satisfied with your purchase, you can return it within 7 days minus the cost of the original shipping, for a full refund. You must contact us for a return authorization within this period and cover the return shipping costs.

1971 Self-Portrait lithograph 50 x 35cm This is part two of a four-part post on the works of American 'Regionalist' painter Thomas Hart Benton. For biographical notes see part one. Note: Sizes where shown are rounded up or down to the nearest whole centimetre: 1939 Frisky Day 1939 Weighing Cotton tempera and oil on canvas 81 x 100 cm c1939-41 Prodigal Son oil and tempera on panel 66 x 77 cm 1940 The Departure of the Joads tempera and oil 1940 The Hailstorm tempera on panel 83 x 101 cm 1941 Aaron tempera and oil on canvas 77 x 62 cm 1941 The Cotton Picker 1941 Threshing 1943 July Hay tempera, methyl cellulose and oil on masonite 96 x 68 cm 1943 The Wreck of the Ole '97 tempera on masonite 71 x 112 cm 1944 Cut the Line 1945 Field Workers (Cotton Pickers) oil on canvas 22 x 34 cm 1945 Spring on the Missouri tempera and oil on masonite 77 x 102 cm 1947 Daily Yonder detail from 'Aschelons and Hercules' 1948 Poker Night (from “A Streetcar Named Desire”) tempera and oil on canvas 91 x 122 cm 1949 Portrait of a Musician casein, tempera and oil varnish on canvas 1951 Flood 1954 The Kentuckian c1955-60 Sheepherder oil on canvas 122 x 168 cm 1964 The Twist 1964-5 Trail Riders oil on canvas 143 x 188 cm 1967 Wheat oil on wood 51 x 53 cm 1973 Jon Boat tempera and acrylic on board 31 x 91 cm The Sources of Country Music

1971 Self-Portrait lithograph 50 x 35cm This is part two of a four-part post on the works of American 'Regionalist' painter Thomas Hart Benton. For biographical notes see part one. Note: Sizes where shown are rounded up or down to the nearest whole centimetre: 1939 Frisky Day 1939 Weighing Cotton tempera and oil on canvas 81 x 100 cm c1939-41 Prodigal Son oil and tempera on panel 66 x 77 cm 1940 The Departure of the Joads tempera and oil 1940 The Hailstorm tempera on panel 83 x 101 cm 1941 Aaron tempera and oil on canvas 77 x 62 cm 1941 The Cotton Picker 1941 Threshing 1943 July Hay tempera, methyl cellulose and oil on masonite 96 x 68 cm 1943 The Wreck of the Ole '97 tempera on masonite 71 x 112 cm 1944 Cut the Line 1945 Field Workers (Cotton Pickers) oil on canvas 22 x 34 cm 1945 Spring on the Missouri tempera and oil on masonite 77 x 102 cm 1947 Daily Yonder detail from 'Aschelons and Hercules' 1948 Poker Night (from “A Streetcar Named Desire”) tempera and oil on canvas 91 x 122 cm 1949 Portrait of a Musician casein, tempera and oil varnish on canvas 1951 Flood 1954 The Kentuckian c1955-60 Sheepherder oil on canvas 122 x 168 cm 1964 The Twist 1964-5 Trail Riders oil on canvas 143 x 188 cm 1967 Wheat oil on wood 51 x 53 cm 1973 Jon Boat tempera and acrylic on board 31 x 91 cm The Sources of Country Music

This is the first of a four-part post on the works of American painter and muralist Thomas Hart Benton (1889 – 1975). Benton was at the forefront of the Regionalist art movement. He was born in Neosho, Missouri in 1889 into an influential family of politicians and powerbrokers. In 1907 Benton enrolled at the Art Institute of Chicago, but left for Paris in 1909 to continue his art education at the Académie Julian. In Paris, Benton met other North American artists, such as the Mexican Diego Rivera and Stanton Macdonald-Wright. After studying in Europe, Benton moved to New York City in 1913 and resumed painting. During World War I he served in the U.S. Navy and was stationed at Norfolk, Virginia. His war-related work had an enduring effect on his style. He was directed to make drawings and illustrations of shipyard work and life, and this requirement for realistic documentation strongly affected his later style. (Note: Part 4 of these posts will feature Benton’s war art) On his return to New York in the early 1920s, Benton declared himself an "enemy of modernism"; he began the naturalistic and representational work today known as Regionalism. Benton was active in leftist politics. He expanded the scale of his Regionalist works, culminating in his America Today murals at the New School for Social Research in 1930-31. These now hang in the lobby of the AXA building at 1290 Sixth Avenue in New York City. He was strongly influenced by the works of the Spanish artist El Greco. 1930 City Activities with Dance Hall 1930 City Activities with Subway Benton broke through to the mainstream in 1932. A relative unknown, he won a commission to paint the murals of Indiana life that were the state's contribution to the 1933 Century of Progress Exhibition in Chicago, Illinois. In 1932 he also painted The Arts of Life in America, a controversial set of large murals for an early site of the Whitney Museum of American Art. In 1934 Benton was featured on one of the earliest colour covers of Time magazine. Benton's work was featured along with that of fellow Mid-westerners Grant Wood and John Steuart Curry in an article entitled "The U.S. Scene". The trio were featured as the new heroes of American art, and Regionalism was described as a significant art movement. He settled in Kansas City, Missouri and accepted a teaching job at the Kansas City Art Institute. Kansas City afforded Benton greater access to rural America, which was changing rapidly. Benton's sympathy was with the working class and the small farmer. In the late 1930s, he created some of his best-known work, including the iconic allegorical nude Persephone, which for a while hung in Billy Rose’s nightclub, the Diamond Horseshoe. It is now held by the Nelson-Atkins Museum of Art in Kansas City. 1938-9 Persephone oil on canvas 183 x 142 cm During this period, Benton also began to produce signed, limited edition lithographs which were sold at $5.00 each through the Associated American Artists galleries. (Note: Part 3 of these posts will feature Benton’s lithographs) During World War II, Benton created a series titled The Year of Peril, which portrayed the threat to American ideals by fascism and Nazism. The prints were widely distributed. The Year of Peril - Embarkation The Year of Peril - Sowers Following the war, Regionalism fell from favour, eclipsed by the rise of Abstract Expressionism. Benton remained active for another 30 years, but his work portrayed less social commentary and showed bucolic images of pre-industrial farmlands. Benton died in 1975 at work in his studio. Note: Sizes given have been rounded up or down to the nearest whole centimetre: n.d. Cotton Bin oil on tin 23 x 33 cm 1920 People of Chilmark (Figure Compostion) oil on canvas 166 x 197cm 1921 The Cliffs oil on canvas 74 x 88 cm 1922 Chilmark Landscape oil on paper 39 x 58 cm 1922 Self-Portrait with Wife Rita 1926 The Lord is my Shepherd tempera on canvas 84 x 69 cm 1928 Boomtown oil on canvas 117 x 138 cm 1928 The Cotton Pickers 1931-2 Romance tempera and oil on panel 114 x 84 cm 1932 Arts of the West 1932 The Arts of the City 1934 Lord, Heal the Child 1934 The Ballad of the Jealous Lover of Lone Green Valley tempera and oil on canvas 105 x 133 cm 1936 A Social History of the State of Missouri, Huckleberry Finn 1936 Kansas City from Politics, Farming and the Law 1938 Roasting Ears 1938 The Flood 1938 Threshing Wheat 1938 TP and Jake

Pictures by LIFE magazine photographers paying tribute to the artist at work, and the simple, beautiful human form -- the artist's muse.

This lesson is meant to be taught after the lessons "The Art of Persuasion" and/or "Society and Social Justice" and/or "David Hammons" but can easily be taught in isolation. The resulting piece can be used in the culminating art project at the end of the unit (See Mark Bradford Lesson). Objective: The students will be able to use Kara Walker's silhouettes, a personal objects of value and the theme of Social Justice to identify links between art and the Civil War. -Includes Essential Questions and "teacher to do's" so the lesson can be printed and immediately used -Includes page numbers for suggested Thoughtful Classroom Tool -Includes standards based vocabulary for art -Includes artist background and sample pictures to be used in class -Includes 2 age appropriate Youtube videos to be incorporated into the lesson

Real-estate executive Elie Hirschfeld calls the works ‘more than just art,’ including pieces from David Hockney, Georgia O’Keeffe and Jacob Lawrence

Thomas Hart Benton is a Missouri artist known for his depictions of American life and the working man. He was not afraid to include political topics like…

The New-York Historical Society has a massive show that explores the role of New York in World War II, WWII & NYC. While the front lines of the Second World War raged across the oceans, the great American metropolis gave more than most as it mobilized its citizenry, its resources, and its elites to fight the war on all front.

At the Cleveland Museum of Art

The famed artist drew on his extensive travels to paint “America Today”

Thomas Hart Benton: “Martha’s Vineyard Sea Coast", Extremely Rare Vintage Bookplate Print, Painting Circa 1924. Paper size is approximately 9 1/4"x 10" Image size is 8 1/4 x 6 1/2 inches Very Good Condition. Extremely Rare Professionally extracted from a 1990 book Please note this is an authentic 33-year-old vintage bookplate print, not a reprint or reproduction. B2.90 WHAT IS A BOOKPLATE PRINT? Book plates are page illustrations, pictures, or photographs, that are printed separately from the text of a book, but they are bound in during production. Pre-1960’s, bookplates had no writing or images on the reverse. In order to save money by the publishers, the majority of bookplates since the 1960’s have either writing on the bookplate, usually the title of the painting, and/or writing and images on the reverse. Due to the process used for platings, bookplates retain the color, texture, and intensity of the original painting. BUNDLE OFFER Buy any 4 bookplate prints and receive a 15% discount Enter code 4GET15PERCENT at checkout. SHIPPING: Your bookplate prints will be shipped in a sealed clear plastic sleeve, inside a rigid mailer, within 2-3 business days. A tracking number will be provided to you for easy tracking of your order. Combined Shipping: Purchase 1+ Bookplate Prints And Additional Prints Ship For Free. You only pay shipping for the first bookplate print. I stand behind my bookplate prints 100%. If your bookplate is damaged during shipping, you may return the plate to exchange for another bookplate print of your choice, of equal value. Buyer pays for return postage of bookplate and seller pays for exchange postage. I do not offer refunds, only exchanges. Please see my Returns and Exchanges section for more information. https://www.etsy.com/shop/JSMCollectibles