American scene painting

Grant Wood            I recently took a trip to the Jocelyn Art Museum. There they had many great painting in the permanent art collection. One that caught my eye, which I had seen many times before, but never knew any thing about, was a painting called Stone City, Iowa , which was created by Grant Wood in 1930. This painting is oil on wood panel and is 30 ¼ X 40 inches. Grant Wood is a famous philosopher who was born in February in the year 1891 in Anamosa, Iowa. Wood was born to Quaker parents

Sean Rayl American Art History The Great Depression brought changes to art in many ways. America finally had the war behind it. The country was booming and the majority had a carefree attitude. People were accustom to their lives and were not prepared for what was about to happen in 1929. The new decade would be a time of great change for everyone – art included. The 1920’s would bring a rollercoaster of events to America. Times had changed, the war was over and new technologies were starting

The painting in slide 7 is America Today, by Thomas Hart Benton. This painting was created in 1931 and it contains many characteristics of the 1930s. For example, there are flappers dancing on stage which is a characteristic of the 1920s and early 1930s. The style of this painting is regionalism because it contains multiple characteristics that pertain to the city -- most likely New York. I argue that this painting is based off of New York City because the subway is packed and the New York City subways

of art representing various time periods. Of all the paintings that I saw last week, two landscaped pieces seemed to stick out in my mind; Andre Derain’s The Turning Road and Thomas Hart Benton’s Haystack. Though these two art works are similar in subject matter, they clearly reflect the different styles and time periods of their artists; the abstract Derain being a Fauvist and the more realistic painter Benton representing the American Scene style as a Regionalist. Andre Derain became an

Thomas Cole Dalen Dahl Art 390: American Art I 11/20/2016 The American art world began to change drastically during the nineteenth century. Focus shifted from painting portraits for wealthy patrons to painting what Americans took pride in: The New World. A sense of nationalism took over. Americans enjoyed the land’s beauty and what it had to offer.1 Artists began to paint landscapes of well–known areas in America. Upstate New York and surrounding areas were one of the main choices by artists

Cooper and Cole: Comments on the Power of Nature in The Last of the Mohicans In the history of American literature, James Fenimore Cooper played a substantial role in the development of American fiction and the American character (McWilliams 20-21). During his own time, Cooper influenced public opinion on many important political issues, especially those relating to the Native Americans, and especially the Indian Removal controversy of the 1830s (McWilliams 84). Of all of his writings, however

William Homer an American painter is considered to be the greatest pictorial poet of the outdoor world within the United States. Homer a careful observer of reality was an artist that promoted power and individuality and whose pieces of work are metaphors for the relationship of Man and Nature, The Life Line, His style of work is categorized as a transition between Realism and Impressionism leaning toward neither of them but having a taste of both. Winslow Homer paints a suspenseful story of a faceless

Movement also denied any moral values that people gave to art. The painting that I chose that best fits the ideals of aestheticism is In the Studio, 1880 by William Merritt Chase. During the 19th century industrialization rapidly began to change American culture bringing on consumerism and capitalism, which focused on the

After walking through the Harlem exhibit with paintings presenting social issues and other ceramics exhibits, I finally stumbled across the gallery of “European and American Art ca. 1820-1860.” This period of American history fascinates me because my 3rd great-grandparents Johannes and Johanna Engel, were first-generation German immigrants, who watched the steamboats roll down the Mississippi River across the town of St. Louis. I stopped at a painting titled “House and Farm on the Allegheny River”

Throughout our tour it had been mentioned repeatedly that Olana is a masterful “three dimensional painting” by Frederic Church. Initially, this sounded like a cliché and unimaginative way to describe the grandeur of the house, until I understood how true the statement really was. In actuality, the description was not only directed towards the ornate home, but instead referred to the entirety of the historic site, which includes the 250 acres of surrounding land. What allowed me to understand the