Social Realism - Gallery

Gallery

  • Thomas Hart Benton, People of Chilmark, 1920, Hirshhorn Museum and Sculpture Garden, Washington, DC.

  • John Augustus Walker, City Hall Murals, 1936, Mobile, Alabama, (now displayed in the Museum of Mobile)

  • Walker Evans, Floyd Burroughs, Alabama cotton Sharecropper, Hale County, Alabama, c. 1935-1936, photograph

  • Walker Evans, Allie Mae Burroughs, Wife of a Cotton Sharecropper, Hale County, Alabama, c. 1935-1936, photograph

  • Arthur Rothstein, A Farmer and His Two Sons During a Dust Storm, Cimarron County, Oklahoma, 1936, photograph considered as an icon of the Dust Bowl

  • John Steuart Curry, Tragic Prelude, 1938-1940, Kansas State Capitol, Topeka, Kansas

  • Thomas Hart Benton, Cut the Line, 1944, depicting the launch of a U.S. Navy Tank Landing Ship

  • Ben Shahn, Register to Vote, Congress of Industrial Organizations (CIO) poster, 1946

  • Santiago Martinez Delgado, Mural for the 1933 Chicago International Fair.

  • José Orozco, detail of mural Omnisciencia, 1925, Mexican Social Realist Mural Movement

  • Diego Rivera, Recreation of Man at the Crossroads (renamed Man, Controller of the Universe), originally created in 1934, Mexican muralism movement

  • David Alfaro Siqueiros, Unfinished Mural, c. 1940s, in Escuela de Bellas Artes, (School of Fine Arts), a cultural center in San Miguel de Allende, Mexico.

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Famous quotes containing the word gallery:

    “I should like to have seen a gallery of coronation beauties, at Westminster Abbey, confronted for a moment by this band of Island girls; their stiffness, formality, and affectation contrasted with the artless vivacity and unconcealed natural graces of these savage maidens. It would be the Venus de’ Medici placed beside a milliner’s doll.”
    —Herman Melville (1819–1891)

    “I never can pass by the Metropolitan Museum of Art in New York without thinking of it not as a gallery of living portraits but as a cemetery of tax-deductible wealth.”
    —Lewis H. Lapham (b. 1935)

    “Each morning the manager of this gallery substituted some new picture, distinguished by more brilliant or harmonious coloring, for the old upon the walls.”
    —Henry David Thoreau (1817–1862)