Twentieth Century
Controversy soon became a way of life for American artists. In fact, much of American painting and sculpture since 1900 has been a series of revolts against tradition. "To hell with the artistic values," announced Robert Henri (1865–1929). He was the leader of what critics called the Ashcan school of painting, after the group's portrayals of the squalid aspects of city life. American realism became the new direction for American visual artists at the turn of the 20th century. The Ashcan painters George Bellows, Everett Shinn, George Benjamin Luks, William Glackens, and John Sloan were among those who developed socially conscious imagery in their works. The photographer Alfred Steiglitz (1864–1946) led the Photo-Secession movement, which created pathways for photography as an emerging art form. Soon the Ashcan school artists gave way to modernists arriving from Europe—the cubists and abstract painters promoted by Stieglitz at his 291 Gallery in New York City. John Marin, Marsden Hartley, Alfred Henry Maurer, Arthur B. Carles, Arthur Dove, Henrietta Shore, Stuart Davis, Stanton MacDonald-Wright, Morgan Russell, Patrick Henry Bruce, Andrew Dasburg, Georgia O'Keeffe, and Gerald Murphy were some important early American modernist painters. Early modernist sculptors in America include William Zorach, Elie Nadelman, and Paul Manship.
After World War I many American artists rejected the modern trends emanating from the Armory Show and European influences such as those from the School of Paris. Instead they chose to adopt various—in some cases academic—styles of realism in depicting American urban and rural scenes. Grant Wood, Reginald Marsh, Guy Pène du Bois, and Charles Sheeler exemplify the realist tendency in different ways. Sheeler and the modernists Charles Demuth and Ralston Crawford were referred to as Precisionists for their sharply defined renderings of machines and architectural forms. Edward Hopper, who studied under Henri, developed an individual style of realism by concentrating on light and form, and avoiding overt social content.
Read more about this topic: Visual Art Of The United States
Famous quotes related to twentieth century:
“As the twentieth century ends, commerce and culture are coming closer together. The distinction between life and art has been eroded by fifty years of enhanced communications, ever-improving reproduction technologies and increasing wealth.”
—Stephen Bayley (b. 1951)
“Film is more than the twentieth-century art. It’s another part of the twentieth-century mind. It’s the world seen from inside. We’ve come to a certain point in the history of film. If a thing can be filmed, the film is implied in the thing itself. This is where we are. The twentieth century is on film.... You have to ask yourself if there’s anything about us more important than the fact that we’re constantly on film, constantly watching ourselves.”
—Don Delillo (b. 1926)
“One of the peculiar sins of the twentieth century which we’ve developed to a very high level is the sin of credulity. It has been said that when human beings stop believing in God they believe in nothing. The truth is much worse: they believe in anything.”
—Malcolm Muggeridge (1903–1990)
“In the middle of the next century, when the literary establishment will reflect the multicultural makeup of this country and not be dominated by assimiliationists with similar tastes, from similar backgrounds, and of similar pretensions, Langston Hughes will be to the twentieth century what Walt Whitman was to the nineteenth.”
—Ishmael Reed (b. 1938)
“The nineteenth century planted the words which the twentieth ripened into the atrocities of Stalin and Hitler. There is hardly an atrocity committed in the twentieth century that was not foreshadowed or even advocated by some noble man of words in the nineteenth.”
—Eric Hoffer (1902–1983)