Word: ashcan
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Strange Slop. As one of the famed "Eight" of Manhattan's Ashcan School, Prendergast bore the brunt of the attacks on the 1908 Ashcan show* that marked the first revolt against the formal nudes and innocuous landscapes that dominated turn-of-the-century U.S. art. Outraged by his fantasy, critics inveighed against Prendergast's paintings as "whirling arabesques that tax the eye." "unadulterated slop," and "the product of much cider drunk at Saint-Malo." If Prendergast felt the sting, he left no record of it. His brush became still looser, his rhythms more intricate, his outlines so subtle...
...Robert Henri, whose goal was to catch ''the living instant" in his boldly brushed portraits, the style of the Ashcan School painters varied from John Sloan's somber slices-of-life, the stark realism of Everett Shinn and George Luks and the darkling canvases of William (Slackens to the airy landscapes of Ernest Lawson and mystical pastorals of Arthur B. Davies. Until the 1908 show, recalled Everett Shinn many years later, "art was only an adjunct of the plush and cut glass...
...again with faro, failed as a resort owner in Atlantic City, N.J. When he died in New York in 1906, he had reached a century he did not understand. But he earned his monument. His younger son was Painter Robert Henri, a founder of New York's famed "Ashcan School'' of realists; in a Manhattan gallery hangs Henri's stunning portrait of Gambler ohn Cozad, dark eyes brooding on a private empire whose...
John Sloan, who is usually tagged as a leading practitioner of the Ashcan School, was on vacation from realism in Picnic on the Ridge. On a glorious night near Santa Fe, a group of artists gathers round a picnic fire. Sloan himself is in profile, holding a coffee cup. His wife kneels just behind him. He summered in Santa Fe, but Sloan worked in Greenwich Village and became a sort of guardian spirit of its artists. Once, from the top of Washington Square Arch, he went so far as to proclaim the Village an independent republic...
...Ashcan School. Crazier still were the neighbors, who complained that the bongos and other assorted beatnik activities were giving Venice a bad name. After police ruled only that Owner Matthews must have an entertainment license for the Gas House, the townspeople shuddered, got their Venice Civic Union to fight the licensing. The beatniks sent for the Civil Liberties Union, and after generously beautifying Venice's alleys by painting vivid abstractions on garbage cans, got ready for battle...