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...clear in the porch shadows what art, if any, he may have seen to create such an interest in clean, abstract imagery, yet his association in these early times with such American artists as John Martin. Georgia O'Keefe, Charles Sheeler, and Marsden Hartley testifies to his following of this parallel art world and its influence is seen plainly in other works. The MFA has eloquently pointed out these connections with its juxtapositions of actual oils, drawings and sculpture by these artists. One of the most exciting comparisons is between Georgia O'Keefe's oil from 1953 at "Abiquiu Trees...

Author: By Meredith A. Palmer, | Title: The Art of Baring Humanity | 11/20/1972 | See Source »

Since two of the photographers currently presented were masters with a brush as well as with a camera, examining this show in terms of art leads to exciting comparisons. Ben Shahn and Charles Sheeler are more frequently categorized and recognized as painters. Sheeler's "Geranium Plant," a frequent model for his paintings, appears here in double imagery as physical object and as mottled dises of shadow on a wall. The light coming through a window streaks across the wall--reminiscent of his precise and geometrical paintings of abstract light patterns. "Pennsylvania Barn" also maintains the geometric quality--horizontal fences, wooden...

Author: By Meredith A. Palmer, | Title: Photography At the Fogg | 11/22/1971 | See Source »

...with his right arm paralyzed, Charles Sheeler is nearly beyond accolades. Like blueprints of a new aesthetic, his precision paintings were the reductio ad minutam of the machine age. He mixed the academicism of his teacher, William Merritt Chase, with the cubist masters, made a living as a photographer until his immaculate industrial visions caught on. He could refine the reality of a locomotive's monstrous driving wheels so that even when they are frozen in two dimensions, their tremendous momentum leaps...

Author: /time Magazine | Title: Art: The Old Precisionist | 1/29/1965 | See Source »

...stroke stopped Sheeler's production in 1959. Some of his last works, now on view in Manhattan's Downtown Gallery, show that his precise touch never faltered. The 14 paintings are executed in tempera on small Plexiglas plates, something he often did before expanding them on large canvases. Some seem like multiple-photo exposures of oil refineries, lonely steelscapes gyrating in the sky. Others are pure scenery, where patchy foliage parts to let a background watercolor peep through the Plexiglas...

Author: /time Magazine | Title: Art: The Old Precisionist | 1/29/1965 | See Source »

...Sheeler's fame in U.S. art history is already assured. Hard-edge and pop artists today acknowledge that they owe a clear debt to him. But he was "deeply moved by the response of the youngest generation," aged seven to twelve years, who have rated him No. 1 among such company as Cézanne, Franz Kline, Ben Shahn, Van Gogh and Robert Indiana. Some 300 children at U.C.L.A.'s University Elementary School preferred slides of Sheeler's work to those of any other artist. Their art teacher suggested last year that they write to the artist...

Author: /time Magazine | Title: Art: The Old Precisionist | 1/29/1965 | See Source »

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