Word: sloane
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Dates: during 1990-1999
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...painters who reported on it were nicknamed the Ashcan School by a critic in the 1930s, and the label has stuck. They were Robert Henri, John Sloan, George Luks, Everett Shinn, William Glackens and George Bellows, and among them they created the first art of urban America. The current show at the National Museum of American Art in Washington, "Metropolitan Lives: The Ashcan Artists and Their New York," is a fine introduction to their work...
...Philadelphia, Henri's worldly, rebellious, effusive nature made him a magnet to younger artists, most of whom worked as illustrators for the Philadelphia press--Sloan, Glackens, Shinn and Luks. They drank together, had long poker sessions, bellowed poetry at one another and argued late into the night. Sloan recalled 50 years later that Henri was "a catalyst, an enthusiast ... with the pioneer's contempt for cant and aestheticism." Moreover, he was genuinely interested in the young, and was to inspire several generations of students--not only his younger contemporaries like Sloan and Bellows, but Edward Hopper and Stuart Davis...
...field of subjects for painter-journalists awaited them. The artist, they all believed, must connect to the harsh facts of his society, especially in the city; then his art would draw life and staying power from its common subject matter. "His vest is slightly spotted; he is real," said Sloan approvingly of a visiting Irish painter, J.B. Yeats, father of the poet. Luks boasted that he could paint with a shoestring dipped in lard and tar. The artist, smearing oily gunk on a cloth with bristles, is immersed in mess--a manual worker of images. This makes him one with...
...most talented painters among them were Henri, Bellows and Sloan. Glackens turned into a late-blooming Impressionist, and Shinn was essentially an illustrator, while Luks' coarse, rhetorical talent produced a lot of formulaically macho painting leavened only by a few significant works, such as The Wrestlers...
...fast-eyed, brilliantly responsive artist whose style looked modern, and in some respects was modern, without offending American conservatives. Bellows' reputation as a radical had more to do with his lowlife subjects and journalistic speed than with any avant-gardeness in the work. His political ideas, like those of Sloan and Henri, were in some general way socialist-anarchist without being particularly militant. He leaned toward a pastoral, unthreatening vision of the disorganized poor, spiced with humor, as in his portraits of tough Irish street urchins or the famous Forty-Two Kids, 1909--not, alas, in this show--depicting...