3 #MARCH #WorldWildlifeDay
‘Baboon’ Paul Manship (1885-1966). Bronze. Smithsonian American Art Museum, Bequest of Paul Manship, 1966.47.37. Modeled 1932, cast posthumously.
#wildlife #biodiversity #baboons #apes #PaulManship #sculpture #AmericanArt
#SPRING & the Ashcan School
‘Spring Thaw’
Ernest Lawson (1873-1939). 1910.
#ErnestLawson #AshcanSchool #AmericanArt
3 #MARCH #WorldWildlifeDay
‘Beaver’
Paul Manship (1885-1966)
Terra cotta. 68.3 x 42.3 cm. Smithsonian American Art Museum. 1955.
#wildlife #biodiversity #beavers #PaulManship #sculpture #AmericanArt
#SPRING & the Ashcan School
‘The Broken Fence, Spring Flood’
Ernest Lawson (1873-1939). Oil on canvas.
Ca. 1907.
#ErnestLawson #AshcanSchool #AmericanArt
‘Paul Manship’s large figural groups are idealized and refer to mythic characters and stories. The artist used the same stylization in his animal sculptures as in his figural groups, but to different effect. In an intimate scale, this stylization accentuates the decorative quality of each animal. By exaggerating certain features or expressions, Manship also lets a little bit of their personalities peek through. This is especially visible in his gilded works, where the gold patina highlights the contours of the animal’s forms and their precise surface details. Many of Manship’s animal sculptures were originally created as part of his design for the gates of New York’s Bronx Zoo.’ https://americanart.si.edu/artwork/tortoise-16111
3 #MARCH #WorldWildlifeDay
‘Tortoise’ Paul Manship (1885-1966). Bronze. Smithsonian American Art Museum (Bequest of Paul Manship). 1932.
👉ALT
#wildlife #biodiversity #tortoises #reptiles #PaulManship #sculpture #AmericanArt
#SPRING & the Ashcan School
‘Spring Rain, New York’
John French Sloan (1871-1951). Oil on canvas. 1912.
#JohnFrenchSloan #JohnSloan #AshcanSchool #AmericanArt #WashingtonSquare #GreenwichVillage
Phyllis Shafer
Contemporary American artist
Above June Lake
gouache on toned paper
13.5 x 10.5 in
#Americanart
Susan Abbott
American artist,
b 1951
Walking Up from the River, n.d.
oil on linen panel
24 × 24 inches
#Americanart
#SPRING & the Ashcan School
‘Spring’
Ernest Lawson (1873-1939). Oil on canvas. Ca. 1903-1906.
#ErnestLawson #AshcanSchool #AmericanArt
A long horizontal scene places a group of nine women at the center of a charged Mexican - U.S. border landscape. Tall rust-brown steel slats rise behind them, but the barrier is not shown as fixed or invincible. Several women grasp metal poles and broken pieces of the wall, pulling and levering them apart. They stand alert, calm, and determined. American artist Erin Currier gives each figure presence and individuality through patterned dresses, shawls, jewelry, braids, and dark hair gathered or falling loose. Skin tones range across warm browns, and the women stand close enough to read as a collective rather than as isolated portraits. The surface is layered with collage and painted detail, so that fragments of printed paper and found material seem embedded into the clothing, fence, and barren land itself. The color is vivid and sunlit, but the mood is not carefree. It is purposeful, communal, and resolute. The painting’s meaning becomes clearer when read through Currier’s larger “La Frontera” project. She has described that series as confronting not only the physical U.S.-Mexico border, but also the social and economic borders that divide people by race and class. Here, the women do not merely endure the wall. They actively unmake it. That shift matters. Currier turns a wall associated with surveillance, exclusion, and state power into something human hands can dismantle. Her art often identifies Indigenous women on both sides of the border and stresses that national boundaries are imposed lines across lands inhabited for millennia. Her collage method deepens the symbolism as she gathers post-consumer waste and ephemera during travel, then rebuilds those discarded materials into images like this of solidarity, memory, and resistance. “American Women (Dismantling the Border)” is not only a protest image. It is a visionary painting about kinship, Indigenous continuity, women’s collective action, and the possibility of remaking the Americas on more humane terms.
“American Women (Dismantling the Border)” by Erin Currier (American) - Acrylic and mixed media on panel / 2016 - Harwood Museum of Art (Taos, New Mexico) #WomenInArt #ErinCurrier #Currier #HarwoodMuseum #ContemporaryArt #BorderArt #artText #art #AmericanArt #americanartist #womenartists #WomensArt
#SPRING & the Ashcan School
‘Spring Morning’
Ernest Lawson (1873-1939). Oil on canvas. Ca. 1900.
#ErnestLawson #AshcanSchool #AmericanArt
'Under Pressure'
steel, applied patina
Ian Houghton
Denver, Colorado
#art #sculpture #contemporaryart #underpressure #abstract #artist #metalworker #maker #ianhoughton #denver #colorado #americanart #americanartist #contemporaryamericansculpture
The Rocky Mountains by Albert Bierstadt, 1863 — dramatic landscape with towering peaks. At the Metropolitan Museum of Art.
Standing before The Rocky Mountains by Albert Bierstadt, 1863. The scale, the light breaking through clouds — this is America before the interstate. You can stand in front of it at the Met in NYC. 🏔️
#AlbertBierstadt #AmericanArt #MetMuseum #LandscapePainting #OpenAccessArt #MuseumLife
‘Festival’ Daniel Celentano (1902-1980) #TheNewDeal’s Public Works of Art Project #PWAP 1934
The Gashouse District along the East River was home to the least affluent, mainly recent immigrants, as the gas plants leaked noxious fumes.
#AmericanArt #DanielCelentano
#SPRING & the Ashcan School
‘Red Barns in Spring’
Ernest Lawson (1873-1939). Ca. 1900-1910.
#ErnestLawson #AshcanSchool #AmericanArt
#SPRING & the Ashcan School
‘Spring Morning, Houston and Division Streets, New York’
George Luks (1867-1933). Oil on canvas. 1922.
#GeorgeLuks #AshcanSchool #AmericanArt #Manhattan
The “Ten Cents a Dance” title points to the world of the taxi-dance hall, where patrons bought individual dances, often for ten cents a song. American artist Reginald Marsh was especially drawn to New York’s crowded public entertainment scene in the 1930s during the Depression, and here he turns a commercial leisure space into a study of gender, labor, class, and performance. A horizontal nightclub scene opens like a stage. In the foreground, a line of women gathers along a bar or railing, their bodies angled toward one another in casual conversation and practiced display. They wear satin evening dresses in pale and vivid tones, hugging close to the body, with bare shoulders, fitted waists, and bright accessories. Their skin tones vary subtly within Marsh’s warm, theatrical palette. Hair is waved, curled, or pinned into glossy 1930s styles. One woman leans forward for maximum attention to her cleavage as others tilt their heads, glance sideways, or fix their attention on someone just beyond the picture space. Behind them, the room compresses into a dense social crush of figures, lights, and architectural fragments, making the atmosphere feel humid, noisy, and alert. These women are glamorous, but the painting is not a simple celebration. Their poise suggests professionalism more than pleasure. They are working, waiting, scanning, and negotiating. Marsh, born in Paris in 1898 to American artist parents and raised in the United States, built his career around the spectacle of modern urban life, often focusing on bodies in motion and crowds under pressure. In this painting, desire and exhaustion sit close together. The women’s elegance offers allure, yet the compressed setting hints at their economic precarity and the constant demand to be seen. The result is both seductive and unsettling for a portrait not of one heroine, but of a system in which femininity itself becomes part of the transaction.
“Ten Cents a Dance” by Reginald Marsh (American) - Tempera on composition board / 1933 - Whitney Museum of American Art (New York) #WomenInArt #ReginaldMarsh #Marsh #WhitneyMuseum #AmericanArt #SocialRealism #DanceHall #art #arttext #WomenAtWork #AmericanArtist #BlueskyArt #TheWhitney #1930sArt
#SPRING & the Ashcan School
‘Spring Night, Harlem River’
Ernest Lawson. Oil on canvas. 1913.
#ErnestLawson #AshcanSchool #AmericanArt
The Rocky Mountains, Lander's Peak by Albert Bierstadt, 1863
The Rocky Mountains, Lander's Peak — Albert Bierstadt, 1863. The scale, the light breaking through clouds… this is America before the interstate. 🏔️
#AlbertBierstadt #HudsonRiverSchool #AmericanArt #MetMuseum #MuseumLife
Benny Andrews, "Spring Study," acrylic/oil and collage on paper, 1995; Smithsonian. #spring #blackhistory #blackculture #africanamerican #americanart #modernart #arte #collage #acrylic #paintings #museum #artgallery
#SPRING & the Ashcan School
‘Early Spring’
Ernest Lawson (1873-1939). Oil on canvas. 1918.
#ErnestLawson #AshcanSchool #AmericanArt
3 #MARCH #WorldWildlifeDay
‘A Poacher’ Theodore Robinson (1852-1896). [Oil on canvas.] 1884.
#wildlife #deer #poaching #TheodoreRobinson #AmericanArt
3 #March #WorldWildlifeDay
‘The Northwood King--Calling the Moose’
Phillip R. Goodwin (1882-1935). Oil on canvas.
Ca. 1912. Private collection.
#wildlife #moose #biodiversity #PhillipRGoodwin #AmericanArt #hunting #hunters
Untitled sculpture metal and paint 1974 Alexander Calder (1898-1976) USA #untitled #sculpture #mobile #handmade #metal #paint #abstract #primarycolors #alexandercalder #c1974 #americanart #modernart #caldermobile
Untitled sculpture
metal and paint
1974
Alexander Calder (1898-1976)
USA
#untitled #sculpture #mobile #handmade #metal #paint #abstract #primarycolors #alexandercalder #c1974 #americanart #modernart #caldermobile
Edward Hopper, "Night on the El Train," etching, 1918; Metropolitan Museum of Art, New York. #edwardhopper #art #arte #modernart #etching #printmaking #bw #bandw #blackandwhite #monochrome #americanart #museum #artgallery
Historical image of American Academy of Arts and Sciences
Elected to the American Academy of Arts and Sciences, Albers proved that teaching how to see is as revolutionary as what you create. #Legacy #AmericanArt
Any Sherald, "A Midsummer Afternoon Dream, 2021," private collection; photo: San Francisco Museum of Modern Art. #amysherald #blackhistory #blackculture #africanamerican #americanart #modernart #art #arte #paintings #museum #artgallery
3 #March #WorldWildlifeDay
‘Unexpected Game’
Phillip R. Goodwin (1882-1935). Oil on canvas. N.D.
#wildlife #biodiversity #forest #LogRaft #moose #illustration #IllustrationArt #IllustrationArtists #PhillipGoodwin #AmericanArt
#THISWEEK in 1952
👇🧵
‘”Maybe it’s a wreck,” Burton said. Everything was quiet and motionless. We sat up. The train began to move again. Then the whistle sounded’
#Illustration by #DavidBerger (1920-1966) for ➡️
#illustrationart #illustrationartists #AmericanArt #railroads
