#SPRING - the Ashcan School
‘Spring, Grammercy Park’
John French Sloan (1871-1951). Oil on canvas. 1912.
#JohnFrenchSloan #JohnSloan #AshcanSchool #AmericanArt #GrammercyPark

Painted in October 1909, the remarkably expressive and dynamic "Both Members of This Club" is the third and largest of Bellows's early prizefighting subjects. The painting's title is a reference to the practice in private athletic clubs of introducing the contestants to the audience as "both members" to circumvent the Lewis Law of 1900 that had banned public boxing matches in New York State. Boxing was a controversial subject, but the interracial theme made this painting even more so, especially since the Black boxer appears to be winning the match. It is likely that Bellows intended "Both Members of This Club" as an allusion to the recent and much-publicized success of the African American professional prizefighter Jack Johnson, who had won the world heavyweight championship in 1908. The idea of a black boxing champion was so unsettling to the prejudiced social order of the time that many thought interracial bouts should be outlawed. Painted at the height of the Jim Crow era, Bellows' powerful delineation of a White fighter about to be defeated by Black opponent was an exceptionally daring and provocative piece of social commentary.

Both Members of This Club by George Bellows, 1909, National Gallery of Art (Washington DC)

#ArtHistory #ModernArt #Realism #NewRealism #AmericanRealism #AshCanSchool #TheEight

#SPRING – the Ashcan School
‘Spring Morning’
Ernest Lawson (1873-1939). Oil on canvas. 1913.
#ErnestLawson #AshcanSchool #AmericanArt

#SPRING & the Ashcan School
‘Spring Thaw’
Ernest Lawson (1873-1939). 1910.
#ErnestLawson #AshcanSchool #AmericanArt

#SPRING & the Ashcan School
‘The Broken Fence, Spring Flood’
Ernest Lawson (1873-1939). Oil on canvas.
Ca. 1907.
#ErnestLawson #AshcanSchool #AmericanArt

#SPRING & the Ashcan School
‘Spring Rain, New York’
John French Sloan (1871-1951). Oil on canvas. 1912.
#JohnFrenchSloan #JohnSloan #AshcanSchool #AmericanArt #WashingtonSquare #GreenwichVillage

#SPRING & the Ashcan School
‘Spring’
Ernest Lawson (1873-1939). Oil on canvas. Ca. 1903-1906.
#ErnestLawson #AshcanSchool #AmericanArt

#SPRING & the Ashcan School
‘Spring Morning’
Ernest Lawson (1873-1939). Oil on canvas. Ca. 1900.
#ErnestLawson #AshcanSchool #AmericanArt

#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

#SPRING & the Ashcan School
‘Spring Night, Harlem River’
Ernest Lawson. Oil on canvas. 1913.
#ErnestLawson #AshcanSchool #AmericanArt

#SPRING & the Ashcan School
‘Early Spring’
Ernest Lawson (1873-1939). Oil on canvas. 1918.
#ErnestLawson #AshcanSchool #AmericanArt

Three women occupy a sun-warmed rooftop in lower Manhattan, framed by brick parapets, laundry lines, and a hazy skyline of tenements and industrial buildings. At left, a fair-skinned reddish-blonde woman in a loose white blouse and deep green skirt lifts both arms to her head, elbows wide, as if fluffing out thick hair. In the center, a pale woman with short dark hair relaxes sideways on a ledge in a shadow wearing a soft blue top and white skirt, one arm bent behind her head. At right, a light-skinned woman with very long tawny hair bends at the waist in a flowing white dress, one hand braced on her hip as her hair spills forward. Their bodies are unguarded, practical, and self-possessed rather than posed for display. Behind them, white sheets snap on a clothesline, and the dark roof tar catches broad bands of afternoon light and shadow. American artist John Sloan’s brushwork is loose but precise where it matters like the fall of hair, the heat-softened air, the rough masonry, and the sense of a private ritual unfolding in a semi-public urban space. The painting turns an ordinary summer necessity into a quietly radical image of modern city life. Sloan, a leading Ashcan School painter, looked from his Greenwich Village studio onto neighboring rooftops and found what he called the “human comedies” of everyday people. Here, the roof an outdoor room created by crowded tenement living, where women claim air, light, and brief leisure above the street. The scene carries tenderness without sentimentality. These are not idealized muses but working urban women, often understood as immigrant New Yorkers, making use of the little freedom available to them. Painted in 1912, the year Sloan established the nearby studio that inspired many of his rooftop views and began serving as art editor for “The Masses,” the work reflects his deep interest in labor, modern life, and the dignity of people usually excluded from “high” art.

“Sunday, Women Drying Their Hair” by John Sloan (American) - Oil on canvas / 1912 - Addison Gallery of American Art, Phillips Academy (Andover, Massachusetts) #WomenInArt #JohnSloan #Sloan #AddisonGallery #AmericanArt #PhillipsAcademy #AshcanSchool #art #BlueskyArt #artText #1910sArt #AmericanArtist

#MARCH of 1914 and the Ashcan School
‘Misty Day In March’
Ernest Lawson (1873-1939). 1914.
#ErnestLawson #AmericanArt #AshcanSchool #landscape

#MARCH of 1912 and the Ashcan School
‘March Day - Washington Square’
William Glackens (1870–1938). Oil on canvas. 1912.
#WilliamGlackens #AmericanArt #AshcanSchool #Manhattan #WashingtonSquare #GreenwichVillage

#MARCH of 1902 and the Ashcan School
‘The March Wind’
Robert Henri (1865-1929). Oil canvas. 1902.
#MarchWinds #RobertHenri #AmericanArt #AshcanSchool #landscape

The #WINTER of 1910 - the Ashcan School
‘Floating Ice’
George Bellows (1882-1925). Oil on canvas. 1910.
#GeorgeBellows #AshcanSchool #AmericanArt #landscape

#WINTER - the Ashcan School
‘Winter Landscape, Washington Bridge’
Ernest Lawson (1873-1939). Oil on canvas. 1907-1910.
#ErnestLawson #AshcanSchool #AmericanArt #landscape

The #WINTER of 1904 - the Ashcan School
‘Matinée Crowd, Manhattan’
Everett Shinn (1876–1953). Pastel & gouache on illustration board. 1904.
#EverettShinn #AshcanSchool #AmericanArt

The #WINTER of 1914 - the Ashcan School
‘Backyards, Greenwich Village’
John French Sloan (1871-1951) Oil on canvas. 1914.
#JohnFrenchSloan #AshcanSchool #AmericanArt #GreenwichVillage

The WINTER of 1908 - the Ashcan School
‘North River’
George Bellows (1882-1925) Oil on canvas. 1908.
#GeorgeBellows #AshcanSchool #AmericanArt #Manhattan #HudsonRiver #landscape

The #WINTER of 1914 - the Ashcan School
‘Love of Winter’
George Bellows (1882 – 1925). Oil on canvas. 1914.
#GeorgeBellows #AshcanSchool #AmericanArt #landscape #iceskating #wintersport

The #WINTER of 1898 - the Ashcan School
‘Canal Scene in Winter’
Ernest Lawson (1873-1939). 1898.
#ErnestLawson #AshcanSchool #AmericanArt #landscape

#WINTER - the Ashcan School
‘Stuyvesant Square in Winter’
Ernest Lawson (1873-1939). Oil on canvas.
#ErnestLawson #AshcanSchool #AmericanArt #cityscape

The #WINTER of 1911 - the Ashcan School
‘Snow-Capped River’
George Bellows (1882-1925). Oil on canvas. 1911.
#GeorgeBellows #AshcanSchool #AmericanArt #landscape

#WINTER - the Ashcan School
‘Blue Stream’
Ernest Lawson (1873-1939). Oil on canvas. N.D.
#ErnestLawson #AshcanSchool #AmericanArt #landscape

The #WINTER of 1912-1913 - the Ashcan School
‘Winter - High Bridge Park’
George Luks (1867-1933). Oil on canvas. 1912-1913.
#GeorgeLuks #AshcanSchool #AmericanArt #HighBridgePark #Manhattan #landscape

#WINTER - the Ashcan School
‘Washington Square’
Everett Shinn (1876–1953). Oil on canvas. Ca. 1945.
#EverettShinn #AshcanSchool #AmericanArt #WashingtonSquare #landscape #cityscape #Manhattan #GreenwichVillage

#WINTER – the Ashcan School
‘Brook in Winter’
Ernest Lawson (1873-1939)
#ErnestLawson #AshcanSchool #AmericanArt #landscape

#WINTER - the Ashcan School
‘Winter - Spuyten Duyvil’
Ernest Lawson (1873-1939).
#ErnestLawson #AshcanSchool #AmericanArt #SpuytenDuyvil #landscape