Georgia O’Keeffe: The Brightness of Light - SUNDAY, JANUARY 25 AT 2:00PM
Co-presented by Etherton Gallery
TICKETS: loftcinema.org/film/georgia...
#GeorgiaOKeeffe #TheBrightnessOfLight #GeorgiaOKeeffeFilm #EncoreScreening #January25 #SundayMatinee #ArtOnFilm #AmericanModernism #ModernArt
Georgia O’Keeffe: The Brightness of Light - 1/25 AT 2PM
Co-presented by Etherton Gallery
(Dir. by Paul Wagner, 2024, USA, 118 mins., Not Rated)
TICKETS: loftcinema.org/film/georgia...
#GeorgiaOKeeffe #TheBrightnessOfLight #GeorgiaOKeeffeFilm #EncoreScreening #ArtOnFilm #AmericanModernism
Edward Hopper
Automat (71×91cm)
First displayed on Valentine's Day 1927
Urban isolation. Solitude. Light and shadow. The window, dominating the painting, showing complete emptiness. Captivating simplicity.
#EdwardHopper #Hopper #Automat #Loneliness #Isolation #Art #Paintings #AmericanModernism
This dynamic composition depicts a summer scene on the rocky coast of Maine. The painting is characterized by its flattened perspective, decorative patterns, and lively arrangement of figures. Prendergast employs a mosaic-like technique, using small, distinct brushstrokes and patches of color to build up the image. Figures, likely vacationers, are scattered across the beach, engaged in leisure activities such as strolling, sitting, and observing the sea. The scene is filled with a sense of joyful energy and the pleasures of summertime. The artist focuses on the interplay of light and color, creating a visually stimulating and harmonious effect. The composition is not about realistic representation but rather about capturing the *feeling* of a summer day at the beach. The use of color and pattern is highly stylized, moving away from traditional representational painting towards a more abstract and decorative approach. The painting's surface is rich and textured, inviting close inspection. Prendergast was a key figure in the development of American Modernism, bridging the gap between Impressionism and Post-Impressionism and paving the way for abstract expressionism. "The Stony Beach, Ogunquit" exemplifies the shift away from traditional academic painting towards a more subjective and expressive style. It reflects the influence of artists ike Matisse and the Fauves with its emphasis on color and pattern. The painting emerged during a period of rapid social and cultural change in the United States, as the country moved towards greater industrialization and urbanization. Prendergast's work, however, focused on leisure and the pleasures of everyday life, offering a counterpoint to the anxieties of the modern age. For most recent sale price, provenance, and more see https://www.christies.com/en/lot/lot-2050470
The Stony Beach, Ogunquit by Maurice Prendergast, 1908, Private Collection
#ArtHistory #ModernArt #PostImpressionism #AmericanModernism
#CharlesButt of #HEB Grocery shares his private trove of #AmericanModernism. The most famous grocer in #TX reveals something about himself. “Art helps to balance life, and it’s a great stress reliever.”
www.texasmonthly.com/arts-enterta...
This painting depicts the landscape Abiquiu, New Mexico, a region that profoundly influenced O'Keeffe's work. It features rolling hills rendered in muted earth tones, ochres, browns, and grays - with subtle variations in color and form. The composition is characterized by simplified shapes and a sense of vastness and quietude. The "Hills to the Left" suggests a specific viewpoint within the broader series, emphasizing the undulating terrain and the play of light and shadow. The painting evokes a feeling of solitude and connection to the natural world.
Ghost Ranch, 2019 (that small person is me)
Series near Abiquiu, New Mexico Hills to the Left by Georgia O'Keeffe, 1937, Georgia O'Keeffe Museum (Santa Fe, NM)
#ArtHistory #ModernArt #Modernism #AmericanModernism #Precisionism
Ballet Skirt or Electric Light by Georgia O'Keeffe, 1927, The Art Institute of Chicago (Chicago, IL)
#ArtHistory #ModernArt #Modernism #AmericanModernism #Precisionism
Happy Publication Day to the #HallieFordMuseumOfArt and Roger Saydack!
"C.S. Price: A Portrait" is now available from your favorite booksellers and directly from OSU Press!
beav.es/Nya
#OregonArtHistory #AmericanModernism #PacificNortwestArt
𝑶𝒏 𝒕𝒉𝒊𝒔 𝑫𝒂𝒚, 𝟱𝟴 𝒚𝒆𝒂𝒓𝒔 𝒂𝒈𝒐....🕯️
𝕴𝖓 𝖒𝖊𝖒𝖔𝖗𝖎𝖆𝖒 Dorothy #Parker [°Aug. 22, 1893 – June 7, 1967]🌹😌
#wisecrack #AmericanModernism #TheNewYorker #theAlgonquinRoundTable #HaroldRoss #EdnaFerber #HarpoMarx #AinsleesMagazine #DavidBelasco #Vogue #1929OHenryAward #DorothyRothschild #DorothyParker
Heading into the realm of American modernism, what if Frank Lloyd Wright had designed it? Prairie style meets Parisian icon – an organic, horizontally-influenced tower? #FrankLloydWright #OrganicArchitecture #AmericanModernism
socammusic.bsky.social illinoispress.bsky.social
#MusicResearch #Musicology #CulturalPolitics #NewDeal #WPA #AmericanModernism #MarcBlitzstein #BookReview #FederalProjectOne #MusicAndPolitics
In The River, Guglielmi depicted figures overlooking an expanse of shimmering water that contrasts with the industrial landscape on the far shore. The seven women and a child wear plain clothing typical of the working class on a day of leisure. Guglielmi focused on the struggles of everyday people amid the Great Depression and the rising threat of Fascism, frequently championing the laboring classes in his art. Painted during World War II, the composition attests to the daily monotony of a country at war: the men have been transported abroad, and women now exclusively inhabit the city.
The River by O. Louis Guglielmi, 1942, The Art Institute of Chicago (Chicago, IL)
#ArtHistory #ModernArt #AmericanModernism #MagicRealism
Pink Moon and Blue Lines
Georgia O'Keeffe, 1923
“Interest is the most important thing in life; happiness is temporary, but interest is continuous.”
#modernism #americanmodernism #precisionism #womenartists #arthistory
This ALT description is from the Georgia O’Keeffe Museum website: “Two large swirling white flowers, one atop the other. The interior of the bottom flower is visible, yet the top flower is tilted upward hiding its center. The two flowers fill the majority of the canvas, with a sliver of blue - perhaps an ocean horizon line along the top.”
Bella Donna ~ Georgia O’Keeffe, oil on canvas 1939
Reposting the Wiki article/link about her, in case you’re visiting us for the 1st time & missed the earlier O’Keeffe post.😉😊 Simply gorgeous.
en.wikipedia.org/wiki/Georgia...
#art #paintings #womenartists #flowers #Precisionism #AmericanModernism
Behind the scenes footage from the setup of "Marsden Hartley: Adventurer in the Arts!" This exhibition celebrates one of the most impactful artists in #AmericanModernism. Open at the New Mexico Museum of Art through July 25th!
#MarsdenHartley #modernart #contemporaryart #artofthsouthwest
Whimsical and fluid abstract composition by Craig French (American, b. 1959). Cast resin, wood, and aluminum make up this sculpture, full of movement and dramatic lines. A granite-like shape is supported by two streaks in blue and wood. A line of aluminum swirls throughout the composition.
Craig French
Granite Sail - Abstract Wall Sculpture in Wood, Resin, and Aluminum
buff.ly/mOESFkC
#americanartist #americanart #abstract #abstractart #abstractartwork #abstractsculpture #abstractsculptor #abstractsculptures #americanmodernart #americanmodernist #americanmodernism #americanmodern
marsden hartley
abstraction
~1914
mor: theartstory.org/artist/hartley-marsden/
#art
#arthistory
#modernart
#americanmodernism
#painter
#wordsmith
This early American Modernism portrait by William James Glackens blends vibrant colors and impressionistic influences to depict a fashionable young woman in a dark coat and hat, red blouse, blue skirt and black boots seated on a green seat with a brilliant background of reds and oranges. It’s classic Glackens style as an early twentieth-century New York painter who became increasingly interested in Renoir's use of color to allow his colors to get sharper and stronger with the forms more and more rounded. Glackens uses visible, broken brushstrokes that don't blend seamlessly. This is a hallmark of Impressionism to capture the fleeting impression of light and movement rather than precise detail. He achieved this focusing on the interplay of light and color, particularly the warm oranges and reds of the background contrasting with the cooler blues and purples of the woman's clothing. The colors are applied in a way that suggests the effect of light on surfaces, rather than creating sharp outlines. It’s a soft, almost hazy quality with forms suggested through color and brushwork. The overall effect is one of capturing a moment in time, suggestive and evocative rather than meticulously realistic as Glackens conveys a mood, rather than a photorealistic representation. The painter began his career as an artist reporter; however, he left Philadelphia in 1895 for Paris. There he found the work of Edouard Manet, Auguste Renoir, and other independents, who had broken with the classical sterility of the Academie in favor of everyday subjects and new freedoms in painting techniques. His admiration for their work strengthened his own sense of direction, but on returning to New York the next year Glackens found that he must once again support his study of painting by working as an illustrator. He became a sketch artist for the New York Herald and the Sunday World.
Natalie in a Blue Skirt by William James Glackens (American) - Oil on canvas / 1914 - Tacoma Art Museum (Washington) #womeninart #art #oilpainting #AmericanModernism #fineart #WilliamJamesGlackens #artwork #portraitofawoman #womensart #portrait #AmericanArtist #Glackens #AmericanArt #TacomaArtMuseum
Ram's Head, Blue Morning Glory... Georgia O'Keeffe
#painting #artwork #georgiaokeeffe #americanmodernism #MFA #Boston #Massachusetts
This color-drenched portrait in American modernist/cubist style depicts a woman with short red hair (parted in the middle) wearing a yellow and green gown with narrow straps playing a large brown cello. Her strong arms, hands, and fingers plus focal concentration exude a sense of power and skill from her musical talents.
Woman with Cello by Jerre Murry (American) - Oil on canvas / c. 1941 - Weisman Art Museum (Minneapolis, Minnesota) #womeninart #art #musicalart #painting #weismanartmusem #artwork #jerremurry #americanart #artoftheday #bsky.art #bskyart #cello #americanartist #americanmodernism #modernart
Red Chimneys is an early example of Demuth’s work in the precisionist idiom, a style characterized by shallow space, hard edges, and a tendency toward abstraction. Architecture offered Demuth an exceptional opportunity for Cubist interpretation, and rooftop views of New England, Lancaster, and Bermuda became favorite subjects. Despite the abstract treatment of these images, Demuth seldom strayed far from naturalistic representation. His integration of realistic representation with abstract surface design was a quality that marked his art from his earliest to his latest work. Painted in Provincetown, Red Chimneys at first glance appears to be based on a specific view of chimneys and rooftops. But Demuth rearranged the elements to create a geometric pattern. He created a grid, which flattened the image, and punctuated the scene with geometric forms to create rhythm. Radiating from the middle roof are five twisted, leafy tree limbs, the only curving elements in the composition. Color is used with discrimination and confined to small portions of the painting. The minimal color and systematic, spatial organization of Red Chimneys would become even more pronounced in the artist’s later tempera and oil paintings. Duncan Phillips included Demuth’s work in his 1926 “Exhibition of Paintings by Nine American Artists,” which was an effort to make Washington aware of progressive trends in American art. The exhibition intrigued local critics. It included many American artists never before shown in the city who painted in a cubist-influenced style “based on systematized, arbitrary arrangement” of forms. In his catalogue essay, Phillips praised Demuth’s “austerity of ruled line combined with an enchanting quality of color,” and in his collection catalogue of the same year commented on Demuth’s “genius for design and consummate taste and tact” throughout his oeuvre.
Red Chimneys by Charles Demuth, 1918, The Phillips Collection (Washington, DC)
#Art #ModernArt #Modernism #AmericanModernism
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Small vertical canvas in purple maroon, bluish-grey and white tones - very fluid and ruffled forms with a dominate dark purplish maroon circle in the center right, intercepted on the left by an undulating rippled fanlike shape in white and grey.
The Black Iris by Georgia O'Keeffe, 1926, Georgia O'Keeffe Museum (Santa Fe, NM)
#Art #ModernArt #Modernism #AmericanModernism
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![For early American modern artists like Stuart Davis, energetic cities and widely varied terrain offered intriguing new ground for artistic experimentation. During the first decades of the 20th century, Davis lead the shift from realism to abstraction in American art. Davis began his career creating more realistic, documentary paintings, and ended it painting almost entirely abstract works now celebrated for their striking visual modernism Rocks, Gloucester is a pivotal transitional work for Davis, painted just as he started working in a more experimental style. For Davis, the bright new colors and bold new forms of paintings like this one were a way of capturing the mad rush of American life, from as he said, "fruit and flowers; kitchen utensils; Fall skies; horizons; taxi-cabs; radio; art exhibitions and reproductions; fast travel; Americana; movies; electric signs; [and the] dynamics of city lights and sounds."](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:gtvblttitvvita57xiqahrvh/bafkreifoox6yixep244isyjqetsxexyojrz76les7ahrxh5qfkmql6v5x4)
For early American modern artists like Stuart Davis, energetic cities and widely varied terrain offered intriguing new ground for artistic experimentation. During the first decades of the 20th century, Davis lead the shift from realism to abstraction in American art. Davis began his career creating more realistic, documentary paintings, and ended it painting almost entirely abstract works now celebrated for their striking visual modernism Rocks, Gloucester is a pivotal transitional work for Davis, painted just as he started working in a more experimental style. For Davis, the bright new colors and bold new forms of paintings like this one were a way of capturing the mad rush of American life, from as he said, "fruit and flowers; kitchen utensils; Fall skies; horizons; taxi-cabs; radio; art exhibitions and reproductions; fast travel; Americana; movies; electric signs; [and the] dynamics of city lights and sounds."
Rocks, Gloucester by Stuart Davis, Helen Stuart Davis, 1915, New Orleans Museum of Art (New Orleans, LA)
#Art #ModernArt #AmericanModernism
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Portrait of Susana Ortiz Cobos by Paul Strand, 1933, Fundación Televisa Collection and Archive (Mexico City, Mexico)
#Art #ModernArt #Photography #AmericanModernism
Considered by some to be the first truly abstract American painter, Arthur Dove made paintings consisting of organic forms simplified to large swaths of muted color. Part of Alfred Stieglitz’s early 1900s avant-garde artistic circle, Dove held his first exhibition in 1910, showing “The Ten Commandments” series in which he represented biblical themes through abstract, undulating forms. The amorphous nature of these paintings exemplifies Dove’s belief that abstraction was not a departure from reality but rather a means of representing the essence of the natural world beyond its obvious physical forms. Taking on the decorative strategies of James Abbott McNeill Whistler, Dove pursued an inductive, quasi- scientific method to render the hidden features of the organic, from the cellular level on up, and the inherent intervals, repetition, and rhythmic proportions found in the natural world.
Sunrise III by Arthur Garfield Dove, 1936, Yale University Art Gallery (New Haven, CT)
#Art #ModernArt ##Abstraction #AmericanModernism
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A leading member of the Stieglitz group, Hartley was a pioneer American modernist whose knowledge of French avant-garde styles and close association with the innovative German painters known as Der Blaue Reiter led him to invent one of the most innovative painting styles of the early 20th century. Beginning with his return to the United States in 1915, Hartley moved away from his former abstract style and, forever moving from place to place, produced a remarkable variety of expressive landscapes, still life compositions, and unconventional portraits. His exceptionally fine late Mount Katahdin landscapes secured his legacy as one of the greatest of all American modernists.
Red Flowers and Sailboat by Marsden Hartley, 1935, Crystal Bridges Museum of American Art (Bentonville, AR)
#Art #ModernArt #AmericanModernism
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Horizontal landscape of dark reddish crimson clay hills that flow down into softly rounded smaller hills below, The smaller hills are a lighter pink tinged with grey at the tops.
Purple Hills Ghost Ranch -2 / Purple Hills No ll by Georgia O'Keeffe, 1934, Georgia O'Keeffe Museum (Santa Fe, NM)
#Art #ModernArt #AmericanModernism
For more on Ghost Ranch, see www.ghostranch.org
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At the turn of the 20th century Benton was among many young painters who embraced abstraction. He soon rejected that brand of modernism, however, and emerged in the 1920s as a leader of the regionalist school of realism whose primary concern was the portrayal of local life and history in America. Benton made this portrait of himself and his wife (wearing the latest in bathing-suit fashion) at Martha's Vineyard in Massachusetts, sometime around 1924. Best known for his panoramic murals, he brought to his works a boldness of composition that led one critic to describe him as "the most . .. vigorous and virile of our painters." Benton was also interested in Hollywood's star culture, and his barechested likeness in this work may reference Douglas Fairbanks Sr.'s appearance in The Thief of Bagdad (1924).
Self-Portrait with Rita by Thomas Hart Benton, c. 1924, Smithsonian's National Portrait Gallery (Washington, DC)
#Art #ModernArt #AmericanRealism #AmericanModernism
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People walking on a sidewalk in front of symmetrical columns on Wall Street
New York [Wall Street] (Main View) by Paul Strand, Negative 1915/Print 1916, The J. Paul Getty Museum (Los Angeles, CA)
#Art #ModernArt #Photography #AmericanModernism #Architecture
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The Voice of the City of New York Interpreted: The White Way I by Joseph Stella, 1920/1922, The Newark Museum of Art (Newark, NJ)
#Art #ModernArt #AmericanModernism #Futurism
For more on this series and the artist, see youtu.be/hQl6SYy6iI8?...
