ashcan school

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ashcan school:

see Eight, theEight, the,
group of American artists in New York City, formed in 1908 to exhibit paintings. They were men of widely different tendencies, held together mainly by their common opposition to academism.
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References in periodicals archive ?
In her early adherence to figuration over abstract tendencies, Bernstein set on a path parallel to her many contemporary urban Realists on the New York scene--primarily those associated with "the Eight" or the Ashcan School, including Robert Henri, John Sloan, William Glackens, George Luks, and Everett Shinn, as well as other early modernists such as Edward Hopper and her close friend, Stuart Davis.
Perlman, Painters of the Ashcan School: The Immortal Eight (New York: Dover, 1979), 41; and Perlman, Robert Henri: His Life and Art, 25.
Aesthetically, the Photo League was to photography what the Ashcan School was to painting: Its members' subjects were the tired, the poor, the huddled masses.
(62.) This work in Arabic is a wonderfully independent-minded study of philosophy and theology engaging with Mulla Sadra and Mir DArnad as well as the great rnutakallinzan; it includes a thorough critique of the views of the Ashcan school as well as the famous theological compendium of the famed mujtahid of Lucknow Sayyid Dild[]r 'Al[] Naqvi Nas[]r[]b[]d[] (d.
Ironically, the pleasant tone of paintings such as Traveling Carnival, Santa Fe brought Sloan derision from critics, accustomed to his gritty New York works produced as a member of The Eight and The Ashcan School.
Among the artists involved in the publication were a number of individuals who would later become known as members of the Ashcan School of American art, a movement whose innovative contribution was its focus on everyday urban life.
Both of his teachers had taken their cues from the Ashcan School of Robert Henri and his art-for-life-sake school of art.
The scholarly essay by Stephen Coppel, Curator of the modern collection of prints and drawings at the British Museum, (with the assistance of Jerzy Kierkuc-Bielinski), is divided into twelve chronological sections that read like individual studies: The Ashcan School to George Bellows; The Provincetown Woodcut; American Modernism and Precisionism; Edward Hopper and the American Scene; Satirical Realism; The Regionalists; The Depression and the WPA; Artists of the Left and the Second World War; Joseph Albers and Geometric Abstraction; S.
Much of the collection relies heavily on these echoes of representation between the traditional arts and film as well as painterly influences that informed filmmakers (the Ashcan school and Thomas Eakins assume a central position in this collection) and the way 'moving pictures influenced' painters (this scenario, however, is less-often engaged due to lack of empirical data).
Bellows (1882-1925) was esteemed during his short life and is recognized as a founder of the Ashcan School in New York, a group of artists that rejected academic boundaries in favor of direct contact with city life.
This chapter also includes a brief overview of burgeoning aesthetic innovations, including the realist/naturalist dramaturgy of Ibsen, Strindberg, and others, the gritty realism of the Ashcan School of Art, and the nonrealistic "post-impressionism" that supplanted the Ashcan School as the visual avant-garde.
"Many of the early 'motion photographers' were actually artists or photographers who worked at newspapers and were heavily influenced by the painters of that period, including Impressionistic, Realistic, and even the new-style American Ashcan School that focused on urban subject matter and the ways," she says.