American Realism artists – my daily art display

Theresa Bernstein. Part 2.

William Merowitz in his studio.

John Weichsel was the founder of the People’s Art Guild in 1915. It was to be an alternative to the system of traditional fine art galleries. The Guild would set up exhibitions in various unconventional spaces and by doing so, the Guild brought avant-garde art into the immigrant settlement houses and tenements of the Lower East Side with the goal of exposing a new set of people to modern art and at the same time, providing artists with direct contact to new markets. One of the helpers at the Guild was William Meyerowitz.

Theresa and William’s Wedding Photograph (1919)

Meyerowitz called on Theresa at her studio and asked if she could offer some of her paintings for a benefit show with the Guild. From this initial meeting a friendship developed which blossomed into romance and finally on February 7^th 1919 the couple married in Philadelphia.

The Studio (54th West 74th Street) by William Meyerowitz (1935)

William Meyerowtiz was born in Ekaterinoslav, now Dnipro in Eastern Ukraine, on July 15, 1887. He and his father had immigrated to New York City in 1908, and they settled in the Lower East Side. William studied etching at the National Academy of Design and was also a talented singer and while he was a student he sang in the chorus of the Metropolitan Opera. Later, he rented a studio in the same building as the 291 gallery run by Alfred Stieglitz.

Portrait of the Artist by Theresa Bernstein (1920)

Their marriage took an early blow when their baby daughter died of pneumonia. and from that tragedy, they remained childless. Despite this tragic occurrence the couple lived a happy and contented life. In her 1986 biography of her husband, William Meyerowitz, The Artist Speaks. Theresa Bernstein Meyerowitz wrote:

“…In the Autumn evenings, we used to take a little table from the studio and place it in front of the fireplace. William would split some logs and light the fire. … We would have cozy conversations about our work, our friends, ourselves and they were precious evenings we spent together. We never tired of each other’s company. . . . From the day we met, our life was one absorbing conversation...”

The Immigrants by Theresa Bernstein (1923)

In 1891, Theresa Bernstein had been an immigrant entering America with her mother and father when she was just one-year-old. Thirty-two years later she completed a painting entitled The Immigrants, depicting the deck of the Cunard liner, Aquitania and the plight of immigrants heading for the “promised land”. The centre point of this depiction is a young mother and her baby and maybe Theresa wanted, through this painting, to recall what it would have been like for her mother making that sea passage across the Atlantic. The young woman is surrounded by her fellow immigrants. She seems to be lost in her thoughts. What are her thoughts? Behind her right shoulder is a young man hovering nearby. Could she be thinking of a new relationship, a new romance? Behind her left shoulder is a group of children with their mother. Maybe the young woman daydreaming about a happy family life with numerous children. This is a depiction which directs our thoughts on the vulnerability, change and challenge which affect this young woman but at the same time offers a glimmer of hope with regards her possible new beginning.

The Milliners by Theresa Bernstein (1921)

Bernstein’s 1921 painting entitled The Milliners is typical of many of her figurative works depicting a large group of people. Look back at some of her multi-figured paintings: the job-seekers in a crowded waiting room (Waiting Room – Employment Office), people crowded into a train on the elevated railway (In the Elevated), and many others depicting beach scenes at Coney Island or audiences at the music hall or theatre. Theresa was Jewish and although this 1918 painting, The Milliners, could not be termed Jewish, it was personal to Theresa as her sister-in-law worked in the millinery industry, a typical “vocation” that was both immigrant and Jewish.

View through window (The Milliners)

In the painting we see a group of female workers, engaged in the fastidious and creative labour of creating hats. It depicts six women gathered around a table which is brimming with accessories. The depiction is a close-up of the women and this view emphasizes the cramped nature of the space that the women are working in but it also offers us a close look at their individual features. The setting is probably a room in a city tenement apartment. If you look carefully at the upper left, you can just make out a window, windowsill and through this space we can just make out the metal fire escape which was common in this type of building.

Mother and Mother-in-law

This is also a depiction of Theresa’s beloved family. Theresa’s mother is the woman we see depicted at the upper left of the group, with greying hair, talking to Theresa’s mother-in-law, whose hands hide the delicate threads she is working with, head bowed as if in prayer. On either side of the mothers are two of Theresa Bernstein’s sisters-in-law, Bessie and Sophie, who was actually a milliner herself. One of them, dressed in black, has placed a newly made black hat on her head and is admiringly viewing the result in a hand-held mirror. Her sister, dressed in bright yellow, watches as her sibling vainly gazes lovingly at her reflection. She holds a black hat which has two large flame-like yellow feathers attached to it. In the lower right of the group, diametrically opposite her mother, is Minna, Theresa’s third sister-in-law, dressed in a white dress and they are testament to two generations of milliners. The final member of this working group of women sitting on the far right, dressed in green, is Katie. She is the only one to be looking out us. Maybe she is silently inviting us into this intimate circle. Katie was the family housekeeper and Theresa’s much-loved confidante.

Katie by Theresa Bernstein (1917)

Katie, the Bernstein’s housekeeper was the subject of Theresa’s portrait in 1917. Although Theresa thought of her as a friend and part of the family. For Katie, her role in the Bernstein household was somewhere between an employee and a sister to Theresa. Bernstein did not choose sitters for their glamour or their social status, her choice of subjects was based upon people she liked. In this portrait which uses earth tones we see Katie wearing a heavy shabby coat. She is pinching the lapels tightly together. On her head is a hat, with the haloed brim positioned at a jaunty angle allowing the feathers, attached to it, to cascade downwards.

Woman with a Parrot by Theresa Bernstein (c.1917)

Elsa Baroness von Freytag-Loringhoven the German-born avant-garde visual artist and poet, who was active in Greenwich Village, New York, from 1913 to 1923, where her radical self-displays came to embody a living Dada. She was considered one of the most controversial and radical women artists of the era. Theresa Bernstein painted several striking portraits of this Dada artist, poet, model, and muse, whom she befriended in New York’s Greenwich Village. Was it the sitter’s uncompromising attitude to life which attracted Bernstein for she too was equally radical in her own time, as she established her own path as a Jewish immigrant and a female artist in the male-dominated art market. In this painting entitled Woman with a Parrot which she completed around 1917, we see the baroness gracefully poised against a plain background; her back is partially exposed, and she holds a red parrot.

The Cribbage Players by Theresa Bernstein (1927)

The New York Society of Women Artists (NYSWA) was founded in 1925 and devoted itself to avant-garde women artists. Theresa Bernstein was one of the earliest members and and took part in this and other women artists’ groups throughout her career. Theresa was acutely sensitive to the discrimination against her within the profession because she was a woman and for that reason, she would often use only her first initial when exhibiting, especially at the National Academy of Design. She was both disillusioned and disappointed with never having been nominated to the Academy. She would often amusingly recount an anecdote about the male artistic preserve, the Salmagundi Club of New York City. (It only began to admit women in the 1970s.) Her story goes that a delegation from the club visited her studio at one point in search of a Mr. Bernstein. At first Theresa believed that they were looking for her father. After some amusing banter, it soon became apparent that they wished to offer “Mr. Bernstein” a membership in the club and they stalked off in a mood when they found out that the painter of the canvases, they so admired, was in fact Theresa Bernstein.

Metropolitan Opera by Theresa Bernstein (1924)

Metropolitan Opera by Theresa Bernstein

Toscanini at Carnegie Hall (1930)

Two subjects that fascinated Theresa Bernstein and were often depicted in her works of art were her love of music which she had got from her husband and the depiction of crowds and both these elements can be seen in her depiction of musical events at the Metropolitan Opera House and Carnegie Hall,

The Music Lover by Theresa Bernstein (1913)

Theresa Bernstein died at Mount Sinai Hospital in Manhattan on February 12^th 2002, sixteen days before her 112^th birthday, although it is thought she may have been older, but she had never been forthcoming regarding her birthdate! Her husband William Meyerowitz had dies in 1981. She will always be remembered as one of the first to paint in the Realist style.

Music Lovers by Theresa Bernstein (1934)

I will leave the last words on this wonderful artist to Patricia M Burnham, lecturer in American studies and art history at the University of Texas, who wrote an article about Theresa Bernstein in the Woman’s Art Journal, Vol. 9, No. 2 (Autumn, 1988 – Winter, 1989). She wrote:

“…Her work has not gone unrecognized. Each decade of her 80-year career has been marked by gallery representation and one-woman shows. Her early work especially generated considerable excitement among reviewers and critics. But she has never gained the national reputation one might have expected nor are her works to be found in a large number of major art museums. Happily, Theresa Bernstein is now being rediscovered. Along with many other women artists, she has been a beneficiary of the women’s movement and feminist art scholarship.20 Art historians taking another look at early-20th-century American art are beginning to recognize her achievements. Yet to come is a full evaluation of her work that will reveal the weaknesses among the strengths, the particulars among the universals, the womanly among the human and ultimately provide a meaningful synthesis worthy of its subject…”

Theresa Bernstein. Part 1.

The Early Years

Theresa Bernstein (1890 -2002)

My blog today is all about a remarkable woman, not just for her art but for her amazing longevity, dying just a few months short of her 112^th birthday. She is the American painter, Theresa Ferber Bernstein.

Two miniature cameos (possibly self-portraits) by Theresa Bernstein (1907)

Theresa was born on March 1^st 1890 in Krakow, a city in the Austro-Hungarian Empire, now Poland. She was the only child of Isidore Bernstein and Anne Bernstein (née Ferber). Her father was a Jewish textile merchant and her mother was a woman of Central European culture and learning who was a talented pianist. In 1891 when Theresa was one year old the family left Krakow and emigrated to America and Philadelphia became Theresa’s first home.

Polish Church, Easter Morning by Theresa Bernstein (1916)

As a young child, Theresa loved to draw and paint and later, whilst at high school, received some art training. Bernstein graduated from the William D. Kelley School in Philadelphia in June 1907, at the age of 17. That same year, with her drawing of sprouting onions viewed through a green glass planter, she won a Board of Education scholarship to the Philadelphia School of Design for Women, now the Moore College of Art & Design,where she enrolled in the four-year Normal Art Course for training teachers. It was here that she studied under Elliott Daingerfield, Daniel Garber, Harriet Sartain, Henry B. Snell, and Samuel Murray. Her interest in art grew as she got older and she would attend some lectures at the Pennsylvania Academy of the Fine Arts.

Daniel Garber’s Studio by Theresa Bernstein (1910)

Whilst studying at the Philadelphia School of Design for Women Theresa produced a painting 1n 1910 entitled Daniel Garber’s Studio which is a pictorial memory of her time there.

Dance Hall by Theresa Bernstein (1911)

The students would be taken on painting trips by their tutors and one such outing with William Daingerfield in 1911 was a summer stay at Blowing Rock, North Carolina, where she painted the first of her jazz-inspired works, entitled Dance Hall.

Kindergarten Class by Theresa Bernstein (1914)

She graduated from the Philadelphia School of Design for Women in 1911. Theresa’s father’s business in Philadelphia had run into difficulties and so he along with his wife and daughter left the city and went to live in New York and that October Theresa began taking life and portraiture classes with William Merritt Chase at the Art Students League. Besides her art education Theresa travelled on two occasions with her mother to Europe, where they visited relatives and visited a number of art galleries. She greatly admired the work of the European Expressionist artists such as Wassily Kandinsky, Franz Marc, and Edvard Munch.

Colored Church, North Carolina by Theresa Bernstein (1911)

When back in New York, Theresa visited the Manhattan gallery of Alfred Stieglitz, the 291 Gallery, and in 1913 she attended the Armory Show which was organized by the Association of American Painters and Sculptors. Here she was able to view works by European modernists. She had mixed feelings about what she saw and later stated that she couldn’t warm up to cubes and triangles—they didn’t have enough life force.

The Little Merry-go-Round by Theresa Bernstein (1913)

However, in 1913, a breakthrough occurred for Theresa when the National Academy of Design chose her painting, Open-Air Show for its annual exhibition. The work then went on to the Carnegie Institute and the Art Institute of Chicago, where it attracted the attention of English collector John Lane, who purchased it and became an enthusiastic supporter of Theresa.

At the Movies by Theresa Bernstein (1913)

The American edition of the English magazine The Studio: An Illustrated Magazine of Fine and Applied Art, was titled The International Studio. It had its own editorial staff, and the content was different from that of the English edition, although many articles from it were reprinted. It was published in New York by John Lane & Company. W. H. de B. Nelson, an intriguing figure in the early 20th-century American art scene, wrote in The International Studio praising Theresa Bernstein for her independence of her direction with regards to her art stating that it was an uncompromising offerings of this ambitious girl, commending her choice of subject matter–“democratic parks, unfashionable chapels, the five-cent subway.” He finished by saying that she was a woman painter who paints like a man. he was delighted by his comments.

Searchlights on the Hudson by Theresa Bernstein (1915)

One of her paintings exhibited at the Milch Galleries was Searchlights on the Hudson which she had completed in 1915. Theresa had remembered seeing the unusual and spectacular sight of the Hudson River being illuminated by searchlights as a method of detection of enemy boats and dirigibles.

Waiting Room- Employment Office by Theresa Bernstein (1917)

Theresa, from an early age, was very observant. She could leave a room and once outside accurately describe what had been inside and could even sketch what she had seen. This excellent memory was of great help to her when she completed a painting in 1917 entitled Waiting Room – Employment Office. Four years earlier, when she was thirteen years old, she had accompanied her mother to the employment office, where she was going to select a housemaid, Theresa remembered what the room in the office looked like and all the people waiting patiently to secure work. It is an emotive recollection of that visit.

Street Workers by Theresa Bernstein (1915)

The Ashcan School was an informal art group that operated in the late 19th and early 20th centuries and included great artists such as Robert Henri, John Sloan, William James Glackens, George Luks, Everett Shinn, George Bellows, Jerome Myers. This group was known for its works in the style of urban realism, which produced depictions of urban life of the lower-class New Yorkers, warts and all. Although Theresa was never a formal member of the Ashcan School, she shared with it an enthusiasm for “modern” subject matter, to which she added a profoundly meaningful take on the way she saw her subjects.

In the Elevated by Theresa Bernstein (1916)

She embraced urbanism and popular culture with great passion. Her depictions of urban life were varied and encompassed the like of the cinema, trolley buses and the elevated trains, and places where the lower and lower-middle classes would congregate in the summer such as Coney Island. Her 1916 painting entitled In the Elevated depicts a passenger car on the Ninth Avenue Elevated railway, which Bernstein took between her parents’ apartment on West 94th Street and her studio on West 55th Street. This work by Bernstein encapsulates the experience of modern city folk who are placed in close physical proximity and yet remain psychologically isolated from one another.

Third Class Carriage by Honoré Daumier (1858)

The work reminds me of one of my favourite paintings by Honoré Daumier’s entitled Third Class Carriage which he completed around 1858.

The Readers by Theresa Bernstein (1914)

The New York Public Library was built on Fifth Avenue, between 70th and 71st Streets, in 1877 to much funfare and excitement and the first book was borrowed within ten minutes of the grand opening. One of the regular visitors to this great institution was Theresa Bernstein who spent many happy hours there. Whilst in the library she not only read the many books on offer but took the time to secretly sketch on scraps of paper and backs of envelopes the gesticulations and expressions of those around her. It got to the point that she became such a frequent visitor and loved everything about it that she referred to it in her memoir as her “alma mater.”

Theresa’s 1914 painting The Readers, depicts the reading room of this newly opened library. We see five men seated on all sides of a banquette, in a pyramid shape at the centre of the composition. Their faces are softly lit by the glow of the reading lamp. It is fascinating to see that each of them has staked out the best spot in the reading room and settled in for the day. The three men facing us seem very content and totally absorbed with their books.

Graphite on paper study for The Readers by Theresa Bernstein (1914)

What is fascinating about this painting is the change of heart Theresa must have had between making the preliminary sketch for the work and how it finished up. Theresa had a major change of heart as to the people present, as in the sketch one of the figures seated on the banquette, on the right, was a woman in a feathered hat. But in the painting, Bernstein replaced her with a man. In the finished painting the only woman depicted is one who stands in the middle background, plainly dressed and deep in thought, her hand resting on her chin as she studies her book. It is possible that placing the solitary woman in the background of the painting, Bernstein may have been providing a symbolic commentary on gender inequality. The Central Library was one of the few public places where women were able to sit uninterrupted and in comfort for hours, whilst delving into the world of books.

William Meyerowitz

Theresa’s life changed in 1917 when William Meyerowitz knocked on the door of her studio…………………………………………….

to be continued.

Elizabeth Nourse. Part 2.

In April 1893, Elizabeth and Louise Nourse returned to Cincinnati as they had become aware that their sister Adelaide was seriously ill with consumption. At this time there were just the three sisters left of the original ten children, the other seven already having died. Adelaide never recovered from the wasting disease and died on September 12^th 1893, aged 33. This was a devastating loss to Elizabeth as she had been very close to her twin, and used to regularly correspond with her whilst they lived on two different continents. Elizabeth now had no family connections in America and decided that her home from then on would be Paris. For Elisabeth and her elder sister, Louise Nourse, Paris offered them a better standard of living as the cost of living was less than that in America.

La mère” (The Mother), by Elizabeth Nourse (1888)

Before their return journey back to France, the assistant director of the Cincinnati Museum, Joseph H. Gest, invited Elizabeth to exhibit her work. In the Cincinnati exhibition, she had 102 of her paintings on show that she had painted whilst living in Europe and she managed to sell eighteen of them. Later at a smaller exhibition in Washington DC, she exhibited sixty-one of the same works and sold a further twenty-one. After Washington, they spent a week in New York before boarding a ship for England where they rested over briefly before travelling to Paris.

L’enfant endormi by Elisabeth Nourse (1901)

In the summer of 1894, following their return to France, Elisabeth and her sister Louise travelled to Brittany and visited the art colony of Pont Aven. However, Elisabeth decided that rather than live within the bustling colony she and her sister should find a much quieter location where she was able to detach herself from others in a small village which would allow her to paint alone. During their visits to the area, the two women would often find board and lodgings at a convent in the hamlet of Saint-Gildas where Elisabeth reckoned the daily cost of living was just one dollar.

Little Sister by Elizabeth Nourse (1902)

Elisabeth and Louise returned to Paris in the autumn of 1894 and took over a studio at 80 rue d’Assas which was to be their home for the rest of their lives. The studio which was situated opposite the south-west corner of the Luxembourg Gardens was in a quarter which housed a number of artist’s studios and was also home to many American expatriates. A couple of roads away from Elisabeth’s studio was rue de Chevreuse where the American Women Artists Association of Paris had its club and in 1899 Elizabeth served as its president. Elisabeth founded another artistic group, known as the Lodge Art League, which held annual exhibitions of paintings done by women. It was a female-only group as female artists believed they were not getting a “fair shout” when it came to main-line exhibitions and so they started to organise their own independent shows.

Head of an Algerian by Elizabeth Nourse (1897)

Orientalist painting, depicting the Middle East, had become one of the many specialisms of 19th-century academic art and became very popular in France in the last decade of the nineteenth century, so much so that in 1893, the French Society of Orientalist Painters was founded. In 1897, Elisabeth and Louise Nourse spent three months in North Africa in the Algerian city of Biskra. Elizabeth described North Africa as “the land of sunshine and flowers and lovely Arabs.” and in 1897 completed a painting entitled Moorish Prince (Head of an Algerian).

Meditation (Sous les Arbres) by Elizabeth Nourse (1902

At the start of the twentieth century Elizabeth Nourse and her elder sister (by six years) Louise were living in Paris but they would often escape the hustle and bustle of city life. They discovered the quiet countryside idyll of Saint Leger–en Yvelines, a village in the heart of the Rambouillet forest, fifty-five kilometres south-west of central Paris. They lived there in a simple cottage rented to them by the Lethias family. Elizabeth’s love of the countryside and rural life inspired her art. It was this “back to nature” aspect of her stay in the countryside that she enjoyed so much and this can be seen in her paintings of the time. One I particularly like is her 1902 work, Meditation (Sous les Arbres), which is housed in the Sheldon Museum of Art, Lincoln, Nebraska. It depicts a mother seated in a chair in the garden. Her chin is resting on her hand and there is an air of tiredness about her, but not enough to stop her amusing her young child who sits on the grass at her feet.

Un Heure de Loisir by Elizabeth Nourse (1900)

In the ten years up to 1904 Elizabeth Nourse concentrated on rural themes, not the depiction of the beautiful country landscapes but depictions of peasant women getting on with their daily lives, working hard bringing up their children, and finally, at the end of the day, taking a chance to have a well-earned rest as can be seen in her 1904 work entitled Un Heure de Loisir (A Time of Leisure).

Normandy Peasant Woman and her Child by Elizabeth Nourse (1900)

Elizabeth Nourse’s depictions of peasant women and their children had a sense of realism, which was not always appreciated by art dealers. A good example of this is her 1900 painting, Normandy Peasant Woman and Child. In this work, Nourse has concentrated on the child but it is the contrasting of mother and child, which is most interesting. Look at the way she has depicted the woman’s rough, reddened hand, which wraps around the child’s waist, with that of the soft skin of the child’s pudgy hands. This ruddy-faced depiction of the woman was viewed by the art dealers as something which would put off potential buyers and they often urged Elizabeth to make her depictions more “pretty” and thus, in their minds, more “saleable”. Needless to say, Nourse disagreed with their summation. In Anna Seaton Schmidt’s book, Elizabeth Nourse: The Work of an Eminent Artist in France, she quoted Elizabeth as saying to one dealer:

“…”How can I paint what does not appeal to me?…”

The Kiss (Le Baiser) by Elizabeth Nourse (c.1906)

Elizabeth Nourse had her drawings, watercolours and pastels regularly shown at the Salon as well as her works in oils but it was her works on paper that first brought her recognition there. In 1901 she was elected societaire (member) in that category and in 1904 a societaire in oil painting as well. This was a great honour and more importantly, it meant that her work was no longer juried prior to being accepted and that she herself could also serve as a Salon juror. This official approval by the Salon meant that her reputation spread and she received an increasing number of invitations to exhibit her work. An example of her drawings is her 1906 work entitled The Kiss (Le Baiser). It is a pastel and charcoal on paper, mounted on board and is housed at the Sterling and Francine Clark Art Institute (The Clark) in Williamstown, Massachusetts. It is such a delicate and loving portrayal of a mother and her child. I don’t think I have seen such a depiction of tenderness in a long while.

The Closed Shutters (also known as Les Volets Clos) by Elizabeth Nourse (1910)

In 1910 her painting Closed Shutters (Les Volets Clos) was exhibited at the Salon de la Société Nationale des Beaux-Arts. Many of Elizabeth’s works around this time showed how she was fascinated by the depiction of light, whether it be daylight or lamplight or firelight. In this painting we see bright sunlight streaming through wooden louvred window shutters into a dimly lit room. In the room we see a woman standing before a mirror. It is a masterful depiction of light and one of Nourse’s most famous work of art which was bought in 1910 by French Ministry of Fine Arts for its permanent collection of contemporary art to hang in the Musee du Luxembourg alongside works by other great American artists such as James McNeil Whistler, Winslow Homer, and John Singer Sargent. It is now part of the Musee d’Orsay collection in Paris.

After the success of her painting Closed Shutters she completed another impressionistic work which experimented and focused on the way the sunlight plays on different surfaces. In La reverie (Daydreaming) we see a woman, posed by her sister Louise, standing before an open window, lost in thought, as she stares down at a glass goldfish bowl. The interior is illuminated by the bright sunlight so much so that part of the interior where the woman stands and the exterior seem to be as one. The reflection of the woman can be seen in the glass of the open window frame behind her. Nourse executed the work using ingenious strokes of blue, green, and violet, and it reveals the skill Elizabeth showed when showing the multifaceted reflecting elements of glass and water. The style of painting was likened to decorative intimism, a style of painting showing intimate views of domestic interiors using impressionist techniques, a style used in the early 20th century by the likes of her contemporaries the French Post-Impressionist painter, Pierre Bonnard and the American Impressionist painter, Richard Miller who was a member of the Giverny Colony of American Impressionists.

Woman with cigarette by Elizabeth Nourse (1895)

In the fourteen year period before the onset of The Great War, Elizabeth Nourse was at the pinnacle of her artistic career which had started back in 1874 for the, then fifteen-year-old McMicken School art student. But with war, came change. The art scene changed. Art dealers in the major cities of the western world became ever more important with their regular exhibitions, diminishing the importance of the Paris Salon. The Germans had invaded Belgium in 1914 and France became a potential target causing almost all of the American expatriates to return to the safety of their homeland on the other side of the Atlantic. However, Elizabeth and her sister decided to stay in the French capital. In a letter to a friend back in Cincinnati in December 1914, Elizabeth wrote nonchalantly about her thoughts on a possible German invasion:

‘…We shall stick it out and retire to the cellar…”

On August 22^nd Louise Nourse also wrote a letter to her friend Melrose Pitman in Cincinnati explaining how the sisters had come to the decision to stay in Paris:

“…All the Americans are going but we will stay right here. I should feel an ungrateful wretch to run away—as though I fled from some hospitable roof when smallpox breaks out…”

Not only did the two sisters remain in Paris but they actively supported the people of Paris who had to deal with the influx of Belgium refugees fleeing the conflict in their country. With the collapse of the market for works of art, Elizabeth set about trying to help struggling artists to survive by appealing to her friends in America to donate funds. They worked tirelessly, so much so they both became ill and their doctor ordered them to leave Paris for a while and convalesce in the countryside.

Le frère et la soeur, Penmarc’h by Elisabeth Nourse (1901)

The two travelled to the coastal farming commune of Penmarc’h in Western Brittany. On arrival, they were shocked and saddened to discover that over sixty village women had been widowed by the war and all the remaining able-bodied men had had to leave the area for they had been conscripted to fight in the war. The lack of men in the commune meant that the women left behind not only had to care for their home and remaining family members but also had to cope with all the farm work. Louise and Elizabeth immediately set about helping the local women. An article by their friend Anna Seaton Schmidt in the September 2^nd edition of the Boston Evening Post quotes from a letter Elizabeth Nourse had sent to a friend in Cincinnati:

“…It is quite a sight to see us bringing in the cows and tossing the hay, besides feeding ducks, chickens and picking beet and cabbage leaves for the cattle…”

In 1919, the year after the Great War had concluded, the board of the New Salon presented Elizabeth with a silver plaque in grateful recognition for this work during the war.

The following year, 1920, Elizabeth became unwell and it was discovered that she had breast cancer. She underwent surgery but it left her seriously debilitated and prevented her from standing at the easel for long periods. When it was time to proffer a painting for the 1921 Salon she had nothing recently painted to give them and so put forward some works she had completed years earlier.

That year, 1921, she was honoured with the Laetare Medal, given annually to a Catholic layperson for distinguished service to humanity by the University of Notre Dame in South Bend, Indiana. The award ceremony was presided over by the Papal Nuncio in Paris, and the Paris edition of the New York Herald referred to Elizabeth Nourse as “the dean of American women painters in France and one of the most eminent contemporary artists of her sex” and the Chicago Tribune simply referred to her as “the first woman painter of America”. Elizabeth, although pleased to receive the award, did not like the comment by either of the newspapers. She spoke of it to her friend Anna Seaton Schmidt telling her that she wanted to be judged as an artist, not as a woman.

Her health continued to deteriorate and by 1924, at the age of sixty-five, she had given up exhibiting at the Salon. In 1937 Elizabeth was devastated when her sister and life-long companion Louise died, aged 84. The loss of her beloved sister caused her health to worsen further and eighteen months after her sister died, on October 8^th 1938, Elizabeth passed away and she and her sister were buried next to each other in their beloved Saint Leger–en Yvelines. Her remaining paintings housed in her studio were returned to Cincinnati.

Most of the information on the life of Elizabeth Nourse I have used is taken from Elizabeth Nourse: Cincinnati’s Most Famous Woman Artist an essay by Mary Alice Heekin Burke.

Daniel Ridgway Knight

In my last blog I looked at the life and works of the Social Realist painter Walter Langley and his depictions of the hard life endured by the Cornish fishermen and their loved ones. Today I am looking at an American artist whose paintings could not be more different. Daniel Ridgway Knight chose to depict pretty young women enjoying life. The depiction of these ladies in beautiful countryside setting, lit up by dazzling sunlight was, although very popular, so different to the work of artists of the Realism genre. So why would people want to buy paintings depicting scenes which in reality were just something we would like life to be? Maybe that is the answer to the question. Maybe whilst enduring real life with all its hardships we hanker after the perfect life even if it is just an imaginary idyll. If you had to choose a painting to hang on the wall of your lounge would it be one which depicts poverty or one which depicts sunny meadows awash with flowers and beautiful women?

The Well by Daniel Ridgeway Knight (1880)

Daniel Ridgway Knight was born into a strict Quaker home, on March 15th, 1839, in Chambersburg, Pennsylvania, a town thirteen miles north of Maryland and the Mason-Dixon line. He attended local schools and his family intended that he would either work in a local hardware store or in his uncle’s ship building company, but for Daniel his love of art was his overriding passion and in 1858, at the age of nineteen, he enrolled at the Pennsylvania Academy of the Fine Arts (PAFA). Fellow students at that time included Thomas Eakins, Mary Cassatt, and William Sartain. Knight also became one of the earliest members of the Philadelphia Sketch Club which was founded by six students of the Pennsylvania Academy of the Fine Arts in November 1860 and is still in existence today.

One of the PAFA students who became a friend of Daniel Knight was Lucien Grapon, a Frenchman, and he would often talk to Daniel about his homeland and how Daniel would love to live in France, with its great social life, fine ladies, and its even finer wines. Daniel must have been seduced by the thoughts of life in France as in 1861 he set sail for France, a journey many of his fellow PAFA students would later take. Cassatt and Eakins went to France in 1866.

Maria on the Terrace with a Bundle of Grass by Daniel Ridgway Knight

On arrival in Paris, Daniel Knight enrolled at the Ecole des Beaux-Arts and attended classes run by Alexander Cabanel as well studying in the atelier run by the Swiss artist, Marc Gabriel Charles Gleyre. During his time in Paris Knight made a number of friends with fellow artists such as Renoir and Sisley. He also took trips to the artist colony at Barbizon where he was influenced by the works of the plein air painters. His stay in France lasted just two years but was curtailed when he received grave news from home about the state of the American Civil War which had started the year he left for France. Even more worrying for Knight was that by 1863 the war had spread north with the soldiers of the Confederate army, led by General Robert E Lee invading his home state of Pennsylvania. In a patriotic gesture, twenty-four-year-old Knight returned to Philadelphia and on August 17th, 1864, enlisted in the Union Army as a Private in Company K, 5th Cavalry Regiment Pennsylvania. When not engaged in battle Knight took the opportunity to make sketches of the battle scenes as well as portraits focusing on the facial expressions of his fellow soldiers. Knight later presented many of his sketches at meetings of the Philadelphia Sketch Club.

Harvest Scene by Daniel Ridgeway Knight (1875)

At the end of the Civil War, Daniel was discharged from the Union army and he returned to Paris to complete his studies at the Ecole des Beaux-Arts. On completion, he went back home to Philadelphia and opened a workshop where he worked on his portrait commissions and also held classes for aspiring painters.

The Burning of Chambersburg, Pennsylvania by Daniel Ridgway Knight (1867)

In 1867 Daniel Knight completed an historical painting, The Burning of Chambersburg, Pennsylvania, which depicted an infamous incident in the Civil War. On July 30, 1864, Brigadier General John McCausland and 2,800 Confederate cavalrymen entered Chambersburg and demanded $100,000 in gold or $500,000 in greenbacks. The residents of Chambersburg failed to raise the ransom, and McCausland ordered his men to burn the town. Flames destroyed more than 500 structures leaving more than 2,000 homeless. Chambersburg was the only Northern town the Confederates destroyed. The attack inspired a national aid campaign and spurred the Union Army to a more aggressive approach that finally won the war.

Un Deuil (Bereavement) by Daniel Ridgway Knight,(1882)

It was at his Philadelphia studio that he first met Rebecca Morris Webster, the daughter of Colonel Thomas Webster Jnr, who was one of his students. On September 20th, 1871 the couple married in St Luke’s Church Philadelphia. For the next twelve months Daniel took on many portrait commissions and with the money he earned from them, he had enough for two boat tickets for himself and his wife and they returned to France where they would remain for the rest of their lives.

Ridgway Knight painting in front of the front facade of his house in Poissy, [1883]

Daniel and Rebecca first went to live in Saint Germain Des Prés, on Paris’ Left Bank and then later in 1872, they settled in Poissy, where Walter had bought a vast 17th century house. The property had belonged before him to the Arbien-Caulaincourt family. The house, which until the early 1920’s, was located at what is now, 24 avenue Meissonier and was sometimes referred to as the Abbey Castle.

Daniel Ridgway Knight in his studio (c.1889).

To ensure that he was able to capture the true colours of the daylight which may have been lost in studio painting he built a glass-enclosed studio, separate from the house, so he could paint comfortably “indoors” while still capturing the true colours fully in its natural surroundings. This would allow him to position his models there notwithstanding the weather conditions outside even during the coldest winter’s day, and still make the best use of the natural light. Such protection from inclement weather in a controlled environment made for a perfect studio. His models would be dressed in peasant costumes and sometimes he would actually use local girls to sit for him.

The Poissy enclosure of the abbey, years 1870-1880. From left to right, Meissonier’s house, Ridgway Knight’s house (center) and Notre-Dame collegiate church.
Photo Agnès Guignard

The French Classicist painter, Ernest Meissonier, had occupied the neighbouring property since 1846 and it still exists. Meissonier completed most of his paintings in his studio there as well as conducting art classes for his students. In the photograph above, dated around 1880, we see three buildings. On the left is Meissonier’s house, Daniel Ridgway Knight’s house can be seen in the centre and to the right is the Notre-Dame collegiate church, which was once the l’abbaye aux dames. It was a truly magnificent building which Knight spent years and much money on restoring and refurbishing it.

Article from The Decorator and Furnisher March 1886

The interior of his house was commented on, and a sketch made of the elaborate main staircase in the March 1886 edition of the New York published magazine The Decorator and Furnisher:

“… In our illustration will be seen a rough sketch of a fine old staircase in the house of the excellent painter Mr. Daniel Ridgway Knight, of Philadelphia, Mr. Knight has settled at Poissy (Seine-et- Oise), near his master Meissonier. His house is a part of the old Abbey of Poissy, a splendid dwelling, with lofty rooms, which Mr. Knight has filled with choice furniture and objects of art. The staircase, broad enough for four people to walk up it abreast, has an elegant wrought-iron balustrade, and Mr. Knight has completed the decoration with a fine old German wrought-iron lantern, the potence of which is peculiarly graceful and delicate in design. The walls of the staircase and entrance-hall are hung with red cloth, over which several fine pieces of tapestry are stretched, with, on the landings, a profusion of flowers and plants. -In the sketch the balustrade and the lamp alone appear; the accessories are barely indicated…”

The Knight family on the steps of their house in Poissy, [1883].

His neighbour was the painter Ernest Meissonier who had bought his large mansion which was sometimes known as the Grande Maison. The Grande Maison included two large studios, the atelier d’hiver, or winter workshop, situated on the top floor of the house, and at ground level, a glass-roofed annexe, the atelier d’été or summer workshop. Meissonier, not only became a good friend of Daniel Ridgway Knight but acted as his artistic mentor. Daniel Knight and his wife Rebecca went on to have three children, all boys. Louis Aston Knight was born in August 1873. His godfather and godmother were the son-in-law and daughter-in-law of Meissonier, Gustave Méquillet and Jeanne Gros. Louis became a very talented and successful landscape painter. Charly Meissonier Knight, was Rebecca and Daniel’s second child, born in 1877, and Meissonier himself was his godfather. He later became a well-known architect and made a speciality of restoration of houses in Paris and country chateaux. The youngest child, Raymond Knight, was born in 1878 but died at the age of thirty-six in 1914.

The Gleaners by Jean-Francois Millet (1857)

By 1874, Knight had to decide what he wanted to paint. In the early days he was happy with his historical paintings and on his return to Philadelphia after the Civil War he had made money with his portrait commissions but now he wanted to do something altogether different. That year he again visited Barbizon and saw the works of Jean-Francois Millet with his depiction of French peasantry and he believed he should follow this theme for his paintings. The one thing he didn’t like about Millet’s depictions was that Millet’s works were of the Realism genre and the artist had focused on the hardships suffered by the peasants.

Knight decided that his depictions of the peasantry would focus on the joys of the countryside and the happiness of the peasants whether they were at work or enjoying their leisure time. He was influenced by the works of the French artist, Jules Breton and, although he too is classed as a Realist painter, his depictions, which are also heavily influenced by the French countryside and the peasants working the land, are, in the main, a celebration of the beauty and idyllic vision of rural existence, as can be seen in the painting above, The Reapers which he completed around 1860.

Les Laveuses by Daniel Ridgway Knight (1875)

Meissonier was a great believer in Knight’s talent as an artist and one day set him a challenge to produce a large painting from a sketch he had made. The result was Les Laveuses (Washerwomen) which resulted in Knight’s first big success at the Salon in 1875.

Hailing the Ferry by Daniel Ridgway Knight (1888)

In 1888 Daniel Ridgway Knight painted several large paintings for major exhibitions, and Hailing the Ferry, was regarded as one of his masterpieces. When it was exhibited at the Paris Salon of 1888, it was awarded the third-class gold medal. He was also awarded a Gold Medal at the Munich Exhibition that same year for this work. It can now be seen at the Pennsylvania Academy of the Fine Arts. The depiction is of two peasant girls calling for the ferryman on the other side of the river. The beauty of this work is how Knight captured all the elements of the subdued light and colour, together with the way he added the finely detailed figures which highlighted his constant focus on detail.

Coffee in the Garden by Daniel Ridgway Knight (1924)

Daniel Knight’s genre scenes were very popular with buyers on both sides of the Atlantic and they enhanced his reputation as a great painter. One of his popular works was entitled Coffee in the Garden. The setting is the outside of a rural house/café. The pink and grey colour of the rough plaster of the building contrasts with the various colourful flowers in the window boxes and plant pots which brighten the building’s façade. In the background our gaze is carried along the River Seine. We can see the calm waters of the river meandering quietly on its journey along the wide valley towards the sea. In this work we see a group of three women sitting around a wooden table on cane-bottom chairs and a wooden stool. A young boy approaches them carrying a large pot of coffee. The ladies await patiently holding their empty porcelain cups in readiness. To the left we see a carved wooden table bearing a tureen of soup, a ladle, and a pile of empty shallow bowls. Next to the tureen are two empty bottles and a broken loaf.

Portrait de femme (Mme Knight ) by Daniel Ridgway Knight (1892)

In the mid-1890’s, Daniel Ridgway Knight signed a contract with the well-known and much respected art dealers, Knoedler, who had many galleries in New York and Paris. The company would act as sole agents to sell all his paintings. This was an added boost to his income stream and shortly after the contracts were signed Knight decide to buy another large house.

Julia in the Corner of the Garden by Daniel Ridgway Knight

It was around 1896 that Daniel Knight and his family left their home in Poissy to live in their new home at Rolleboise, some forty kilometres down river from Poissy. The Knight family’s new residence had breathtaking views of the River Seine as it was positioned atop an elevated headland overlooking the river. His home had a beautiful garden and terrace that overlooked the Seine and it was that view that often appeared in his painting. It was a stunning vista which overlooked the cascading rooftops below, and, all the way along the River Seine which flowed between miles and miles of fields, meadows, and lines of trees. Besides carrying on with his own paintings, Knight held classes at his house for aspiring artists and this led to the foundation of the Rolleboise School.

The Sheperdess of Rolleboise by Daniel Ridgway Knight (1896)

One of his first paintings after he moved to his new home was his 1896 work, The Shepherdess of Rolleboise. In the painting, which combined a grey and silver palette, we see a French shepherdess. Her youth and loveliness are seen against a pastoral background on the bank of the River Seine. As she gazes out at the water her charges feed themselves on the grassy bank. The work was exhibited at the 1896 Salon and was well received. It was Knight’s take on peasant life that appealed to the many American buyers who would rather witness the beauty and romanticism of peasant life rather than the harsher realities of their lives depicted by the Realism painters of the time. Knight’s work was closer to the Naturalism genre which was practiced by the great French painter, Jules Bastien-Lepage.

A Garden above the Seine, Rolleboise by Daniel Ridgway Knight

In 1889 Knight was awarded a Silver Medal at the Paris Exposition and was knighted in the Legion of Honour, and later in 1914, becoming an officer. In 1896 he received the Grand Medal of Honour at the Pennsylvania Academy of the Fine Arts.

Daniel Ridgway Knight died in Paris on March 9th, 1924, a week before his eighty-fifth birthday. Ridgway Knight’s paintings continued to be popular in the twentieth century, particularly in America and still, even now, realise high prices at auction.

Unemployed by Ben Shahn

My featured artist today was quite unknown to me. I came across him and his paintings when I was flicking through an art book looking for information regarding another painter. One painting stood out from the rest and I have made it My Daily Art Display featured painting of today. There was something very haunting about the picture with its great sense of realism and I had to find out more about the work and the artist, Ben Shahn.

Ben Shahn was at the forefront of the American Social Realist art movement of the 1930s, a grouping, which included the likes of artists of the Ashcan School, many of whom I have featured in earlier blogs. Social Realism is a term used to describe visual and other realistic art works which record the everyday conditions of the working classes and mainly feature the life of the poor and deprived and how they had to live. The works are a pictorial criticism of the social environment that brought about these conditions. Social Realism has its roots back in the mid-19th century and the Realist movement in French art. Twentieth century Social Realism refers back to the works of the French artist such as Courbet and his painting Burial at Ornans or Millet’s great work The Gleaners. Social Reailsm art became an important art movement in America during their Great Depression of the 1930’s.

The art of the Social Realist painters often depicted cityscapes homing in on the decaying state of mining villages or broken-down shacks alongside railroad tracks. Their art is about poverty and the hardships endured by the ordinary but poor people. Often the works would focus on the indignity suffered by the poor and how they would work hard for little recompense. The depiction of this inequality of course implied a criticism of the capitalist society and capitalism itself. The Social Realist painters of America did not want their works to focus on the beauty of their country as portrayed by the likes of the Hudson River School painters. For them, to get their message across to the public, their works needed to depict the industrial suburbs with its grime and unpleasantness or the run-down farming communities with their broken-down buildings. Occasionally these artists would depict the rich in their paintings but they were only included for satirical reasons.

Ben Shahn was born in Kovno, Lithuania in 1898 and was the eldest of five children of an Orthodox Jewish family. His father, Joshua, was a woodcarver and cabinet maker. In 1902, probably because of his revolutionary activities, his father was exiled to Siberia. His mother, Gittel Lieberman, and her children moved to Vilkomir, which is now the Lithuanian town of Ukmerge. Four years later, in 1906, Shahn’s mother and three of her offsprings emigrated to America and settled in Brooklyn with Joshua who had already fled there from Siberia. Ben Shahn original artistic training was as a lithographer and then as a graphic artist.

At the age of twenty-one Shahn went to New York University and studied biology. Two years later he transferred to City College of New York to study art and then moved on to the New York National Academy of Design which is now known as The National Academy Museum and School of Fine Arts.

In 1924 Shahn married Tillie Goldstein and the two set off on a long journey of discovery taking in North Africa and the traditional artist pilgrimage of the capital cities of Europe taking in the works of the great European modern artists of the time such as Matisse, Picasso and Klee. He had not been won over by their art or the European Modernist art scene and soon felt less influenced by their work and preferred to follow the style of the Realists painters especially those who showed a concern for the plight of the downtrodden. Shahn was inspired by the likes of the photographer Walker Evans, the Mexican communist painter Diego Rivera and the French Realist painters. It was with Rivera that Shahn worked on the public mural at the Rockefeller Centre, which was to cause such controversy and had to be hidden from public view and eventually destroyed.

As a political activist Shahn became interested in newspaper photography. Photography was to act as his source material for some of his paintings and satires. During the 1930’s he was engaged in street photography himself, recording the lives of the working-class and immigrant populations and the hardship of the unemployed. Over the years Shahn, with his trusted 35mm Leica camera, built up a large collection of photographs which poignantly recorded the horror of unemployment and poverty during the Depression years.

My Daily Art Display featured painting is simply entitled Unemployment and was completed by Shahn in 1934. Shahn exhibited many paintings and photographs which highlighted the plight of the unemployed and homeless especially during the time of the Great Depression. Before us stand five men, all purported to be out of work. They look down on their luck. Their black eyes stare out at us. They stand upright trying to muster a certain amount of dignity despite the hopelessness of their situation. In some of their faces we see a look of desperation and fear of what their future may hold. The man in the right foreground has his arms folded across his chest. His look is more defiant almost questioning the viewer about what they intend to do about his plight. One man has a makeshift patch on his eye which makes him look even more vulnerable. I suppose Shahn and other Realist painters believed that through the moving nature of the subjects of their works it would help remind everybody of the horrors of life we could face and counsel us to avoid similar pitfalls in the future. Sadly, as in the case of war with its tragedies and horrors, we rarely learn by our mistakes and seem to always repeat our mistakes. There seems to be little we can do but shake our heads sympathetically as we view these Social Realist paintings and can only hope that we ourselves are never touched by similar tragedies.

McSorley’s Bar by John Sloan

I have looked at many paintings which have featured inns and taverns but they have been mainly been depictions of rural scenes with peasants in the Netherlands and Flanders and were painted by the Dutch and Flemish painters centuries ago. Today, for a change, I am looking at a genre painting of a tavern scene but this is not really a tavern, more what we British would call a pub or Americans would term a bar or a saloon. The title of the painting is McSorley’s Bar and was painted by the American artist John French Sloan. Sloan was originally a member of a group of artists who had the strange collective name of The Eight and later he became a leading figure in the Ashcan School of realist artists. I have featured works by these artists in earlier blogs and if you enter either Ashcan School or Robert Henri or George Bellows into the “Search” function at the right of this blog it will give you a little bit of history about these artist groups.

John French Sloan was born in New York in 1871. His father James had had an interest in art, but as only as a hobby but he did encourage his children to draw and paint during their early years. Sloan’s father struggled to find gainful employment moving from one job to another without ever making a fortune. He married, Henrietta, a girl who had come from a much more financially prosperous family and who was a teacher. James Sloan suffered a mental breakdown when John was seventeen years of age and consequently was unable to work and the burden of supporting the family fell on to the shoulders of the seventeen year old John. For this reason, John Sloan had to leave school and find a job in order to bring in some money for the family.

Sloan was employed in a local bookstore as an assistant cashier. The job was not very taxing and the young man had time to read the books that were on sale at the emporium and also spend time studying the artistic prints that it also held. It was during this time that Sloan started to make pen and ink copies of some of the prints and the store owner liked them so much that he allowed Sloan to put them up for sale in the store. Two years later in 1890 Sloan moved on to work in a stationery store where he used to design calendars and greeting cards. Sloan had now found the joy of art and enrolled in an evening art class. Buoyed by his artistic successes he left the stationers and set himself up as a commercial artist but his well-intentioned venture failed and he took a job as an illustrator at the local newspaper offices of The Philadelphia Enquirer, later he would work for the rival newspaper, The Philadelphia Press. He continued his artistic tuition in the evenings by enrolling at the Pennsylvania Academy of Fine Arts. It was here he met and became friends with fellow artists such as William Glackens and Robert Henri who became Sloan’s mentor, sending him reproductions of works by the French Impressionists and the leading European Renaissance painters, for him to copy.

When Sloan was twenty-seven he was introduced to a young woman with a somewhat chequered history, Anna Maria Wall, known affectionately as Dolly. Sloan, who was very naive, very self-conscious and lacked the social graces which would gain him female companionship, met Anna at a brothel. Although she worked in a department store during the day, she supplemented her meagre income by working in a brothel at night. She needed the extra money to feed her other vice; she was also an alcoholic but despite all this he fell in love with her and they started, what one can imagine, was a “challenging” relationship.

Their relationship did prove difficult as Anna not only suffered the effects of excessive and prolonged alcohol intake, she suffered from alcohol-related mental problems and insecurity often believing Sloan was about to leave her. In 1906 Sloan sought medical advice and was advised that he needed to constantly support Anna and show how much he needed her. Between them they devised a plan by which Sloan would keep a dairy and in it he would write down each day how much he loved Anna and wanted to be with her and then leave the diary somewhere where she was bound to find it and surreptitiously read his journal entries and by doing so put her mind at rest. He wrote daily entries for seven years until 1913. Despite these problems, Sloan’s artistic work continued well and he was producing numerous oil paintings. In 1904 he moved to New York and went to live in Greenwich Village and although relying on money he received from his freelance work for The Philadelphia Press newspaper, he supplemented that with money he earned for his book and magazine illustrations. It was whilst living in New York, in 1912, that he painted today’s featured work McSorley’s Bar. He exhibited it at the 1913 Armory Show, an exhibition of modern art which had been organised by the Association of American Painters and Sculptors. This turned out to be a landmark exhibition which opened the eyes of the New Yorkers to this new modern art and the likes of cubism, who up till then had been accustomed to realistic art. Sloan’s painting never sold and in fact remained unsold until 1932 when the Detroit Institute of Arts purchased it. This was the first painting by Sloan to be part of a museum collection and was probably one of his best.

This painting was very typical of works by John Sloan in which he liked to depict the energy and life during the early years of the twentieth century of New York City and its inhabitants. Sloan was a socialist and a member of the Socialist Party and had great empathy with the less well-off and their demanding and troubled existences. His paintings would show the city’s people in different places and situations on the city streets and occasionally, like today’s painting, he would depict people in interior settings, such as cafés or bars as they discussed among themselves their everyday existence.

The painting today shows the interior of McSorley’s Bar with its clientele standing at the bar. John Mc Sorley opened his Manhatten establishment on East Seventh Street in 1854 and during its existence in the nineteenth century, was an all-male bar. From around 1912 it became a regular haunt of John Sloan and his Ashcan School artists. The bar Sloan depicted was somewhat rough and inhospitable. It was always frequented by a great mix of people of various social classes and even today carpenters and mechanics rub shoulders with Wall Street brokers and local politicians. John Sloan completed five paintings of the interior of the bar between 1912 and 1930 and these certainly increased the popularity of the establishment. Today, McSorley’s bar draws visitors from around the world. Its fame as New York’s oldest bar assures its survival and a 1970 court order guarantees that women are as welcome as men! It’s a museum-like place. One can go there to drink a pint of ale and survey relics of a past era.

In 1943, Sloan’s wife, Dolly, died of coronary heart disease. The next year, Sloan married Helen Farr, who is responsible for most of the preservation of his works. Part of this was the diary he wrote between 1907 and 1913 for his first wife, Dolly, to read and which were lovingly collated and published in 1965. They gave a marvellous insight into Sloan’s life and his thoughts during those turbulent times.

On September 7, 1951 John Sloan died at the age of 80, of cancer in Hanover, New Hampshire. John French Sloan was a leading figure in the Ashcan School of realist painters and was somebody who embraced the principles of socialism and allowed his artistic genius to be used to benefit those fervently upheld values. His paintings sadly rarely sold during his lifetime and teaching at the Art Students’ League, of which he became its director in 1931, was his principal income.

To learn more about McSorley’s Bar why not go to their website:

http://www.mcsorleysnewyork.com/

Blue Snow, The Battery by George Bellows

A few days ago I featured the art of Samuel Luke Fildes who in his early artistic days was a Social Realist painter. His paintings and illustrations for The Graphic magazine dwelled on the plight of the poor in his native England and what they had to endure. Today I am featuring an American artist of around the same era who wanted to paint pictures of real life in New York City. He is George Wesley Bellows, the American realist painter.

George Bellows was born in Columbus, Ohio in 1882 and after passing through the various school years arrived at Ohio State University at the age of nineteen. It was here that his sports prowess came to the fore and at one time it was thought that he may take up baseball professionally. During his time at the university he funded himself by working as a commercial illustrator. However Bellows had one aim in life and that was to become an artist, so much so, that he quit the university just before he was due to graduate and moved to New York to study art.

He enrolled in the New York School of Art and became a student of Robert Henri. It was through Henri that Bellows came into contact with a group of artists known as The Eight and later became paert of The Ashcan School. The Eight was a group of artists whose fame derives from, and for what they will always be remembered for, their one and only joint exhibition in 1908 at the Macbeth Gallery in New York. The exhibition was a sensation and it is now looked upon as one of the most important events in the development of twentieth-century American art

The Aschcan School was a loose collection of realist painters associated with Robert Henri. The term “Ashcan” was first used by Art Young the American socialist writer and cartoonist when he was writing about this art movement. They were however unified with their desire to be truthful with their art and depict the city of New York and its working-class neighbourhoods as it was and not just an idealised and formal portrayal of these suburbs. They wanted us to see life in the raw. The scenes of the city painted by Bellows highlighted the crudity and disorder of life amongst the working class. This was American Realism, and he and his fellow Ashcan artists believed that their art should be similar to journalism showing the city as it was, “warts and all”. In a way this group, including Bellows was determined to rebel against American Impressionism which was so popular at the time. Their art did not focus on light but in general their art was darker in tone and brought the seamier side of life to the fore with subjects such as prostitution, drunks and overcrowded tenements cluttered with lines of washing. Bellows also painted pictures of boxing matches which with their dark and atmospheric backgrounds brought out the bloody savagery of the sport. In some of their works they depicted the poor and their struggle with everyday life. These were the equivalent to the English Social Realism genre of art of which Samuel Luke Fildes was a leading figure.

The painting of George Bellows I am featuring today is not one of his Social Realism paintings. My featured painting of George Bellows is entitled Blue Snow, The Battery which he completed in 1910. The setting for the painting is Battery Park which lies adjacent to the financial district of the city. There is a breathtaking beauty about this work of art. His imaginative and powerful use of blue energizes the scene of the southern tip of Manhattan. Bellows painted a number of scenes with New York City under snowfall and as with my featured painting it is amazing how he has developed a strong sense of light and visual texture contrasting the white and blue of the snow and the dark grimy outline of the old buildings. It is a beautiful strong composition which is normally housed at the Columbus Museum of Art.

Bellows went on to teach at the Art Institute of Chicago but spent half the year at the home he built in Woodstock, New York. He illustrated novels including a number for H G Wells. In 1925, at the young age of 42 he died of peritonitis after failing to tend to a ruptured appendix.

I hope to see some of his art when I visit the National Gallery in London tomorrow where thay have a small exhibition of works by George Bellows and the Ashcan painters, entitled An American Experiment.