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Joseph Stella, "The Brooklyn Bridge," from "The Voice of the City of New York Interpreted," 1920-22. Oil and tempera on canvas. 88 x 54 “
Human and machineThe spiritual, the emotional in the mechanical,the urban
A New Divinity
Charles Sheeler, American Landscape,1930, o/c, 24 x 31”
Precisionism
Criss-Crossed Conveyors,
one of the most famous industrial images of the 20th century.
Sheeler, Ford Rouge, Michigan,Late 1920s
Cultural Nationalism – the rural, the local, the folk, the past
Thomas Hart Benton, Slaves, 1924–27, Oil on cotton duck mounted on board, 66 x 72”
Thomas Hart Benton, Industry (Women Spinning) 1924–27, Oil on canvas, 66 x30”
Matthew Josepson
artist and his/her milieu
Advertising as American exceptionalism
Industry, mass production, advertising
Adverts: virility “The American athlete, lover of unwarlike violence and motion is supreme in a collection of automobile announcements. His bronzed, handsome, genial visage gleams unblemished in such a statement as …….” (follows transcription of sports car advert) p. 62
(See Italian Futurism, Boccione)
Holger Cahill: Kabotie
StereotypingPatronizingAssimilationAppropriation
No contextThe white’s idea about the IndianRomanticizing/patronizing
Cultural primitivism
See definition by Arthur Lovejoy, p. 63
Edward Alden Jewel: Motley
Elemental heart of the raceAfrican forest Brutality/ SlaveryGaietyChild-like abandon
Search-Light: Georgia O’Keeffe
Dark desires, simplicitySmiles, maternal splendor
Peasant, strong hipped, esoteric Wisdom
1923
Red Canna, 1923
Iris, 1929
Against cultural primitivism
Aaron Douglas, Aspects of Negro Life: From Slavery Through Reconstruction, 1934, oil on canvas, 5 x 11’
Archibald Motley, The Jockey Club, 1929, o/c