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Chapter 15.4Social Realism
Social Realist artists created pictures meant to attack the dehumanization of industrial and urban life. The idea of
artwork serving political protest was not new to the world, but it was a particularly
strong movement during the Great Depression of the 1930s — a period of
widespread economic distress and political upheaval.
Ben Shahn (1898-1969) Handball, 1939, tempera, 22 x 32”
The political message of this picture is not as direct as some other images; the artist is suggesting the waste of human resources when
unemployment is high. Sport here is more about killing idle time rather than having fun.
Ben Shahn (1898-1969) A versatile visual artist, Shahn took photographs of the American people in his
travels across the country. He borrowed from these for painted images without slavishly reproducing photographic
detail; he flattens form for dramatic impact in a manner which suggests the simplicity of folk art.
Ben Shahn (1898-1969) Shahn often depicted circumstance of worker unrest, labor union
protests, and damaging violence.
Ben Shahn (1898-1969)
Shahn often depicted
circumstance of worker
unrest, labor union
protests, and
damaging violence.
Ben Shahn (1898-1969) Shahn’s clear,
graphic style
readily lent itself to practical
use as
illustration for print media.
Ben Shahn (1898-1969) Shahn’s
work also depicted human
suffering experience
d in the aftermath of natural disasters.
Reginald Marsh (1898-1954) Oil on canvasMarsh painted the people of the New York City streets during the 1930s. He conveys a sense of energy, crowds and garish artificial
city lights.
Reginald Marsh (1898-1954) The Normandie, 1953, watercolor on paper, 30 x 50”
Reginald Marsh (1898-1954) Watercolor on paper
Reginald Marsh (1898-1954)
Isabel Bishop (1902-1954) Oil on canvasBishop developed a personal style of realism. She taught at the Art Students
League, and often painted working women in the Union Square neighborhood where she had a studio.
Isabel Bishop (1902-1954) Oil on canvasBishop developed a personal style of realism. She often painted working
women in the Union Square neighborhood where she had a studio.
Isabel Bishop (1902-
1954) Oil on canvas
Bishop developed a
personal style of realism. She often painted
working women in the Union Square neighborhood where she had
a studio.
Isabel Bishop (1902-
1954) Oil on canvas
Bishop developed a
personal style of realism. She often painted
working women in the Union Square neighborhood where she had
a studio.
Jacob Lawrence (1917-2000) Gouache and watercolor Lawrence combined intense colors with a modern use of contour shapes to
present a narrative addressing the experience of working class African Americans.
Jacob Lawrence (1917-2000) Gouache and watercolor Although the objects are presented as flat shapes, Lawrence implies the illusion
of space by his use of overlapping forms, and placement at angles which suggest
perspective.
Jacob Lawrence (1917-2000) Gouache and watercolor Lawrence manipulates the relative scale of objects within his carefully
cropped images to suggest the illusion of spatial depth.
Jacob Lawrence (1917-2000) Gouache and watercolor Bold, colorful rhythmic patterns maintain visual interest,
reinforcing the narrative intent of the imagery.
Jacob Lawrence (1917-2000) Gouache and watercolor Lawrence presented images of working class African-Americans which
hadn’t been previously seen in the professional art world.
Jacob Lawrence (1917-2000) Gouache and watercolor Lawrence was able to imply detailed information by skillfully activating flat forms and colors within a carefully controlled composition.
Jacob Lawrence (1917-2000) Lithograph print The repeated visual elements of hand saw and lumber create a lively visual pattern — while simultaneously establishing the interior space of the room.
All detail has been eliminated.
George Tooker (b. 1920) Government Bureau, 1956, Egg tempera, 19 x 29” Specializing in a meticulous egg tempera
painting format, Tooker created dream-like images of alienation and loneliness. He utilized precise shapes, particular light, and exacting
perspective.
George Tooker (b. 1920) Egg tempera Tooker created dream-like images of urban alienation and loneliness. Many subway stations in New York City contain complex spaces such as the one seen here.
George Tooker (b. 1920) Egg tempera Tooker’s nightmarish fantasy images employ convincingly realistic light and space.
These unpleasant places are painted with beautiful, glowing colors.
George Tooker (b. 1920) Egg tempera Many of Tooker’s spaces are impossible and irrational.
This may add to the viewer’s discomfort.
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