Saturday 24 November 2012

Ashcan School – Everett Shinn part 1

Continuing the intermittent theme on the New York "Ashcan School." See also William Glackens, Robert Henri, and George Luks (in the index). 
The next artist I'm featuring is Everett Shinn.

Self-Portrait 1901 
pastel on paper

Everett Shinn (1876 – 1953) was born in Woodstown, New Jersey, a large Quaker community. His parents were rural farmers. Shinn left Woodstown at the age of fourteen and enrolled at a technical institution known as the Spring Garden Institute in Philadelphia from 1888-1890. The school specialised in the teaching of mechanical drawing and architecture and was also attended by fellow member of “The Eight,” John Sloan. Following his education, Shinn spent a year working at the Thackery Gas Fixture Works designing light fixtures. After being fired for doodling in the margins of his plans, his former employer urged him to go into a more creative field, citing the newspaper and magazine industries as examples.

He began his work for the Philadelphia Press in 1893 as an illustrator. Many, including Shinn, consider this the true beginning of his art career. In later years, Shinn would express his great dismay over the development of photography as the major source of pictorials in newspapers because it eventually largely replaced his form of art. He continually moved from paper to paper for the rest of his illustrating career, receiving a pay increase with each move. The attention to detail necessary for his newspaper illustrations is reflected in his style and later paintings, especially those of urban nature. 

Shinn has said of his experience at the Philadelphia Press: "In the Art Department of the Philadelphia Press on wobbling, ink-stained drawing boards William J. Glackens, George Luks, Everett Shin and John Sloan went to school, a school now lamentably extinct…a school that trained memory and quick perception."

It was during Shinn's time in Philadelphia that artists John Sloan and Joseph Laub established the Charcoal Club as an alternative art school. The group, whose members were members of "The Eight" such as Henri, Sloan, Glackens, Luks and Shinn, reached a peak membership of 38 and sketched nudes and did critiques of each others work. The club is often thought of as the establishing point of the Philadelphia group, later known as ‘The Eight’.

In 1897, Shinn was offered a higher paying job as an illustrator for the New York newspaper, The World. He moved there and was joined shortly there after by his wife, Flossie, and by other members of the Charcoal Club. Shinn enjoyed living in the city and observing the eccentric daily hustle and bustle exemplified by living in New York. Much of Shinn's life and opinions were reflected in his work. His life in New York was a major subject in many of his paintings. Shinn often depicted scenes of drama and violence, rallying for social change and urban understanding. Coinciding with the dramatic themes found throughout his work, theatre was also a major subject in Shinn's pastels.

In 1899, he quit the newspaper business and began working for Ainslee's Magazine, a magazine that also employed his wife, who was by that time a very successful illustrator and who brought in a good deal of the household income. Shinn also started displaying his work publicly in 1899 with mixed reactions. In 1900, he and Flossie travelled to Europe for him study and prepare to produce another exhibit. The trip greatly influenced his art in years to come during his visit, he saw European art that was focused on theatrical portrayals, as well as impressionist works.

He suffered many losses during the Great Depression and sold very few paintings during that time. Between 1910 and 1937, Shinn held only one exhibition of paintings at Knoedler's in 1920. Between 1937 and his death in 1953, Shinn received several awards commending his innovative paintings and participated in several exhibitions. He died of lung cancer in 1953.

This is part 1 of a 3-part post on the works of Everett Shinn:

1898 Snow Storm, Madison Square, New York 
pencil and pastel 57.8 x 65.7 cm

c1898 New York Harbour 
pastel 21.6 x 33.7 cm

1899 Street Scene at a Fire 
printed illustration 16 x 18 cm

1899 Chinese Restaurant 
gouache on paper 21.6 x 33.7 cm

1899 Horse-drawn Bus 
pastel on paper 55.2 x 74.9 cm

1899 Madison Square and the Dewey Arch, Cross Streets of New York 
pastel, watercolour and gouache on board 74.3 x 46.3 cm

1899 Magazine Poster

1899 The Fight 
ink and watercolour on paper 21 x 33.7 cm

1899 Winter on 21st Street, New York 
pastel on grey paper 51.8 x 61.9 cm

c1899 Fifth Avenue 
mixed media on paper 51 x 41 cm

1900 Back Row, Follies Bergere 
pastel on paper 52 x 69 cm

1900 Fleishman's Bread Line 
pastel and watercolour on paper 21.6 x 34.3 cm

1900 Print from Harper's Weekly magazine 
35 x 23 cm

1900 Progress of the Work on the Underground Railroad 
printed illustration from Harper's Weekly 17 x 22 cm

c1900-05 Sullivan Street 
oil on canvas 20.3 x 25.4 cm

c1900 All Night Café 
pastel, watercolour and graphite on paper 25 x 33.8 cm

1901 Broadway, Late in the Afternoon 
printed illustration from Century magazine 15 x 19 cm

1901 Cabs on the Fifth Avenue Side of Madison Square 
printed illustration from Century magazine 15 x 19 cm

1901 The Docks, New York City 
pastel on paper 39.4 x 55.9 cm

1902 Spanish Music Hall

1902 The Hippodrome, London 
oil on canvas 66.9 x 89.4 cm

1902 The Singer 
oil on canvas 66.7 x 44.1 cm

1902-06 Keith's Union Square 
oil on canvas 51.6 x 61.6 cm

1903 34th Street 
pastel on paper 22.9 x 33 cm

1903 Girl in Bathtub 
pastel on paper 40.6 x 35.6 cm

1903 In the Loge 
oil and pastel on canvas 64.8 x 43.5 cm

1903 Steps Between Houses Paris Street 
pastel on paper 53 x 71 cm

1903 Theatre Scene 
oil on canvas 55.9 x 63.2 cm

1903 Window Shopping 
pastel on paper 36.2 x 45.72 cm

1904 Eviction ( Lower East Side ) 
gouache on paper 21.3 x 33.3 cm

1904 Matinée Crowd, Manhattan 
pastel and gouache on illustration board 46.4 x 27.9 cm

1904 The Tightrope Walker 
pastel on board 30.5 x 33 cm

1904 The White Ballet 
oil on canvas 74.9 x 93.3 cm

1905 Concert Stage 
oil on canvas 41.9 x 50.8 cm

1905 Outdoor Stage, France 
oil on canvas 62.9 x 54.6 cm

1905 Saturday Night 
watercolour and pastel on paper 45.1 x 60.3 cm

c1905-06 Rehearsal of the Ballet 
oil on canvas 45 x 67 cm

1906 A French Music Hall 
oil on canvas 61 x 74.9 cm

Thursday 22 November 2012

Vincent van Gogh drawings - part 5

Self-Portrait 1889 
oil on canvas 65 x 54 cm

This is part 5 of a 5-part post on the drawings of Vincent van Gogh (1853 - 1890). Vincent van Gogh's more than 1,100 drawings remain comparatively unknown, although they are among his most ingenious and striking creations. He engaged drawing and painting in a rich dialogue, which enabled him to fully realise the creative potential of both means of expression. For more notes on van Gogh's drawings see part 1. For earlier works see parts 1 - 4 also. 

Note: Where a drawing relates to a finished oil painting I have also shown the painting:

1888 Thistles Along the Roadside 
pencil, pen and ink

1888 View of Arles from a Hill 
pen and ink 48.6 x 60 cm

1888 View of Saintes-Maries with Church and Ramparts 
pen and  ink 43 x 60 cm ( see painting below )

1888 View of Saintes-Maries 
oil on canvas 64 x 53 cm

1888 Vincent's House in Arles ( aka The Yellow House ) 
pen and ink 13 x 20.5 cm ( see watercolour below )

1888 Vincent's House in Arles ( aka The Yellow House ) 
pen and watercolour 25.5 x 31.5 cm

1888 Wheat Field with Setting Sun 
pen and ink ( see painting below )

1888 Wheat Field with Setting Sun 
oil on canvas 74 x 91 cm

1888 Wheat Field with Sheaves 
pen and ink

1888 Wheat Field with Sheaves 
pen and ink 24.2 x 31.7 cm ( see painting below )

1888 Wheat Field with Sheaves 
oil on canvas 55.2 x 66.6 cm

1888 Wheat Field with Sheaves and Arles in the Background 
pen and ink 31.7 x 24.2 cm

1888 Wheat Field with Sheaves and Arles in the Background 
pencil, pen and ink on paper

1889 A Corner of the Garden of St. Paul's Hospital at St-Remy 
pencil, black chalk and ink 62 x 48 cm

1889 Corridor in Saint-Paul Hospital 
chalk and gouache 61 x 47.5 cm

1889 Cypresses 
pencil, pen and ink 62.3 x 46.8 cm ( see painting below )

1889 Cypresses 
oil on canvas 93.3 x 74 cm

1889 Enclosed Field behind Saint-Paul Hospital, Rising Sun black 
chalk, pen and ink 47 x 62 cm

1889 Fountain in the Garden of Saint-Paul Hospital 
chalk, pen and ink 49.5 x 46 cm

1889 Mountain Landscape Seen across the Walls 
pen and ink

1889 Olive Orchard 
pen and ink

1889 Olive Trees in a Mountain Landscape 
pencil, pen and ink

1889 Starry Night 
pen and ink ( see painting below )

1889 Starry Night 
oil on canvas 73.7 x 92.1 cm

1889 The Courtyard of the Hospital of Arles 
pencil, pen and ink 45.5 x 59 cm

1889 The Park at Arles 
black chalk, pen and ink 49 x 61.5 cm

1889 Tree with Ivy in the Asylum Garden 
pencil, pen and ink

1889 Trees with Ivy 
pencil, pen and ink

1889 Wheat Field with Cypresses at the Haude Galline near Eygalieres 
chalk, pen and ink 47 x 62 cm ( see two paintings below )

1889 Wheat Field with Cypresses at the Haude Galline near Eygalieres 
oil on canvas 51.5 x 65 cm

1889 Wheat Field with Cypresses at the Haude Galline near Eygalieres 
oil on canvas 73 x 93.5 cm

1889 Wild Vegetation in the Mountains 
pen and ink

1890 A House at Auvers 
pencil and chalk on paper

1890 Cottages with a Woman Working in the Foreground 
charcoal, pastel, pen 47 x 62 cm

1890 Houses among Trees with a Figure 
black chalk

1890 Landscape with Cottages 
pencil and watercolour

1890 Landscape with Houses among Trees and a Figure 
charcoal, wash heightened with opaque white

1890 Mademoiselle Gachet at the Piano 
black chalk

1890 Old Vineyard with Peasant Woman 
pencil and wash

1890 Sun over Walled Wheat Field 
black chalk, pen and ink heightened with opaque white

1890 Women Working in Wheat Field 
black chalk