By Erika Doss
American paintings of the 20th-21st Centuries charts the evolution of yankee artwork from the Eighteen Nineties via at the present time. Guided via 3 major themes--modernism, migration, and mobility--the textual content highlights the construction, dissemination, and intake of recent and modern American artwork in numerous settings. Erika Doss explores quite a lot of media inside cultural, fiscal, political, social, and theoretical contexts and considers the various types, cultures, identities, and geographies that represent American paintings on the way to upload definition to the wider inspiration of "America."
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Prize ﬁghting was illegal at the time but clever promoters circumvented the law by holding lucrative matches in private ‘clubs’ for ‘members’ only; hence the title’s reference. Focusing on the violent collision of competitive masculine bodies and the bloodlust of their avid fans, Bellows captured the early modern emphasis on brute force and raw energy. The bloody action inside the ring and the grotesque savagery of the crowd also alluded to the deep racial tensions in this era of Jim Crow, and the subordination and separation of black Americans, especially in the South [see textbox in Chapter 1].
44 early american modernism The Art Spirit It was Robert Henri who most forcefully persuaded Sloan and the other Ashcan artists to shift from newspaper illustration to oil painting. If there was a leader of this eclectic group of independents, it was the charismatic Henri (1865‒1929). The youngest son of a riverboat gambler and real-estate speculator, Henri (born Robert Henry Cozad) was raised in Cozad, Nebraska, a town founded by his father. The budding artist was uprooted in 1882 when his father killed a man, apparently in self-defence, and the family ﬂed to the East Coast and changed their names.
Despite critical condemnation, the Armory Show sparked American aesthetic experimentation and encouraged a new generation of US patrons sympathetic to contemporary cultural directions. Modelled on Gertrude Stein’s circle of friends in Paris, literary and artistic salons were formed in New York: those of wealthy intellectuals Walter and Louise Arensberg; socialite and Socialist Mabel Dodge; and artist–activist Katherine Dreier, who founded the Société Anonyme, Inc. in 1920, the ﬁrst American museum entirely devoted to the display 25 Florine Stettheimer Portrait of Marcel Duchamp, 1923 Artist, stage designer, and sophisticated cultural observer, Stettheimer captured the personalities who frequented her Upper West Side salon.