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I just liked how so many, many desperate parts combine to make a coherent picture.
Here Claude Monet's future wife, Camille Doncieux, sits on an island in the Seine River, looking toward the hamlet of Gloton, next to the town of Bennecourt, from which she and Monet have presumably rowed. This is the only painting to survive from the brief period that the couple spent in Gloton, which the novelist Emile Zola recommended to Monet as a cheap rural retreat that was easily accessible from Paris. Pentimenti (underpainting) suggest that in an early stage of the painting, Camille held a bonneted child, presumably the couple's baby, Jean.
One of America's best-known Regionalists, Thomas Hart Benton was a painter, muralist, printmaker, teacher, and writer. After studying at the School of the Art Institute of Chicago, he went to Paris In 1909, where he met Diego Rivera. Upon his return to the United States, he devoted himself to scenes of everyday Ink eventually declaring himself "an enemy of modernism." in the 1930s, he produced lithographs that helped to promote the naturalist, representational style of Regionalism, selling these limited-edition prints for five dollars each through Associated American Artists.
I like that I can't seem to find a straight line anywhere.
According to McCarron, "The stylized profile and pose of the woman owe something to what might be called the Egyptian mode of Art Deco." The Chanin Building, located at 122 East 42nd Street New York City, was completed in 1928. The architect, Irwin Chanin, was influenced by French Art-deco motifs. The building, constructed of buff-brick, limestone, and terra-cotta tower, is 680 feet high. Its 56 story towers and blunt buttressed crown became a symbol of New York architectural modernism.
The male in the foreground is surrounded by an impoverished city neighborhood, but can see the new skyscraper in the distance, a symbol of wealth and sophistication. In me, this scene evokes forlornness.
This isn't a very good photograph by me. You see reflections of other prints in the room within my photograph. I claim myself and everything else in the room has become part of an expanded madhouse dance.
Once again, I intrude into the drawing, enlarge this and see me hover inside the boxing ring like an apparition, taking in the scene while taking a picture.
I just liked the light on her face.
In August 1930, Grant Wood visited Eldon, Iowa, where he saw a modest residence built in the 1880s in a style known as Carpenter Gothic. The house inspired the painter to imagine its residents: an insular Victorian pair clinging to old values, or "American Gothic people," as he described them. Wood asked his dentist, Dr. B. H. McKeeby, and his sister, Nan Wood, to serve as the models for the farmer and his unmarried daughter. He constructed the painting to convey the couple's gendered roles, pairing the man with a pitchfork to suggest his labor, and placing house plants behind the woman as a symbol of her domesticity. It was exhibited here at the Art Institute of Chicago and was an immediate hit - it is often parodied today.
Although the figures appear stylized, the artist displayed a keen understanding of social interactions between men and women, which he particularly expressed through gestures and glances. Nightlife was the artist's response to Edward Hopper's Nighthawks (BELOW), which entered the Art Institute's collection in 1942 and fascinated Motley with its treatment of artificial light.
This portrayal of modern urban life as empty or lonely is a common theme throughout Hopper's work. It is sharply outlined by the fact that the man with his back to us appears more lonely because of the couple sitting next to him. If one looks closely, it becomes apparent that there is no way out of the bar area, as the three walls of the counter form a triangle that traps the attendant. It is also notable that the diner has no visible door leading to the outside, which illustrates the idea of confinement and entrapment. Hopper denied that he had intended to communicate this in Nighthawks, but he admitted that "unconsciously, probably, I was painting the loneliness of a large city." At the time of the painting, fluorescent lights had just been developed, perhaps contributing to why the diner is casting such an eerie glow upon the almost pitch black outside world. An advertisement for Phillies cigars is featured on top of the diner.