Everything about The Ashcan School totally explained
The
Ashcan School, also called the
Ash Can School, is defined as a
realist artistic movement that came into prominence in the
United States during the early
twentieth century, best known for works portraying scenes of daily life in
New York's poorer neighborhoods. The movement is most associated with a group known as
The Eight, whose members included five painters associated with the Ashcan school:
William Glackens (1870-1938),
Robert Henri (1865-1929),
George Luks (1867-1933),
Everett Shinn (1876-1953) and
John French Sloan (1871-1951), along with
Arthur B. Davies (1862-1928),
Ernest Lawson (1873-1939) and
Maurice Prendergast (1859-1924).
Origin with The Eight
The Eight was a group of artists, many of whom had experience as newspaper illustrators in
Philadelphia, who exhibited as a group only once, at the
Macbeth Gallery in New York in 1908. They are remembered as a group, despite the fact that their work was very diverse in terms of style and subject matter—only five of The Eight (Henri, Sloan, Glackens, Shinn, and Luks) painted the gritty urban scenes that characterized the Ashcan School.
As noted, the Ashcan School wasn't an organized group. The first known use of the "ash can" terminology in describing the movement was by
Art Young, in 1916, but the term was applied later to a group of artists, including Henri, Glackens,
Edward Hopper (a student of Henri), Shinn, Sloan, Luks,
George Bellows (another student of Henri), Mabel Dwight, and others such as photographer
Jacob Riis, who portrayed urban subject matter, also primarily of New York's working class neighborhoods. (Hopper's inclusion in the group [whichhe forswore] is ironic: his depictions of city streets are almost entirely free of the usual minutiae, with not a single incidental ashcan in sight.)
The artists of the Ashcan School rebelled against the genteel
American Impressionism that represented the vanguard of American art at the time. Their works, generally dark in tone, captured the spontaneous moments of life and often depicted such subjects as
prostitutes,
drunks, butchered pigs, overflowing
tenements with laundry hanging on lines,
boxing matches, and
wrestlers. It was their frequent, although not total, focus upon
poverty and the daily realities of urban life that prompted American critics to consider them the fringe of
modern art.
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