Presents a major new interpretation of the Ashcan School of Art, arguing that these artists made the working class city at the turn of the century a subject for beautiful art.
Silver Winner for History, 2017 Foreword INDIES Book of the Year Awards
At the beginning of the twentieth century the Ashcan School of Art blazed onto the art scene, introducing a revolutionary vision of New York City. In contrast to the elite artists who painted the upper class bedecked in finery, in front of magnificent structures, or the progressive reformers who photographed the city as a slum, hopeless and full of despair, the Ashcan School held the unique belief that the industrial working-class city was a fit subject for great art. In Beauty in the City, Robert A. Slayton illustrates how these artists portrayed the working classes with respect and gloried in the drama of the subways and excavation sites, the office towers, and immigrant housing. Their art captured the emerging metropolis in all its facets, with its potent machinery and its class, ethnic, and gender issues. By exposing the realities of this new, modern America through their artexpressed in what they chose to draw, not in how they drew itthey created one of the great American art forms.
|Publisher:||State University of New York Press|
|Product dimensions:||7.30(w) x 10.20(h) x 1.10(d)|
About the Author
Robert A. Slayton is Henry Salvatori Professor of American Values and Traditions at Chapman University. He is the author of several books, including Empire Statesman: The Rise and Redemption of Al Smith.
Table of Contents
List of Illustrations
1. And Like That . . . They’re Gone
2. Top and Bottom
3. Vision from an Ashcan
4. The Ashcan Artists
5. The Art Scene
6. Moving On
7. The City as Art
8. People of the City
9. Life in the Ashcan City
10. The Ashcan School and Its Critics