Born in Ohio, Beattie studied at the Cleveland Institute of Art and was trained
in a social realist style.
Executed
in social realist style, it is almost unrecognizable as being by the same artist as the one whose work formed this exhibition at the same museum.
Ben Wilson's career as a painter parallels that of many others in his generation who began their creative investigations
in the social realist idiom of 1930s America, ultimately evolving their own responses to Modernist abstraction in the post-war period.
For a short time he painted landscapes and figural compositions with nudes, but he soon returned to works
in a social realist mode.
[1] In addition to work showing a personal version of precisionism, he produced paintings, drawings, and prints
in the social realist, Mexican muralist, and surrealist styles as well as still lifes, portraits, and landscapes that defy easy classification.
Like the majority of his American contemporaries, Lewis's initial artistic outlook was largely shaped by prevailing trends
in social realist painting and sculpture.
Not exact matches
These do not depend upon the highest ethical commitments of which men are capable, but upon that mixture of human sympathy, rationality and self - interest which constitutes the basic pattern of human motivation While Niebuhr is a
realist about the possibilities of human justice he has a strong concern for the
social reformism
in politics which characterizes modern democracy and the Christian
social Gospel.
King has occasionally compared himself to Theodore Dreiser and Frank Norris, two turn - of - the - century
social realists who specialized
in urban miseries and workmanlike prose, and he loves to quote Norris» riposte to critics: «What should I care if they single me out for sneers and laughter?
What's really intriguing is the way that an Africanist myth invented
in 1966 by two Jewish guys
in New York, Stan Lee and Jack Kirby, and later elaborated upon by the likes of Reginald Hudlin and Ta - Nehisi Coates, has now been taken over by Ryan Coogler, the writer - director who previously made the very good
social -
realist drama Fruitvale Station and the first - rate genre - revisionist Creed.
His work also refuses to be pigeonholed; for example, defying his reputation as a period film director, 1957's The Eleventh Hour is an ensemble - cast,
social realist melodrama about a rescue at a caved -
in mine that equals anything made by Hollywood during the same era.
This year he is back
in En Guerre, or At War, by the French director Stéphane Brizé — another
social -
realist drama about a factory shutdown and a workers» representative battling to save jobs.
The aesthetic is very much
in line with the directors»
social realist tendencies, but applied to a neo-noir framework.
His debut, 2010's Down Terrace, was a wonderful play on the gangster genre formula, interweaving the betrayal and murder typical of gangland narratives with a
social realist aesthetic
in the vein of Mike Leigh to hilarious effect.
These moments are rooted deeply within
social realist cinema, and the everyday interactions of these men and the women
in their lives reveal far more than any of the other, more grandiose statements the film attempts to make.
as his
social -
realist picture, but those early scenes alone indicate a greater interest
in the way representations of reality can facilitate his genre - bending predilections.
Damon appears lost
in his purely reactive role; Waltz essentially mugs his way through his Eastern European importer / exporter; other characters are seen through wholly incompatible
social -
realist or absurdist lenses.
His early films are wrought
in a stark,
social -
realist tone.
It's a docu -
social -
realist adventure, with fictional scenes
in a real setting.
I also enjoyed God Help the Girl, a kind of
social - hyper -
realist Scottish musical from Belle and Sebastian frontman Stuart Murdoch, inevitably described
in some quarters as The Umbrellas of Glasgow.
Tom Courtenay, most famous perhaps for his portrayal
in «Dr. Zhivago» and known for
social -
realist «kitchen sink» drama of the sixties, turns
in a performance (did I say «restrained»?)
Ken Loach will insist on behaving as if there really is something urgently wrong, and that we shouldn't or needn't get used to food banks as a fact of life; he portrays it all as something which we might actually do something about
in the real world, as opposed to invoking injustice as an aesthetic gesture, or a flavour - ingredient of modern
social realist fiction.
An unfeasibly gripping
social realist parable that provides a gravitational showcase for one of Marion Cotillard «s finest performances (and yes, we know that's saying something), the Dardenne brothers» «Two Days, One Night» sees the two - time Palme d'Or winners put
in a serious bid for a third (though probably, Cannes rules being what they are, a Best Actress trophy for Cotillard is more likely).
Though the stories sound like depressing
social -
realist works —
in some ways that's not entirely inaccurate — Baker's work is infused with an infectious humor that brings out the best and worst
in each character.
In fact Faber said of Dickens: «Every critic creates their own Dickens — fearless reformer, craven reactionary, anarchic force of nature, cosy sentimentalist, fierce intellect, self - educated bore,
social realist, grand tragedian, slapstick comedian, etc..
Keeping It Real Beijing artist Liu Xiaodong's expressive
realist portraits, touching on some of the most vital
social problems
in China, have brought him respect
in his home country — and a high level of visibility internationally Barbara Pollack
Works by David Siqueiros, a political, radical - minded Mexican
social realist painter, and an adversary of Rivera, who was best known for his large fresco murals, are also included
in the collection.
In describing «Vignette,» Christie's says Marshall «inflects a
social realist style with hints of Pop and Surrealist aesthetics to represent his black protagonists.
Associating his influences with
Social Realists «he fell
in with» when he arrived
in New York, Sims describes them as «a cohort of individuals who bridged the gap between abstraction and figuration... the use of energetic color and gesture, and a sensibility that would be described as gritty.»
Initially dedicated to
social -
realist themes of the Depression Era
in America, he turned to the...
The exhibition begins with the artist's earliest drawings, made
in Los Angeles while studying at Otis College of Art and Design under the legendary
social realist painter Charles White.
The show argues that Lewis used abstraction throughout his career, after initially working along
social realist lines, commingling it with the figure to comment on political issues involving race and civil rights, and introducing history and narrative into a style that eschewed such content
in favor of medium specificity.
It also encourages comparisons between the
social realist and the abstract styles, exposing viewers» investments and perhaps false faith
in the former as transparent and the latter as transcendent.
Other strengths of the twentieth - century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O'Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson and Ralston Crawford; a good showing by the American Scene painters Charles Burchfield and Edward Hopper; a broad spectrum of work by the
Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry and Thomas Hart Benton, notably the latter's celebrated five - panel mural, The Arts of Life
in America (1932).
Initially dedicated to
social -
realist themes of the Depression Era
in America, he turned to the depiction of female figures, especially ballet dancers.
In a similar vein to contemporary
social -
realist paintings by George Shaw, Cosgrove illuminates scenes from gritty working - class environments.
Painted between 1943 and 1978
in Neel's inimitable style — half
social realist, half wonky Expressionist — the paintings and drawings of her uptown friends, neighbors, colleagues and fellow travelers form a remarkable montage of the artist's life
in a vibrant, multicultural 20th - century New York.
His sculptural style clashed with the predominant classical figurative tradition, choosing rather to depict people
in a socio -
realist style, extending their representative physiques into
social functionality (cyclist, postman, farmer etc).
Facets of the Figure is a thought provoking survey of the various aesthetic interpretations of the human form
in painting and sculpture by juxtaposing museum - caliber works by Surrealists,
realists, Expressionists, modernists,
social realists, and abstract expressionists.
In Vignette, he inflects a
social realist style with hints of Pop and Surrealist aesthetics to represent his black protagonists.
Trained as a
social realist painter and muralist, she came to the United States
in 1984 to attend the University of California, San Diego, where she received her MFA.
Social Realists working
in printmaking and photography, including Mabel Dwight, Hugo Gellert, Margaret Bourke - White, Lisette Model, Walker Evans, and Weegee, depict the era as tumultuous and divided: plagued by poverty, labor abuses, racist violence, and war.
Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel
in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuyma
in Europe and Beyond Meanwhile
in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuyma
in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including
Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc T
Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock
In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuyma
In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting
in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuyma
in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism
in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuyma
in the 1970s and 80s, including many artists who have only been appreciated
in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuyma
in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era
in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuyma
in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural,
social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc T
social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans
Guerrero Z. Habulan is a figurative artist born
in Philippines, a young
social realist with a sharp sense of humor.
Philip Guston was a painter and printmaker who began as a
social realist painter, associated with the mural movement involving artists such as Diego Rivera and working for the Works Progress Administration's Federal Arts Project
in New York City during the 1930s.
In a manner both visually gripping and psychologically strange, Pittman's hallucinatory works reference myriad aesthetic styles, from Victorian silhouettes to
social realist murals to Mexican «retablos.»
These can be read
in distinct but overlapping registers, evoking at once the raw internal spaces of the body and the psyche, the humanist and
realist painterly tradition of Rembrandt, Soutine and Bacon, and the wider cultural reality of
social and political upheaval, violence and trauma.
Following his freshman year, De Staebler attended summer session at Black Mountain College
in Black Mountain N.C., where he studied with the
social realist Ben Shahn.
At Otis Art Institute
in Los Angeles he studied with
social realist painter Charles White.
Inspiration for the
Social Realists came from the Ashcan School (many of them had studied with Ashcan artist John Sloan at the Art Students League
in New York) and from the Mexican murals pioneered by Gerardo Murillo (1875 - 1964).
To contextualize our work, we will examine the emergence of Realism
in the nineteenth century; survey different
realist movements from art history, including naturalism and
social realism; and analyze how, over time, painters have adopted
realist conventions to their own ends.