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The Ashcan School, also called the Ash Can School, was an artistic movement in the United States during the late 19th-early 20th century [1] that produced works portraying scenes of daily life in New York, often in the city's poorer neighborhoods.
John French Sloan (August 2, 1871 – September 7, 1951) was an American painter and etcher. He is considered to be one of the founders of the Ashcan school of American art.
William James Glackens (March 13, 1870 – May 22, 1938) was an American realist painter and one of the founders of the Ashcan School, which rejected the formal boundaries of artistic beauty laid down by the conservative National Academy of Design.
George Benjamin Luks (August 13, 1867 – October 29, 1933) was an American artist, identified with the aggressively realistic Ashcan School of American painting.. After travelling and studying in Europe, Luks worked as a newspaper illustrator and cartoonist in Philadelphia, where he became part of a close-knit group, led by Robert Henri, that set out to defy the genteel values imposed by the ...
Everett Shinn (November 6, 1876 – May 1, 1953) was an American painter and member of the urban realist Ashcan School.. Shinn started as a newspaper illustrator in Philadelphia, demonstrating a rare facility for depicting animated movement, a skill that would, however, soon be eclipsed by photography.
George Bellows, Dempsey and Firpo (1924), Whitney Museum of American Art George Bellows, New York (1911) Ashcan school artists and friends at John French Sloan's Philadelphia Studio, 1898. American realism was a movement in art, music and literature that depicted contemporary social realities and the lives and everyday activities of ordinary ...
The 4,700-person list, which went viral on X after being shared by the artist Jon Lam last week, was used in a November court exhibit in a lawsuit against Midjourney, Stability AI, DeviantArt and ...
Robert Henri (/ ˈ h ɛ n r aɪ /; June 24, 1865 – July 12, 1929) was an American painter and teacher.. As a young man, he studied in Paris, where he identified strongly with the Impressionists, and determined to lead an even more dramatic revolt against American academic art, as reflected by the conservative National Academy of Design.
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