1845. Thomas Cole.  Catskill Creek   Oil on canvas.  The 19th Century  Hudson River School  was the first truly  American ...
1909. George Bellows.  The Palisades .  Oil on canvas, 30 x 38 1/8 in. (76.2 x 96.8 cm) The first New York City-based art ...
1907. John Sloan.  The Wake of the Ferry.   Oil on canvas, 26 x 32 in.  Notice the muted colors and foggy atmosphere. Like...
John Sloan.  Oil on canvas Early 20th Century Painters like Sloan wanted to show real life in New York.  They did not want...
1917. Paul Strand.  New York Photogravure. 6 3/8 x 8 3/8 in.; 16. x 21.2725 cm. A major art movement of the time was in ph...
1939. Joseph Stella . Brooklyn Bridge: Variation on an Old Theme .  Oil on canvas, 101 x 76 cm Stella was an immigrant fro...
1941. Joseph Stella.  Old Brooklyn Bridge. Oil on Canvas.  193 cm x 172.7 cm. Stella wrote that standing on the Brooklyn B...
1915. Alfred Stieglitz.  From the Back Window Platinum print.  25.1 x 20.2 cm (9 7/8 x 7 15/16 in.)  Both photographers an...
Georgia O'Keeffe. 1887-1986 Here are three examples of the kind of paintings O’Keeffe is most famous for.  She may not be ...
1926. Georgia O'Keeffe.  City Night (left); The Shelton with Sunspots (right),  Oil on canvas. Both approx. 48 X 30 in   W...
1942.   Edward Hopper.  Nighthawks. Oil on Canvas. 30x57 in. Hopper is probably the most popular of the 20th Century Ameri...
1929. Edward Hopper.  Chop Suey Hoppers scenes seem very realistic and familiar, but notice how many things he has simplif...
1944. Edward Hopper.  Morning in a City In my opinion, Hopper’s greatest achievement might be the way he paints light: his...
1951 . Willem de Kooning.  Woman. Charcoal and pastel on paper
21 1/2 x 16" (54.6 x 40.6 cm) Soon a new movement was ...
Jackson Pollock in the act of Painting Hans Hoffman: “ Why don’t you go out and  paint from nature?” Pollock: “ I AM natur...
1951. Jackson Pollock . Autumn Rhythm (Number 30) Enamel on canvas
105 x 207 in. (266.7 x 525.8 cm) For the first time in ...
1961. Mark Rothko . Untitled (Orange, Dark Ruby, Brown on Maroon) Oil on canvas.
1043/4 x 92 1/2 in.  Another kind of Abst...
1930. Edward Hopper .  Early Sunday Morning Oil on canvas.
35 x 60 in.  By the 1950s figurative painters like Edward Hoppe...
The tradition of luminism in American painting : Like the Hudson River School painters of the previous century, Hopper and...
1963. Willem de Kooning .  Rosy-Fingered Dawn at Louse Point. Oil on canvas.
  
6' 8" x 70" (203.2 x 177.8 cm)  ...
1955 - 56. Willem de Kooning .  Easter Monday. Oil and newspaper transfer on canvas.   8' x 6' 2" (243.8 x 188 cm) . ...
1964. Romare Bearden . The Dove Collage and synthetic polymer.
30 x 25 cm.
1998. Robert Rauschenberg . Street Jam. vegetable dye transfer on polylaminate, 61 x 49 1/2
1957. Richard Diebenkorn . Sea Wall. Oil on canvas.
20 x 25in.
1967. Richard Diebenkorn . Window. Oil on canvas.
92x80 in.
Richard Diebenkorn.  Ocean Park #66.  1973 (left).  Ocean Park #54 . 1972 (Right).   Oil on canvas.
100 x  81 in.
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Nature, and especially Light, is a theme throughout 20th Century American Art, even when artists focused on the city, or worked non-representationally. Figurative art merges with abstraction, until there are two distinct trends. But the trends come together repeatedly.

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  • Creator Cole, Thomas, 1801-1848 Title Catskill Creek Date1845 Material oil on canvas Repository New-York Historical Society Subject Landscape Painting--United States--19th C. A.D sublime ARTstor Collection The Image Gallery Source Data from: University of California, San Diego Nouns: Landscape, illusion of depth, realism, atmospheric perspective, beauty, luminosity, light and shadow Adj: luminous, naturalistic, quiet, idealistic, far off
  • Creator George Bellows; American, 1882-1925 Title The Palisades Work Type PAINTINGS Date1909 Material Oil on canvas Measurements Image: 30 x 38 1/8 in. (76.2 x 96.8 cm) Frame: 38 1/2 x 46 7/16 in. (97.8 x 118.0 cm) Nouns: landscape, realism, linear perspective, industrial progress, changing landscape, modeling Adj: “true to life”, realistic (not idealized), cold, dirty, painterly
  • Creator Sloan, John, 1871-1951. Title The wake of the ferry Work Type Oil paintings. Date1907.Material Canvas. Measurements26 x 32 inches.Description Oil on canvas. Repository Phillips Collection. Subject Painting, American--20th century. .ARTstor Collection The Carnegie Arts of the United States Collection Source Data from : University of Georgia Libraries Noun - grey values, romanticism, impressionism, naturalism Adj: Dirty, stormy, monochromatic (monotone), dramatic, painterly
  • John Sloan Noun: street scene, daily life, different social classes, light and shadow, shallow picture-space Adj: painterly, dirty, luminous, impressionistic,
  • Creator Strand, Paul Title New York Date1917 MaterialPhotogravure Measurements6 3/8 x 8 3/8 in.; 16.1925 x 21.2725 cm. Repository The Phillips CollectionGift of the Phillips Contemporaries, 1999ARTstor CollectionThe Phillips CollectionID Number1999.004.0001 SourceImage and original data provided by The Phillips Collection CreatorDriggs, Elsie, 1898-TitleQueensborough BridgeDate1927Measurements101 x 76 cmRepositoryMontclair Art MuseumSubjectPainting--United States--20th C. A.DARTstor CollectionThe Image GallerySourceData from: University of California, San Diego Nouns: Photography, painting, futurism, progress, abstraction, Adj: flattened (space), fragmented, powerful, abstract, “black and white”,
  • CreatorJoseph StellaTitleThe Brooklyn Bridge: Variation on an Old ThemeWork TypePaintingsDate1939LocationExhibited at Whitney Museum of American Art, 23 April-22 August 1999Materialoil on canvasMeasurements70 x 42 (177.8 x 106.7 cm)DescriptionPhotographer: Larry QuallsRepositoryCollection Whitney Museum of American Art (42.15)ARTstor CollectionThe Image GallerySourceImage and original data provided by Larry Qualls CreatorCharles Demuth, North American;, 1883-1935; The Figure 5 in Gold ; 1928; Oil on cardboard; H. 35-1/2, W. 30 in.(90.2 x 76.2 cm) RepositoryThe Metropolitan Museum of ArtNew York, New York, USAAlfred Stieglitz Collection, 194949.59.1 http://www. metmuseum . org ARTstor CollectionThe Image GalleryFormerly in The AMICO LibraryID NumberMMA_.49.59.1SourceData From: The Metropolitan Museum of Art Nouns:, futurism, cubism, design, primary colors Adj: soaring, complex, linear, abstracted, symmetrical, idealized
  • Creator: Stella, Joseph, 1877-1946 (American; painter)TitleOld Brooklyn BridgeWork TypepaintingDatec. 1941MaterialoilMeasurements193 cm x 172.7 cmRepositoryMuseum of Fine ArtsCollectionPratt Institute Digital Image CollectionVisual Resources Center, Pratt Institute LibrariesID NumberRecord: 130149Image: 130149.jpgSourceVisual Resources Center, Pratt Institute Libraries Creator: Stella, Joseph, 1877-1946 (American; painter)TitleOld Brooklyn BridgeWork TypepaintingDatec. 1941MaterialoilMeasurements193 cm x 172.7 cmRepositoryMuseum of Fine ArtsCollectionPratt Institute Digital Image CollectionVisual Resources Center, Pratt Institute LibrariesID NumberRecord: 130149Image: 130149.jpgSourceVisual Resources Center, Pratt Institute Libraries Nouns and Adj: (see previous) Adj: asymmetrical, cubist
  • CreatorAlfred Stieglitz, American, 1864-1946 TitleFrom the Back Window, 291Date1915 LocationDepicted: United States of America, New York, New York Material Platinum print Measurements25.1 x 20.2 cm (9 7/8 x 7 15/16 in.) The Metropolitan Museum of Art, Alfred Stieglitz Collection, 1949 (49.55.35)Image Copyright Notice Image ゥ The Metropolitan Museum of ArtARTstor Collection Rights ゥ 2008 The Georgia O'Keeffe Foundation / Artists Rights Society (ARS), New York CreatorO'Keeffe, Georgia, 1887-1986TitleRadiator Building-Night, New YorkDate1927Materialoil on canvasMeasurements48 X 30 inRepositoryCarl Van Vechten Gallery of Fine ArtsSubjectCityscapesPainting--United States--20th C. A.DARTstor CollectionThe Image GallerySourceData from: University of California, San DiegoRights ゥ 2008 The Georgia O'Keeffe Foundation / Artists Rights Society (ARS), New YorK
  • CreatorO'Keeffe, Georgia, 1887-1986.TitleBlue and green musicWork TypeOil paintings.Date1921Measurements23 x 19 inches.Style PeriodModernist.DescriptionLent by the artist.RepositoryArt Institute of Chicago.SubjectPainting, American--20th century.Abstraction.ARTstor CollectionThe Carnegie Arts of the United States CollectionSourceData from : University of Georgia LibrariesRights ゥ 2008 The Georgia O'Keeffe Foundation / Artists Rights Society (ARS), New York CreatorO'Keeffe, Georgia, 1887-1986.TitleBlack irisWork TypeOil paintings.Date1926.MaterialCanvas.Measurements36 x 29 7/8 inches.Style PeriodModernist.DescriptionOil on canvas. The Alfred Stieglitz Collection.RepositoryMetropolitan Museum of Art (New York, N.Y.)Accession Number#L49.37.4SubjectPainting, American--20th century.Iris (plant)Abstraction.ARTstor CollectionThe Carnegie Arts of the United States CollectionSourceData from : University of Georgia LibrariesRights ゥ 2008 The Georgia O'Keeffe Foundation / Artists Rights Society (ARS), New York
  • CreatorO'Keeffe, Georgia, 1887-1986TitleCity NightDate1926Materialoil on canvasMeasurements48 x 30 inSubjectPainting--United States--20th C. A.DARTstor CollectionThe Image GallerySourceData from: University of California, San DiegoRights ゥ 2008 The Georgia O'Keeffe Foundation / Artists Rights Society (ARS), New York CreatorO'Keeffe, Georgia, 1887-1986 (American; painter)CultureAmericanTitleThe Shelton with SunspotsWork TypepaintingDate1926Materialoil on canvasMeasurements123.2 x 76.8 cm (48 1/2 x 30 1/4 inches)Style PeriodRealistDescriptionO'Keeffe captures the effect of light as it is seen through a camera lens.RepositoryArt Institute of Chicago (Chicago, Illinois, United States)CollectionPratt Institute Digital Image CollectionVisual Resources Center, Pratt Institute LibrariesID NumberRecord: 148725Image: 148725.jpgSourceRecord: Visual Resources Center, Pratt Institute LibrariesImage: Lucie-Smith, Edward. American Realism. London: Harry N. Abrams, inc., 1994; page 91, plate 78 Nouns: patterns, geometric forms, forms in space Adj: Abstracted, simplified, stylized, towering, geometric, contrasting, three-dimensional
  • CreatorHopper, Edward, U.S.TitleNighthawksDate1942LocationArt Institute of ChicagoMaterialo/cMeasurements30x57Related ItemGardner 10: 27-76Stokstad R: 28-115W&S 3: 10-9ARTstor CollectionArt History Survey CollectionSourceCatalogued by: Digital Library Federation Academic Image Cooperative
  • CreatorHopper, Edward, 1882-1967TitleChop SueyDate1929Materialoil on canvasMeasurements32x38SubjectPainting--United States--20th C. A.DARTstor CollectionThe Image GallerySourceData from: University of California, San Diego
  • CreatorHopper, Edward, 1882-1967TitleMorning in a CityDate1944Materialoil on canvasMeasurements44x60SubjectPainting--United States--20th C. A.DARTstor CollectionThe Image GallerySourceData from: University of California, San Diego
  • CreatorMark Rothko, 1903-1970CultureAmericanTitleUntitled [Orange, Dark Ruby, Brown on Maroon]Date1961Materialoil on canvasMeasurements104 3/4 x 92 1/2 in.RepositoryCollection of Christopher RothkoRelated ItemCatalogue Raisonne Number: 702Estate Number: 5130.61ARTstor CollectionThe Image GalleryRights ゥ 1998 (works on canvas) or ゥ 2005 (works on paper) Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York
  • CreatorHopper, Edward, 1882-1967.TitleEarly Sunday morningWork TypeOil paintings.Cityscapes.Date1930.MaterialCanvas.Measurements35 x 60 inches.DescriptionOil on canvas.RepositoryWhitney Museum of American Art.Accession Number#31.426SubjectPainting, American--20th century.Realism.ARTstor CollectionThe Carnegie Arts of the United States CollectionSourceData from : University of Georgia Libraries
  • Frederick Edwin Church; Hudson River School; 19th Century http://www.meepi.org/files06/pa012406.htm Nouns: Landscape, illusion of depth, realism, linear perspective, atmospheric perspective Adj: luminous, naturalistic, dramatic, peaceful, somber,lonely
  • Willem De Kooning. Rosy-Fingered Dawn at Louse Point 1963 Oil on canvas
6' 8" x 70" (203.2 x 177.8 cm)Collection Stedelijk Museum, Amsterdam Theme:Landscapes: Abstract Pastoral Landscapes Period: "Full Arm Sweep" (1956 � 1957)
  • Easter Monday 1955 � 56 Oil and newspaper transfer on canvas
8' x 6' 2" (243.8 x 188 cm)Lent by The Metropolitan Museum of Art, New York. Rogers Fund Theme:Landscapes: Abstract Urban Landscapes Period: Woman to Landscape (1950 � 1956)
  • CreatorBearden, Romare Howard, 1911-1988 (American; painter and printmaker)CultureUnited StatesTitleThe DoveDate1964Materialsynthetic polymerMeasurementsca. 30cm x 25 cmStyle Period20th centuryRepositoryMuseum of Modern Art (New York, N.Y.)CollectionPratt Institute Digital Image CollectionVisual Resources Center, Pratt Institute LibrariesID NumberRecord: MOMA-P2042Image: MOMA-P2042.jpgSourceDavis Publications, Inc. Rights ゥ The Museum of Modern Art, New York
  • Robert Rauschenberg, Street Jam, 1998, vegetable dye transfer on polylaminate, 61 x 49 1/2
  • Diebenkorn, Richard, 1922- 1957 20 x 25 1/2 in
  • Richard Diebenkorn, American, 1922 - Window. 1967 92 x 80 in
  • Diebenkorn, Ocean Park #66, 1973, oil on canvas Ocean Park #54. 1972 oil on canvas 100 x 81 in
  • Painting newyork for upload

    1. 1. 1845. Thomas Cole. Catskill Creek Oil on canvas. The 19th Century Hudson River School was the first truly American art movement . It is related to European “Romanticism,” yet has its own American identity, stemming from an American philosophy called “Transcendentalism”: a belief that Nature (or the wilderness ) is sublime . By connecting to nature we can transcend the bad world. In the 18th and 19th Centuries, more and more American wilderness was turning into farm-land or towns, and disappearing. These painters believed that art should help us experience t he sublime, found in untouched, wild nature. This style is also called Luminism because of the painters’ focus on natural light, and their ability to create the feeling that the sunlight is emanating from the painting itself. Unlike the French Impressionists of just a few decades later, the Luminists never showed brush-strokes . The goal was to create a perfect illusion.
    2. 2. 1909. George Bellows. The Palisades . Oil on canvas, 30 x 38 1/8 in. (76.2 x 96.8 cm) The first New York City-based art movement, The “Ash-can” School painters, wanted to show the city in all its true grittiness and dirtiness. This view shows the edge of northern Manhattan (with New Jersey across the Hudson River) . The Ash-can painters believed that dirty snow, smoke, and even man-made structures, were part of nature and had their own beauty. Unlike the Hudson River School painting, this landscape is not idealized . Also, we can now see painterly brush-strokes.
    3. 3. 1907. John Sloan. The Wake of the Ferry. Oil on canvas, 26 x 32 in. Notice the muted colors and foggy atmosphere. Like the Hudson River School painters, the Ashcan-school painters were also focused on luminosity. But they found a romantic kind of beauty in the sunlight glowing through the soot and smoke of the industrial age. This shows the Staten Island Ferry, which you can still ride today from Manhattan. Before this, the Hudson River School painters often painted dramatic stormy skies over a mountain landscape. Now, in the early 20th Century, American painters focused on the city, but they still loved to paint bad weather!
    4. 4. John Sloan. Oil on canvas Early 20th Century Painters like Sloan wanted to show real life in New York. They did not want to idealize the scene. Sometimes, you can see the influence of French Impressionism, but these paintings are less “pretty”and more illustrative. Each is like a snap-shot of a moment in an ordinary day in New York at that time.
    5. 5. 1917. Paul Strand. New York Photogravure. 6 3/8 x 8 3/8 in.; 16. x 21.2725 cm. A major art movement of the time was in photography. The “Precisionist” photographers were interested in looking at light and shadow in an abstract way. They were also interested in how natural light interacted with man-made structures in a man-made environment — the unification of the city with nature. 1927. Elsie Driggs . QueensboroughBridge Oil on canvas, 101 x 76 cm The bridge that connects Manhattan to Queens was opened in 1907. Like the Futurists in Europe, American painters of the early 20th Century were inspired by these modern feats of engineering. Driggs views this work of steel as an abstraction of lines, planes, fragmented space and sunlight, almost as an abstract sculpture.
    6. 6. 1939. Joseph Stella . Brooklyn Bridge: Variation on an Old Theme . Oil on canvas, 101 x 76 cm Stella was an immigrant from Italy, and he said that America did not need a great cultural history like Europe had, because America had great modern inventions and works of engineering. Stella is considered a “Futurist”. 1928. Charles Demuth . Figure 5 in Glold Oil on cardboard, 35-1/2 x 30 in.(90.2 x 76.2 cm) Demuth painted the number he saw on a speeding fire-engine. It is a similar kind of figurative abstraction to that of Elsie Driggs and Joseph Stella (left), especially in the interplay of positive and negative space, but this piece also seems aligned with the Dada movement, and like a precursor to American Pop-Art of the 1960s.
    7. 7. 1941. Joseph Stella. Old Brooklyn Bridge. Oil on Canvas. 193 cm x 172.7 cm. Stella wrote that standing on the Brooklyn Bridge for the first time was a spiritual experience for him. He said he felt that he was on “the threshold of a new religion.” It is similar to what the Hudson River School painters felt about America’s vast wilderness. Is this painting representational or abstract? Or both?
    8. 8. 1915. Alfred Stieglitz. From the Back Window Platinum print. 25.1 x 20.2 cm (9 7/8 x 7 15/16 in.) Both photographers and painters were fascinated by the physical power, forms, structures and dazzling lights of New York City. Sieglitz and Georgia O’Keeffe were married, and lived here together. 1927. Georgia O'Keeffe. Radiator Building – Night Oil on canvas. 48 X 30 in She is best known for her paintings of the American Southwest desert and close-up images of flowers, but O’Keeffe had a New York period too.
    9. 9. Georgia O'Keeffe. 1887-1986 Here are three examples of the kind of paintings O’Keeffe is most famous for. She may not be the greatest of American artists, but she is an American icon. 1926. Black Iris Oil on canvas. 36 x 30 in. 1921. Blue and Green Music Oil on canvas. 23 x 19 in. 1949. Black Place, Grey and Pink Oil on canvas. 36 x 48 in Eventually O”Keeffe had enough of the male-dominated art world in New York. She moved to New Mexico, where she lived alone in the desert and became iconic for her intensely colored paintings of it.
    10. 10. 1926. Georgia O'Keeffe. City Night (left); The Shelton with Sunspots (right), Oil on canvas. Both approx. 48 X 30 in While in New York City, O’Keeffe painted buildings in sunlight and in moonlight. It is said that she “naturalized the city” (American Visions). She looked at the tall sky-scrapers the same way she viewed a flower or the mountains in New Mexico — as voluminous forms in space and light. Notice how important the shapes of the negative spaces are. These painting remind me of old comic-book illustrations, because of the exaggerated perspective.
    11. 11. 1942. Edward Hopper. Nighthawks. Oil on Canvas. 30x57 in. Hopper is probably the most popular of the 20th Century American figurative painters, and this is probably his most well-known painting. What do you think makes this painting so intriguing? (You already know a lot about Hopper from the Whitney Museum audio you listened to.)
    12. 12. 1929. Edward Hopper. Chop Suey Hoppers scenes seem very realistic and familiar, but notice how many things he has simplified and generalized. Hoppers is artistically conservative for its time. In France, Picasso and Braque had already invented cubism, and abstraction was dominant in Europe. In some ways, Hopper seems even less advanced than the Impressionists of the late 1800s, but he took a major lesson from them: light is made out of color.
    13. 13. 1944. Edward Hopper. Morning in a City In my opinion, Hopper’s greatest achievement might be the way he paints light: his light has all the right colors in it, and his colors have just the right intensity, so the atmosphere becomes completely believable. You can feel the air, the temperature, the sunlight, the place. His painting is often compared to film, especially film noir . Hopper loved to go to the movies, and was influenced by them. Maybe this is what gives his paintings such a strong sense of place, and such a modern American feeling.
    14. 14. 1951 . Willem de Kooning. Woman. Charcoal and pastel on paper
21 1/2 x 16" (54.6 x 40.6 cm) Soon a new movement was born in the United States: Abstract Expressionism . Paris was no longer the center of the international art world. For the first time in history, New York became the center of the avant-garde in art. Abstract Expressionists felt art should come from the artist’s own subconscious mind, and be free, spontaneous, energetic and subjective. They broke free of the forms, planes, spaces and lines of the original object. c. 1940. Willem de Kooning. Seated Woman. Oil and charcoal on Masonite. 54 1/16 x 36 in. (137.3 x 91.4 cm) During and after WWII, many artists were fleeing to New York from Europe. They brought with them European ideas and trends, such as Cubism. You can see a strong Picasso influence in this early de Kooning. Is the figure a woman, or a dance of forms, shapes, colors and lines? Perhaps the real subject of this painting is color — not the color within the light, but the light emanating from the intense hues of color.
    15. 15. Jackson Pollock in the act of Painting Hans Hoffman: “ Why don’t you go out and paint from nature?” Pollock: “ I AM nature.” Pollock threw, dripped and spattered the paint from the brush as he moved around the canvas. As the paint dripped and landed according to the natural laws of physics, Pollock’s movements and gestures were translated into marks on a surface. “ Action Painting” and “Gestural Abstraction” were other names given to some Abstract Expressionist painting.
    16. 16. 1951. Jackson Pollock . Autumn Rhythm (Number 30) Enamel on canvas
105 x 207 in. (266.7 x 525.8 cm) For the first time in history, painting could be truly “non-objective” (non-representational) because the artist did not try to represent any object. The painting does not relate to any object outside of itself (and the artist and the viewer). This was a radical new idea in western art. Note that since the Abstract Expressionists did not try to create any image or illusion in their paintings, there is also no illusion of depth , no imaginary “picture space” behind the picture plane. Instead we engage with the “picture plane” itself, and what is happening on it. Artists and critics still felt that Art should have deep meaning, and not be just decoration or design. Many were writing and thinking about the meaning of “action painting” and other forms of non-objective art. Nonetheless, this painting was given the title “Autumn Rhythm, so maybe the drips of paint reminded the painter (or someone else) of the motions and rhythms made by falling autumn leaves as they swirl to the ground. The painting is not a picture of nature, but it has an active, organic and natural feeling.
    17. 17. 1961. Mark Rothko . Untitled (Orange, Dark Ruby, Brown on Maroon) Oil on canvas.
1043/4 x 92 1/2 in. Another kind of Abstract Expressionism was “Color Field Painting”. Rothko painted translucent layers of color on top of other colors, to give the surface depth and luminosity . The Abstract Expressionists painted very large paintings. In person, the large glowing surface of a Rothko painting feels like a dreamy space you can mentally plunge into, like an environment. But this is a feeling, not an illusion. In abstract expressionism, a painting is a material object, not a picture. Yet the luminous color in Rothko’s paintings reminds us of a tradition in American Art, a tradition of creating light with paint.
    18. 18. 1930. Edward Hopper . Early Sunday Morning Oil on canvas.
35 x 60 in. By the 1950s figurative painters like Edward Hopper no longer seemed relevant. But can you see any similarities between this Hopper (which we saw earlier this semester) and the Rothko?
    19. 19. The tradition of luminism in American painting : Like the Hudson River School painters of the previous century, Hopper and Rothko are both concerned with creating a strong, almost physical sensation of light in their painting. 19 Century (Hudson River School) . Frederick Edwin Church. Oil on canvas.
 1930. Edward Hopper . Early Sunday Morning 1961. Mark Rothko . Untitled (Orange, Dark Ruby, Brown on Maroon)
    20. 20. 1963. Willem de Kooning . Rosy-Fingered Dawn at Louse Point. Oil on canvas.
 
6' 8" x 70" (203.2 x 177.8 cm) This is an example of de Kooning’s “action painting”. Yet the title indicates that di Kooning was inspired by a sunrise at a specific place. He did not feel the need to paint what he saw. Yet it seems he tried to capture the color, light and space as he experienced it. So is this a non-objective painting or a landscape? 19 Century (Hudson River School) . Frederick Edwin Church
    21. 21. 1955 - 56. Willem de Kooning . Easter Monday. Oil and newspaper transfer on canvas. 8' x 6' 2" (243.8 x 188 cm) . T his work of gestural abstraction (action painting) is referred to as an “abstract urban landscape” by the curators at MoMA. What aspects of the painting reflect the urban, or city, environment, in your opinion? Listen to the audio on the MoMA website by pasting this link: http://www.moma.org/interactives/exhibitions/2011/dekooning/archives/108
    22. 22. 1964. Romare Bearden . The Dove Collage and synthetic polymer.
30 x 25 cm.
    23. 23. 1998. Robert Rauschenberg . Street Jam. vegetable dye transfer on polylaminate, 61 x 49 1/2
    24. 24. 1957. Richard Diebenkorn . Sea Wall. Oil on canvas.
20 x 25in.
    25. 25. 1967. Richard Diebenkorn . Window. Oil on canvas.
92x80 in.
    26. 26. Richard Diebenkorn. Ocean Park #66. 1973 (left). Ocean Park #54 . 1972 (Right). Oil on canvas.
100 x 81 in.

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