Ironically, the pleasant tone of paintings such as Traveling Carnival, Santa Fe brought Sloan derision from critics, accustomed to his gritty New York works produced as a member of The Eight and The Ashcan School
Rebecca Zurier, Picturing the City: Urban vision and the Ashcan School
(Los Angles: University of California Press, 2006), 251.
Designed to "enlighten and entertain as well as inform," the volume includes brief entries on AARP, Abbott and Costello, the Afghanistan War, AIDS, Woody Allen, the ACLU, "Amos and Andy," Maya Angelou, the Ashcan School
, Arthur Ashe, Fred Astaire, and the atomic bomb.
Today's art historians remember the Ashcan school
, or the remarkable muralists and painters of the depression era such as Ben Shahn, perhaps even a handful of poster makers for the vibrant protest theater of the 1930s.
Ernest Poole and Ashcan School
painter John Sloan), where his politics
The contributions to The Urban Lifeworld: Formation, Perception, Representation range from a philosophical discourse on the nature of the lifeworld, via a discussion of musical theatre, an outline of the planning process in Copenhagen, to a discourse on the contradictory phenomenology of New York, from an essay on the Ashcan school
of artists to an analysis of the work of Steen Eiler Rasmussen.
The same penchant for harangue is evident in the art criticism Gelernter writes for The Weekly Standard, where you are lucky to get through a few paragraphs about Titian, say, or the Ashcan School
, or Jackson Pollock, without being taken aside for a severe hectoring.
This is a history of New York in which you hear nothing about the painter John Sloan and the Ashcan School
or about the New York Armory show of 1913.
Artists of the Ashcan School
attacked social themes, while others pursued trompe l'oeil (``fool the eye'') effects that challenged the viewer to break the picture plane.
Outcault and other artists like George Luks, William Glackens and Stephen Crane (author of the "Red Badge of Courage") would form the nucleus of the Ashcan School
and lead the first successful revolution in 20th Century painting with images of the city.
Paintings by John Sloan of the Ashcan school
provide an added bonus that enables the reader to contrast Sloan's portrait of the prostitute in 1908 with a book illustration, shown earlier, of "A Street-Girl's End" (1872).
They were branded by their conservative critics as "The Apostles of Ugliness" from the the Ashcan School
The images of that period--what have become known as "neighborhood pictures"--were by and large products of a homegrown Ashcan School
ethos, depicting the life of the Bay Area streets as Johanson experienced it on ground level: the hunched bums, junkies, commuters, and random pedestrians traveling the blocks in isolation, encountering outbursts of conviviality and violence, dogged at all times by their own mental demons.
It would later grow into the Ashcan School
, a term coined in 1916 for a loose association of artists, including Bellows, who rejected American Impressionism to document, as might a journalist, daily life in New York's poorer neighbourhoods.
A notable exception is Rebecca Zurier's analysis in Picturing the City: Urban Vision and the Ashcan School