An enlargement (wall mural) of George Bellows' painting A Stag at Sharkey's at the entrance to the exhibition at the Metropolitan Museum of Art, NYC.
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Paddy Flannigan - George Bellows
1908 Oil on canvas 30 1/4 x 25 in. (76.8 x 63.5 cm) |
Forty-two Kids - George Bellows
1907 Oil on canvas 42 x 60 in. (106.7 x 152.4 cm) |
ART:
George Bellows -
A Retrospective
at the Metropolitan
Museum of Art, NYC.
This exhibition originated at the National Gallery of Art (DC) then moved to The Metropolitan Museum of Art (NYC) and will soon open at the Royal Academy of Arts, London (March 16-June 9, 2012)
Detail of George Bellows'
Self-Portrait
1921 Lithograph full print: 10 1/2 x 7 7/8 in. (26.7 x 20 cm) |
Born in 1882, George Bellows was regarded as one of America's greatest artists when he died in 1925. Bellows's early fame rested on his powerful depictions of boxing matches and gritty scenes of New York City's tenement life, but he also painted cityscapes, seascapes, war scenes, and portraits, and made illustrations and lithographs that addressed many of the social, political, and cultural issues of the day. Featuring some one hundred works from Bellows' extensive oeuvre, this landmark exhibition is the first comprehensive survey of the artist's career in nearly half a century. It invites the viewer to be a participant in the first few decades of the twentieth century in New York City and the North-Eastern coast of the US.
Exhibition Overview
The exhibition is organized thematically, within a chronological framework:
New York, 1905–1908; Boxers and Portraits, 1907–1909; Penn Station and the Hudson River, 1907–1909; Work and Leisure, 1910–16; The Sea, 1911–17; Bellows’s Process, 1912–16; The War, 1918; Bellows’s Process, 1916–23; Family and Friends, 1914–19; and Late Works, 1920–24.
The exhibition is organized thematically, within a chronological framework:
New York, 1905–1908; Boxers and Portraits, 1907–1909; Penn Station and the Hudson River, 1907–1909; Work and Leisure, 1910–16; The Sea, 1911–17; Bellows’s Process, 1912–16; The War, 1918; Bellows’s Process, 1916–23; Family and Friends, 1914–19; and Late Works, 1920–24.
The same scene as above, except in a more resolved color painting. The Cliff Dwellers - George Bellows
1913
Oil on canvas 39 1/2 x 41 1/2 in. (100.3 x 105.4 cm) |
Raised in Columbus, Ohio, Bellows attended Ohio State University, where his athletic talents presaged a future in professional sports and his illustrations for the student yearbook heralded a career as an artist. In 1904, he left college and moved to New York to study with Robert Henri, under whose influence he became the leading young member of the Ashcan School. The Ashcan artists aimed to chronicle the realities of daily life, but often depicted them through rose-colored glasses. Bellows, the boldest and most versatile among them in his choice of subjects, palettes, and techniques—and also the youngest—treated both the immigrant poor and society's wealthiest with equanimity.
The Big Dory - George Bellows
1913
Oil on panel 18 x 22 in. (45.7 x 55.9 cm) |
Bellows never traveled abroad but learned from the European masters by seeking out their works in museums, where he was a regular visitor.
Up the Hudson - George Bellows
1908 Oil on canvas H. 35-7/8, W. 48-1/8 inches (91.1 x 122.2 cm)
(This painting is not a part of the current exhibition.)
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Although Bellows's art was rooted in realism, the variety of his subjects and his experiments with many color and compositional theories, and his loose brushwork, aligned him with modernism—as did his commitment to artists' freedom of expression and their right to exhibit their works without interference from academic dictates or juries.
The Studio
1919 Oil on canvas 48 x 38 in. (121.9 x 96.5 cm) |
Mrs. T in Cream Silk, No. 1
1919 Oil on canvas 48 x 38 in. (121.9 x 96.5 cm) |
Rain on the River
1908 Oil on canvas 32 x 38 in. (81.3 x 96.5 cm)
The Hudson River and adjacent Riverside Park often inspired Bellows. For Rain on the River (1908, Museum of Art, Rhode Island School of Design), the artist positioned himself on a rocky overlook and showed the river below shrouded in mist. A pedestrian navigates a flooded footpath, and smoke billows around a train that is pulling into a shed. Bellows’s contemporaries, who were accustomed to the light and sunny urban views favored by the American Impressionists, would have been startled by this gritty urban subject.
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Pennsylvania Excavation
1907 Oil on canvas 33 7/8 x 44 in. (86 x 111.8 cm) New York's Penn Station was but a hole-in-the-ground at the time of this painting. |
New York
1911 Oil on canvas 42 x 60 in. (106.7 x 152.4 cm)
New York (1911, National Gallery of Art), one of Bellows’s few depictions of the heart of the city rather than its edges, captures the tumult of a busy intersection in winter. Looming skyscrapers obliterate all but a tiny patch of sky. Pedestrians of every social class scurry along the sidewalks. Horse-drawn carriages, delivery carts, and trolleys pack the streets. Men with shovels work to remove any trace of the recently fallen snow.
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Polo at Lakewood
1910 Oil on canvas 45 1/4 x 63 1/2 in. (114.9 x 161.3 cm)
He painted Polo at Lakewood (1910, Columbus Museum of Art) after attending a match on the estate of railroad tycoon Jay Gould, in Lakewood, New Jersey. Bellows was fascinated by the contrast between the game’s violence and the carefully groomed riders, ponies, and spectators.
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Blue Snow, The Battery
1910 Oil on canvas 34 x 44 in. (86.4 x 111.8 cm) |
In addition to being a gifted painter, Bellows was one of the most accomplished American lithographers. It is therefore not surprising that he executed the most forceful image of himself as a lithograph. His Self-portrait (1921, Collection of Max and Heidi Berry) shows him working on a lithographic stone in the balcony studio in his home on East 19th Street. The scalloped edges of the mirror in which he observes himself frame his reflection and remind us of the printmaker’s challenge: to draw in reverse the image he ultimately seeks.
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FOOD:
The Juicing Revolution!
Juicing has become a huge trend, ever since Joe Cross' video: "Fat, Sick & Nearly Dead" went viral on "Netflix". The point is to reduce calories, exercise and drink only freshly created vegetable and fruit juice mixtures during a one week to two month juice fast.
A sample of the video is at the bottom of the issue and below are some of Joe's juicing recipes.
Joe's Juicing Recipes
Mean Green
(THIS IS THE STAR OF THE VIDEO)
1 Bulk of kale
4 Stalks of celery
1 Cucumber
2 granny smith apples
½ lemon
Ginger root (thumb sized)
Apple-Pear
1 Apple
2 Pears
1 Piece Ginger (thumb sized)
Carrot-Kale Combo
1 Green Apple
3 Handfuls spinach
6-8 Kale Leaves
4 Large Carrots
1 Piece Ginger (thumb sized)
Green Lemonade
1 Green Apple
3 Handfuls Spinach
6-8 Kale Leaves
½ Cucumber
4 Celery Stalks
½ Lemon
All Green
Use as much greens as needed
Romaine Hearts
Kale or Collards
Spinach
2 Handfuls Parsley
2-3 Celery Stalks
½ Lemon
1 Piece Ginger (thumb sized)
Apple-Beet-Carrot
1 Apple
2 Beets
3 Large Carrots
1 Piece Ginger (thumb sized)
Spinach / Kale – (optional)
Spinach-Fennel-Cucumber
1 Fennel Bulb
1 Cucumber
2-3 Celery Stalks
Loads of Spinach
Joe recommends the Breville juicer, he probably owns a large stake in the company, but their advantage is they clog less than other brands when it comes to leafy green vegetables.
The most popular model of the recommended Breville juicers. |
Until later,
Jack
ARTSnFOOD, is an online publication dedicated to "The Pursuit of Happiness, the Arts and Food." ™ All rights reserved. Concept, Original Art, Text & Photographs are © Copyright 2013 Jack A. Atkinson under all International intellectual property and copyright laws. All gallery, museum, fair or festival photographs were used with permission. Images © individual artists, fabricators, respective owners or assignees.
ARTSnFOOD, is an online publication dedicated to "The Pursuit of Happiness, the Arts and Food." ™ All rights reserved. Concept, Original Art, Text & Photographs are © Copyright 2013 Jack A. Atkinson under all International intellectual property and copyright laws. All gallery, museum, fair or festival photographs were used with permission. Images © individual artists, fabricators, respective owners or assignees.
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