A Look at Three Kinds of Art Term Paper by scribbler

A Look at Three Kinds of Art
A review of the Ashcan School of art, the Pop Art movement and Vitaly Komar and Aleksandr Melamid's painting, "America's Most Wanted".
# 153344 | 1,014 words | 3 sources | MLA | 2013 | US
Published on May 23, 2013 in Art (History)

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The paper discusses the Ashcan School (1891-1918), composed of a group known as "the Eight", who observed and captured the real-life, sometimes gritty, often dark, off-the-beaten path city life of early twentieth century New York, and who were revolutionary in their treatment of the media. Next, the paper discusses the Pop Art movement (1950s-60s) that was mass-produced for a mass-audience, characterized by Jasper Johns and Andy Warhol, and was entirely formed by cultural movements of the 50s and 60s. Finally, the paper examines Vitaly Komar and Aleksandr Melamid's painting, "America's Most Wanted", that in this author's opinion, is cheap and gimmicky. The paper asserts that it is hard to believe that such a portrait should really interest the American public, and if Komar and Melamid represent anything significant in the world of art, it would have to be the fact that a paint-by-numbers kind of style and appreciation has usurped the position of talent and vision.

Ashcan School (1891-1918)
Pop Art (1950s-60s)
Komar and Melamid

From the Paper:

"As Richard Schiff calls it, the Ashcan School is "America's first and only National Movement." Schiff may be exaggerating the facts (the Ashcan School was based primarily in New York City), but unlike the pseudo-European schools that characterized modern art in America, the Ashcan School--composed of a group also known as "the Eight": Robert Henri, Arthur Davies, William Glackens, Ernest Lawson, George Luks, Maurice Prendergast, John Sloan and Everett Shinn--was purely American (NYC American to be exact). Half of "the Eight" had been newspaper illustrators taught by Henri to "forget about art" and paint real life that interested them, which is exactly what Henri, Sloan, Glackens, Shinn, and Luks did, observing and capturing the real-life, sometimes gritty, often dark, off-the-beaten path city life of early twentieth century New York. Lawson, Prendergast and Davies joined the art show in 1908 put together by Henri and his Ashcan group, and though they made up the rest of "the Eight," their style was significantly different. Henri's students were painter-journalists out to capture the realities of tenement dwellings, drunks, boxing; underscoring a stark and urban poverty that was revolutionarily realistic with its spontaneous, rapid, thick strokes. Unlike the Impressionists, the Ashcan School preferred the darker side: the alleys, the clotheslines, the mobs at wrestling matches that told a side of life that was brutal, hardly bright and colorful, but every bit as lucent (in a sense) as a Monet."

Sample of Sources Used:

  • "Ashcan School." Art Movements. Web. 5 April 2011.
  • Johnson, Paul. Art: A New History. New York, NY: HarperCollins Publishers, 2003.
  • Schiff, Richard. "The Ashcan School." Netgazettes Publications, 2004. Web. 5 April 2011.

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APA Format

A Look at Three Kinds of Art (2013, May 23) Retrieved January 27, 2022, from https://www.academon.com/term-paper/a-look-at-three-kinds-of-art-153344/

MLA Format

"A Look at Three Kinds of Art" 23 May 2013. Web. 27 January. 2022. <https://www.academon.com/term-paper/a-look-at-three-kinds-of-art-153344/>