Joseph Stella, "The Brooklyn Bridge," from "The Voice of the City of New York Interpreted," 1920-22. Oil and tempera on canvas. 88 x 54 “

Human and machineThe spiritual, the emotional in the mechanical,the urban

A New Divinity

Charles Sheeler, American Landscape,1930, o/c, 24 x 31”

Precisionism

Criss-Crossed Conveyors,

one of the most famous industrial images of the 20th century.

Sheeler, Ford Rouge, Michigan,Late 1920s

Cultural Nationalism – the rural, the local, the folk, the past

Thomas Hart Benton, Slaves, 1924–27, Oil on cotton duck mounted on board, 66 x 72”

Thomas Hart Benton, Industry (Women Spinning) 1924–27, Oil on canvas, 66 x30”

Matthew Josepson

artist and his/her milieu

Advertising as American exceptionalism

Industry, mass production, advertising

Adverts: virility “The American athlete, lover of unwarlike violence and motion is supreme in a collection of automobile announcements. His bronzed, handsome, genial visage gleams unblemished in such a statement as …….” (follows transcription of sports car advert) p. 62

(See Italian Futurism, Boccione)

Holger Cahill: Kabotie

StereotypingPatronizingAssimilationAppropriation

No contextThe white’s idea about the IndianRomanticizing/patronizing

Cultural primitivism

See definition by Arthur Lovejoy, p. 63

Edward Alden Jewel: Motley

Elemental heart of the raceAfrican forest Brutality/ SlaveryGaietyChild-like abandon

Search-Light: Georgia O’Keeffe

Dark desires, simplicitySmiles, maternal splendor

Peasant, strong hipped, esoteric Wisdom

1923

Red Canna, 1923

Iris, 1929

Against cultural primitivism

Aaron Douglas, Aspects of Negro Life: From Slavery Through Reconstruction, 1934, oil on canvas, 5 x 11’

Archibald Motley, The Jockey Club, 1929, o/c