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Artists of the Great Lakes:
1910-1960
May 26 - August 19, 2007
Image courtesy of Flint Institute of Arts
The Flint Institute
of Arts has long held an outstanding collection of works of art by artists
of the Midwest, especially from the first half of the twentieth century.
In the past decade, the collection has expanded in breadth and depth to
include hundreds of examples, often direct and energetic in approach, from
the most significant artists of the region. This exhibition features 100
paintings, prints, and drawings, primarily created between 1910 and 1960,
which present the subjects, styles, and individual statements of the artists
of the Midwest.
Wall text from the exhibition
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- Daily Life
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- Great Lakes painters expressed a particular kinship with
the everyday lives and activities of people of the Upper Midwest. Populist
sentiment suffuses their art, with scenes of people at work, at leisure,
and going about the routines of daily life.
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- Ethel Gath's The Sewing Machine or Sunday Morning
and Basil Hawkins' The Card Players present two intimate interior
scenes of daily life in Flint, Michigan. Lawrence McConaha's Springwood
depicts bathers enjoying a respite from the summer's heat in Richmond,
Indiana. Joseph Sparks' Net Mending Row shows a worker amongst the
wooden net winders and storage sheds along the shoreline of Lake Michigan.
James Flora's Mount Adams Winter Scene presents an expansive view
of a winter day in Cincinnati, Ohio. In the foreground, a gathering of
adults and children are seen whiling away the hours skating and sledding.
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- Industry
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- Industry was the lifeblood of the Great Lakes region
during the twentieth century, providing thousands of workers with steady
employment. Artists produced compelling scenes of mining, shipping, building,
and manufacturing, documenting the region's economic legacy, and industries
impact, both positive and negative, on the daily lives of its people. (right:
Fred Biesel, American, 1893 - 1962, Evening - South Chicago, Oil
on canvas, 1925, 26 x 30 inches. Collection of the Flint Institute of Arts,
courtesy of the Isabel Foundation, L2003.43)
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- Great Lakes artists recorded the production cycle in
its entirety, from the excavation and transportation of raw materials from
around the Great Lakes to its processing and production in the region's
urban centers. Clarence Carter's Coal Docks at Superior and Cameron
Booth's Iron Ore depict coal and iron ore storage. Aaron Gorson's
Barges Passing Under a Bridge shows material transit across the
region's network of waterways. Lawrence McConaha's powerful image, Coke
Otto, and Zoltan Sepeshy's Steel Mill-Zug Island, depict the
massive facilities required for steel production. Alexander Levy's Stamping
Room-Pierce Arrow Factory, and Jack Keijo Steele's Assembly Line
signify the end of the cycle, as steel is stamped and welded in the region's
automotive assembly plants.
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- Cities
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- Chicago and Cleveland emerged as prominent centers of
Great Lakes artistic production during the first half of the twentieth
century. Cleveland held strong artistic ties to northern Europe, whereas
Chicago represented a more ethnically diverse population. Both cities'
cultural institutions actively patronized and exhibited regional art. Other
cities across the region such as Minneapolis/St.Paul, Milwaukee, Indianapolis,
Detroit, Buffalo, and Pittsburgh were also well represented by their artistic
communities.
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- Great Lakes artists were attuned to the region's bustling
city centers, producing images of the cities' skylines, boulevards, and
neighborhoods. Although versed in the visual language of European modernism,
their work remained unmistakably personal in style and subject matter.
Clare Deike adapts cubist technique in her suburban setting, Westside
Cleveland. Zoltan Sepeshy's Woodward Avenue No. II reflects
the Detroit area's dynamic automobile culture. Ethel Johnt's Saint Mary's
of Sorrows at Dawn and Edmund Brucker's The Capitol-Indianapolis
present vistas that convey their sensitivity to the distinct character
of these locales.
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- The Countryside
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- The Great Lakes' countryside is well represented, with
many scenes devoted to the fields, woods, hills, and rural communities
throughout the region. Although Great Lakes artists were inspired by the
styles and techniques of the European landscape tradition, they reflect
a specifically American character in their desire to depict the familiar
settings of everyday rural life.
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- Scenes such as the gnarled trees in Henry Keller's Deep
Woods, Lawrence McConaha's serene Indiana Pastoral, or August
Biehle's brilliantly colored Hollyhocks typify the artists' personal
experience of the land. Charles Burchfield's eerie Northwoods in Spring
recasts a cluster of conifers into a vibrantly expressive, mysterious
vision. Carlos Lopez's Country School, and Leo Henkora's Fall
at the Edge of Town capture the charm and simplicity of rural architecture.
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- People
-
- Great Lakes artists were particularly keen observers
of local identity. In accord with the populist sentiments expressed in
American scene painting nationally, Great Lakes artists responded with
memorable portraits of people from the region's diverse urban and rural
populations.
-
- Santos Zingale's introspective portrait, Unemployed
Worker, reflects a sense of the collective hardship and travail endured
by the nation's workers during the Great Depression. Francis McVey's The
School Teacher captures the calm demeanor of a fair-haired teacher
seated at her desk. Roman Johnson's Dad depicts his father within
a composite landscape; an old home and expansive stretch of Ohio pastureland
provides the regional backdrop for his father's portrait. Similarly constructed
composite images include Edmund Brucker's Bag Ears and Bill.
Bag Ears is a portrait of an immigrant worker's son posed in front
of an alleyway in Cleveland's "Little Italy" district. Brucker's
portrait of his brother, Bill, has the sitter placed in front of
a window that looks out onto the rolling farmland in eastern Ohio.
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- The Water
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- The Great Lakes are the timeless presence that underscores
the cultural and economic vitality of the populations that developed along
the shorelines and waterways of the region. Lakes and waterways were a
continual source of inspiration, providing a wealth of opportunities for
artists to express the waters' ever changing qualities in a variety of
artistic modes and individual styles. (right: Constance Coleman
Richardson, American, 1905 - 2002, Ore Docks, Duluth, Oil on masonite,
1953, 16 x 31 inches. Collection of the Flint Institute of Arts, courtesy
of the Isabel Foundation, L2003.97)
-
- Artists responded to the wide range of marine subject
matter, painting scenes of the Great Lakes, inland lakes, rivers, shorelines,
beaches, and marshes. Moreover, their work spans a wide stylistic spectrum,
from realistic representations such as Constance Coleman Richardson's Ore
Docks, Duluth, and Aaron Bohrod's Houseboats - Chicago River,
to the distinctly modern interpretation of Jean Crawford Adams' Lake
Geneva.
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(above: Jean Crawford Adams, American, 1884 - 1972,
Lake Geneva, Oil on board, 1929, 16 x 20 inches . Gift of Pat Glascock
and Michael D. Hall in memory of Harry Butler, 2003.19)
Editor's note: RL readers may also enjoy these additional
articles and essays:
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