Fuck Yeah American Art!

A tumblog dedicated to the American arts, focusing on, but not limited to, paintings from the 17th century forward.
thee-efflux: Robert Longo, Men in the Cities, 1981. Inspired by death scenes in American gangster films (the dance of death)

thee-efflux:

Robert Longo, Men in the Cities, 1981.

Inspired by death scenes in American gangster films (the dance of death)

(Source: thee-efflux)

todayisperfect:

Sol LeWitt

In the early 1960s, LeWitt first began to create his “structures,” a term he used to describe his three-dimensional work. His frequent use of open, modular structures originates from the cube, a form that influenced the artist’s thinking from the time that he first became an artist. After creating an early body of work made up of closed form wooden objects, heavily-lacquered by hand, in the mid-1960s he “decided to remove the skin altogether and reveal the structure.” This skeletal form, the radically simplified open cube, became a basic building block of the artist’s three-dimensional work. In the mid-1960s, LeWitt began to work with the open cube: twelve equal linear elements connected at eight corners to form a skeletal structure. From 1969, he would conceive many of his modular structures on a large scale, to be constructed in aluminum or steel by industrial fabricators. Each of his large open cubes is 63 inches high, approximately eye level. At this scale, the artist introduced bodily proportion to his fundamental sculptural unit.

(Source: todayisperfect)

quick—silver: Romantic Landscape with Ruined Tower, Thomas Cole, Hudson River School. [[ Thomas Cole ]] is well known for such paintings as The Oxbow as well as series including The Voyage of Life and The Course of Empire. His realistic paintings depicted the American wilderness.

quick—silver:

Romantic Landscape with Ruined Tower, Thomas Cole, Hudson River School.

[[ Thomas Cole ]] is well known for such paintings as The Oxbow as well as series including The Voyage of Life and The Course of Empire. His realistic paintings depicted the American wilderness.

(Source: quick--silver)

ionic-columns: Prayer Rug for America, Helen Zughaib. 2001. Helen Zughaib, a Lebanese woman who now lives in America, is known for combining traditional Islamic and modern American art forms in her works. She uses her art to try to overcome stereotypes about Muslims in America and in general. This piece resembles a quilt, a traditional American form of art, but the detailed geometric patterns are also very common in traditional Islamic art. Her use of patriotic colors to form the prayer niche (mihrab) indicate that being Muslim and American don’t have to be separate identities. She is also known for illustrating and discussing the roles of women in Islam, and the different ideas that come with that identity. Image source

ionic-columns:

Prayer Rug for America, Helen Zughaib. 2001.

Helen Zughaib, a Lebanese woman who now lives in America, is known for combining traditional Islamic and modern American art forms in her works. She uses her art to try to overcome stereotypes about Muslims in America and in general. This piece resembles a quilt, a traditional American form of art, but the detailed geometric patterns are also very common in traditional Islamic art. Her use of patriotic colors to form the prayer niche (mihrab) indicate that being Muslim and American don’t have to be separate identities. She is also known for illustrating and discussing the roles of women in Islam, and the different ideas that come with that identity.

Image source

(Source: ionic-columns)

heaveninawildflower: ‘Idle Hours’ (1895) by H.Siddons Mowbray. Oil on canvas. Smithsonian American Art Museum Google Art Project: Home via Wikimedia

heaveninawildflower:

‘Idle Hours’ (1895) by H.Siddons Mowbray. Oil on canvas.

Smithsonian American Art Museum Google Art Project: Home via Wikimedia

(Source: heaveninawildflower)

Osama vs Obama, 2012, El Franco Lee II

Osama vs Obama, 2012, El Franco Lee II

2headedsnake: cupetinte.blogspot.com Julio Ruelas - Harassing a Child (2010)  Graphite and oil on panel - 25 x 22 cm

2headedsnake:

cupetinte.blogspot.com

Julio Ruelas - Harassing a Child (2010) 

Graphite and oil on panel - 25 x 22 cm

(via thesecularsoup)

drawpaintprint: John Marin: Street Crossing, New York, 1928 John Marin first depicted New York in 1909–1910, and it became one of his favorite themes. His images of the city personify the hurly-burly pace of urban life in twentieth-century America, as in Street Crossing, New York, in which fragmented, overlapping planes represent towering buildings, and sketchy brushstrokes suggest objects and moving figures, all part of the dynamic rhythms of life in the city. The idea that music was related to the rapid tempo of modern life was often discussed among modernist artists, philosophers, critics, musicians, and writers at this time. For Marin and other artists who gathered around Alfred Stieglitz’s Gallery 291, the syncopated beat of jazz music symbolized New York’s pulsating energy and became a metaphor for modern American culture in general. In Street Crossing the towering buildings are defined as a series of large cubist planes. Strong diagonal lines throughout the composition increase the feeling of movement and exhilaration. Around the subway station in the lower left, fine lines and thick slashes of paint allude to speeding cars and rapidly walking pedestrians, creating a seemingly agitated but well organized image of urban activity.

drawpaintprint:

John Marin: Street Crossing, New York, 1928

John Marin first depicted New York in 1909–1910, and it became one of his favorite themes. His images of the city personify the hurly-burly pace of urban life in twentieth-century America, as in Street Crossing, New York, in which fragmented, overlapping planes represent towering buildings, and sketchy brushstrokes suggest objects and moving figures, all part of the dynamic rhythms of life in the city. The idea that music was related to the rapid tempo of modern life was often discussed among modernist artists, philosophers, critics, musicians, and writers at this time. For Marin and other artists who gathered around Alfred Stieglitz’s Gallery 291, the syncopated beat of jazz music symbolized New York’s pulsating energy and became a metaphor for modern American culture in general.

In Street Crossing the towering buildings are defined as a series of large cubist planes. Strong diagonal lines throughout the composition increase the feeling of movement and exhilaration. Around the subway station in the lower left, fine lines and thick slashes of paint allude to speeding cars and rapidly walking pedestrians, creating a seemingly agitated but well organized image of urban activity.

(via drawpaintprint)