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2 notes Reblog

8 months ago

by Katherine Fish
2 notes Reblog

8 months ago

by Katherine Fish
9 notes Reblog

9 months ago

Reblog

9 months ago

by Katherine Fish
Reblog

9 months ago

by Katherine Fish
Reblog

9 months ago

by Katherine Fish
Reblog

9 months ago

by Katherine Fish
87 notes Reblog

9 months ago

cavetocanvas: Charles Sheeler, Church Street El, 1920 From the Cleveland Museum of Art: Capturing the soaring heights of New York City, this painting is a dramatic bird’s eye view of Broadway and Wall Street, showing a conglomeration of buildings at left and center, and the Church Street elevated train at right. Sheeler based his composition on an image from the short movie Manhatta (1920), which he made with the photographer Paul Strand. One of the first avant-garde American films, Manhatta celebrates the dynamic metropolis through a series of carefully composed shots of Lower Manhattan. As typical with Sheeler’s work, the artist simplified forms and eliminated textures in Church Street El to concentrate on rhythmic interplays of shapes and color, as well as patterns of light and shadow.
221 notes Reblog

9 months ago

cavetocanvas: Charles Sheeler, Skyscrapers, 1922 From the Phillips Collection: Skyscrapers, which reflects the 1920s precisionist aesthetic, is one of Sheeler’s most accomplished assimilations of European modernism into his own uniquely American style. Using sharply defined contours, non-atmospheric planes of color, and intense frontal light, Sheeler conveyed the grandeur of monumental buildings grouped together. For Skyscrapers, Sheeler made and studied both a photograph and a drawing. In comparing the photograph and the drawing with the final work, one can visualize Sheeler’s gradual reduction and simplification of the scene. By cropping the image, he brought the subject closer to the picture plane. In the painting, Sheeler simplified the image by creating planes of solid color for the shapes that are crucial to the overall structure of the composition. The viewer’s eye is directed into the composition by the diagonal recession of strong gray shadows. Intended as a unifying compositional device rather than a disclosure of time of day, these raking shadows converge on the focal point of the painting, the cubic design in the lower center of the picture. The diagonal contours of the shadows disrupt the otherwise predominantly vertical composition.
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9 months ago

by Katherine Fish
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