George Bellows's early fame rested on his powerful depictions of boxing matches and gritty scenes of New York City's tenement life, but he also painted cityscapes, seascapes, war scenes, and portraits, and made illustrations and lithographs that addressed many of the social, political, and cultural issues of the day. In 1904, he moved to New York to study with Robert Henri, under whose influence he became the leading young member of the Ashcan School. The Ashcan artists aimed to chronicle the realities of daily life, but often depicted them through rose-colored glasses. Bellows, the boldest and most versatile among them in his choice of subjects, palettes, and techniques—and also the youngest—treated both the immigrant poor and society's wealthiest with equanimity. Although Bellows's art was rooted in realism, the variety of his subjects and his experiments with many color and compositional theories, and his loose brushwork, aligned him with modernism—as did his commitment to artists' freedom of expression and their right to exhibit their works without interference from academic dictates or juries.
Courtesy of The Metropolitan Museum of Art
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