William Baziotes
Cecilia Beaux
Arthur B. Carles
Clarence Carter
Mary Cassatt
Fern Coppedge
Virginia Cuthbert
Charles Demuth
George Erickson
Daniel Garber
William Glackens
Aaron Harry Gorson
Johanna Hailman
Robert Henri
Roy Hilton
Joseph Hirsch
John Kane
Albert King
George Luks
Norwood MacGilvary
Violet Oakley
Malcolm Parcell
Maxfield Parrish
Horace Pippin
Hobson Pittman
Joseph Plavcan
Edward Redfield
Samuel Rosenberg
Morton Livingston Schamberg
Walter Elmer Schofield
Charles Sheeler
Everett Shinn
John Sloan
Robert Spencer
Walter Stuempfig
Henry Ossawa Tanner
A. Brian Wall
Christian Walter
Everett Warner
Franklin Watkins
N.C. Wyeth

 

 

William Glackens (1870-1938)
The Easter Hat, c. 1930

Born in Philadelphia, William Glackens began his career as a newspaper illustrator. After meeting Robert Henri in 1891, he was inspired to pursue a painting career. Five years later, he moved to New York and joined The Eight in 1908. Glackens was a principle member of the Ashcan school although his work bordered on Impressionism rather than Social Realism. The Ashcan school was a group of urban realist painters in America creating work around the early part of 20th century. The group, founded by the artist and teacher Robert Henri, began its activities in Philadelphia around 1891.

The Ashcan school was more revolutionary in its subject matter rather than its style. The Ashcan school artists sought to paint "real life" and urban reality. These artists believed what was real and true in life was what was beautiful and what constituted "art." They painted gritty urban scenes and the poor and disenfranchised in America.

His early paintings share the dark tones of Manet and Hals favored by several of the leading members of The Eight, but after spending six summers at Bellport on Long Island between 1911 and 1916, his palette brightened. After 1914, he took on less commercial work in order to concentrate more on his painting. In the thirties, he painted some handsome figural compositions, of which The Easter Hat (c. 1930) is a strong example of the reserved formality characteristic of his studio work.

 

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