Edward Hopper was an American realist painter and printmaker. While he is widely known for his oil paintings, he was equally proficient as a watercolorist and printmaker in etching.
Albert Bierstadt was a German American painter best known for his lavish, sweeping landscapes of the American West. He joined several journeys of the Westward Expansion to paint the scenes. He was not the first artist to record the sites, but he was the foremost painter of them for the remainder of the 19th century.
Morton Wayne Thiebaud was an American painter known for his colorful works depicting commonplace objects—pies, lipsticks, paint cans, ice cream cones, pastries, and hot dogs—as well as for his landscapes and figure paintings. Thiebaud is associated with the pop art movement because of his interest in objects of mass culture, although his early works, executed during the fifties and sixties, slightly predate the works of the classic pop artists. Thiebaud used heavy pigment and exaggerated colors to depict his subjects, and the well-defined shadows characteristic of advertisements are almost always included in his work.
Mary Elizabeth Price, also known as M. Elizabeth Price, was an American Impressionist painter. She was an early member of the Philadelphia Ten, organizing several of the group's exhibitions. She steadily exhibited her works with the Pennsylvania Academy of the Fine Arts, the National Academy of Design, and other organizations over the course of her career. She was one of the several family members who entered the field of art as artists, dealers, or framemakers.
Josephine Verstille Hopper was an American painter who studied under Robert Henri and Kenneth Hayes Miller, and won the Huntington Hartford Foundation fellowship. She was the wife of Edward Hopper, whom she married in 1924.
The Ashcan School, also called the Ash Can School, was an artistic movement in the United States during the late 19th-early 20th century that produced works portraying scenes of daily life in New York, often in the city's poorer neighborhoods.
Robert Laurent was a French-American modernist figurative sculptor, printmaker and teacher. His work, the New York Times wrote,"figured in the development of an American sculptural art that balanced nature and abstraction." Widely exhibited, he took part in the Whitney's 1946 exhibition Pioneers of Modern Art. Credited as the first American sculptor to adopt a "direct carving" sculpting style that was bolder and more abstract than the then traditional fine arts practice, which relied on models, Laurent's approach was inspired by the African carving and European avant-garde art he admired, while also echoing folk styles found both in the U.S. and among medieval stone cutters of his native Brittany. Best known for his virtuoso mastery of the figure, Laurent sculpted in multiple media, including wood, alabaster, bronze, marble and aluminum. His expertise earned him major commissions for public sculpture, most famously for the Goose Girl for New York City's Radio City Music Hall, as well as for Spanning the Continent for Philadelphia's Fairmount Park. After the Depression, he was also the recipient of several Works Progress Administration (WPA) Federal Art Project commissions under the New Deal, including a bas-relief called Shipping for the exterior of Washington, D.C.'s Federal Trade Commission Building, commissioned by the Treasury Department's Section of Fine Arts in 1938.
Richard Estes is an American artist, best known for his photorealist paintings. The paintings generally consist of reflective, clean, and inanimate city and geometric landscapes. He is regarded as one of the founders of the international photo-realist movement of the late 1960s, with such painters as John Baeder, Chuck Close, Robert Cottingham, Audrey Flack, Ralph Goings, and Duane Hanson. Author Graham Thompson writes "One demonstration of the way photography became assimilated into the art world is the success of photorealist painting in the late 1960s and early 1970s. It is also called super-realism or hyper-realism and painters like Richard Estes, Denis Peterson, Audrey Flack, and Chuck Close often worked from photographic stills to create paintings that appeared to be photographs."
Raphael Zalman Soyer was a Russian-born American painter, draftsman, and printmaker. Soyer was referred to as an American scene painter. He is identified as a Social Realist because of his interest in men and women viewed in contemporary settings which included the streets, subways, salons and artists' studios of New York City. He also wrote several books on his life and art.
George Copeland Ault was an American painter. He was loosely grouped with the Precisionist movement and, though influenced by Cubism and Surrealism, his most lasting work is of a realist nature.
Joseph Hirsch (1910–1981) was an American painter, illustrator, muralist and teacher. Social commentary was the backbone of Hirsch's art, especially works depicting civic corruption and racial injustice.
Hotel Lobby is a 1943 oil painting on canvas by American realist painter Edward Hopper; it is held in the collection of the Indianapolis Museum of Art (IMA), in Indianapolis, Indiana, United States.
Early Sunday Morning is a 1930 oil painting by American artist Edward Hopper.
Abraham Solomon Baylinson was a Russian-American painter who was active in the early modernist movement.
Edmund Charles Tarbell was an American Impressionist painter. A member of the Ten American Painters, his work hangs in the Boston Museum of Fine Arts, Metropolitan Museum of Art, National Gallery of Art, Smithsonian American Art Museum, Corcoran Gallery of Art, DeYoung Museum, National Academy Museum and School, New Britain Museum of American Art, Worcester Art Museum, and numerous other collections. He was a leading member of a group of painters which came to be known as the Boston School.
Z. Vanessa Helder was an American watercolor painter who gained national attention in the 1930s and 40s, mainly for her paintings of scenes in Eastern Washington. She painted with a bold, Precisionist style not commonly associated with watercolor, rendering landscapes, industrial scenes, and houses with a Magic Realist touch that gave them a forlorn, isolated quality, somewhat in the manner of Charles Sheeler and Edward Hopper. She spent most of her career in the Pacific Northwest, but was popular in New York art galleries, was a member of the National Association of Women Painters and Sculptors, and, in 1943, was included in a major exhibit at the Museum of Modern Art.
Baptism in Kansas is a 1928 oil painting by the American painter John Steuart Curry. It depicts a full-submersion baptism in a water tank. In the sky are a raven and a dove, a reference to the birds Noah released from the Ark. The painting is based on a scene Curry witnessed in 1915, when the creeks were dried up and the water tank was the only suitable site for the baptism. It was painted in August 1928.
New York Movie is an oil on canvas painting by American painter Edward Hopper. The painting was begun in December of 1938 and finished in January of 1939. Measuring 32 1/4 x 40 1/8", New York Movie depicts a nearly empty movie theater occupied with a few scattered moviegoers and a pensive usherette lost in her thoughts. Praised for its brilliant portrayal of multiple light sources, New York Movie is one of Hopper's well-regarded works. Despite the fact that the movie in the painting itself is not known, Hopper's wife and fellow painter Josephine Hopper wrote in her notes on New York Movie that the image represents fragments of snow-covered mountains.
Norman Carton was an American artist and educator known for abstract expressionist art. He was born in the Ukraine region of Imperial Russia and moved to the United States in 1922 where he spent most of his adult life.
Ed McGowin is an American painter and sculptor based in New York City. Throughout his career, McGowin has produced works in a wide variety of media that have been installed and exhibited in galleries, museums and public spaces. He has taught at institutions such as the Corcoran School of the Arts and Design, the University of Southern Mississippi, and the State University of New York system. The first major publication of his work, Name Change: One Artist – Twelve Personas – Thirty Five Years, was published by the Mobile Museum of Art in 2006 and distributed by the University Press of Mississippi.
