John Marin, Two Boats and Red Sea, 1944
Watercolor and charcoal on paper, 15 x 20 ¼ inches.
John Marin, Mount Chocorua, White Mountain, 1926.
Watercolor, charcoal, graphite on paper, 16 7/8 x 21 3/4 inches.
Charles Burchfield, Lull in Summer Rain, 1916.
Watercolor on paper, 14 x 20 inches.
Marsden Hartley, New Mexico Recollections, No. 7, 1923.
Oil on board, 20 x 14 ½ inches.
Charles Burchfield, Sunlight in Park, June 10, 1917
Watercolor, gouache, charcoal on paper, mounted to board, 17 x 22 inches.
John Marin, Autumn Scene, 1918
Watercolor on paper, 16 x 12 inches.
Arthur Dove, Centerport II, c. 1940.
Watercolor and ink on paper, 6 x 4 inches.
Arthur Dove, Untitled (4-21-41), 1941.
Gouache and ink on paper, 4 x 5 1/2 inches.
Oscar Bluemner, Port Soho, 1935.
Graphite on paper, 4 ¼ x 5 5/16 inches.
Oscar Bluemner, Soho (Moonrise), 1920.
Crayon on paper, 3 ¼ x 4 inches.
Arthur Dove, Trees, c. 1940.
Watercolor, 5 x 7 in.
Oscar Bluemner, Bloomfield Lock, 1918.
Watercolor and gouache on paper, 4 x 5 ¼ inches.
Stuart Davis, Trees and Derrick, c. 1931
Gouache and watercolor on paper, 8 x 16 inches.
Reginald Marsh, Washington Takes Union Square, May, 1933.
Oil and tempera on gesso panel, 36 x 24 inches.
Walt Kuhn, Clowns, 1925.
Oil on linen, 15 x 12 inches.

Press Release

November 17– December 23, 2011

Highlighting the dynamic period between the world wars, Modern America 1917-1944 features a select group of paintings and watercolors by Oscar Bluemner, Charles Burchfield, Stuart Davis, Arthur Dove, Marsden Hartley, Walt Kuhn, Reginald Marsh, and John Marin. Not only were the interwar decades pivotal to the development of American modernism, which had emerged earlier in the century, but they also witnessed an updated concern with realism, charged with a more modern focus on, or at least an allusion to, the pressing social issues of the day.

The era is characterized by the plurality of stylistic approaches that were pursued simultaneously by American artists working both here and abroad. Those that will be on view in the exhibition span the range from abstraction to social realism. Marsden Hartley’s strikingly modernist New Mexico Recollections No. 7, for example, is one of a series of memory paintings that he created in Germany in 1923, inspired by the powerful landscape and open space of the Southwest, while Reginald Marsh’s quintessential Depression-era painting, Washington Takes Union Square, contrasts a monumental statue that is a commemoration of the nation’s founding with the everyday realities of 1933 America.
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