#george bellows

[fordarkmornings]

George Bellows (American, 1882–1925)

Two Girls, 1917

[lionofchaeronea]

Title: Edge of the Pasture -- Glow of the Sun Artist: George Bellows (American, 1882-1925) Date: 1916 Genre: landscape painting Movement: Ashcan School Medium: oil on panel Dimensions: 45.7 cm (17.9 in) high x 55.9 cm (22 in) wide Location: private collection

[disciplinethepainter]

[justineportraits]

George Bellows Nude Girl, Miss Leslie Hall 1909

[thunderstruck9]

George Bellows (American, 1882-1925), Tennis Tournament, 1920. Oil on canvas, 59 x 66 in.

[de-mykel]

George Bellows. Mountain Farm, 1922.

oil on board

[gayartists]

Shower Bath (1917), George Bellows

[byneddiedingo]

The Cliff Dwellers, George Bellows

[withnailrules]

The White Horse by George Bellows, 1922

[oncanvas]

Cliff Dwellers, George Bellows, 1913

Oil on canvas 40 3/16 x 42 1/16 in. (102.07 x 106.83 cm) Los Angeles County Museum of Art, Los Angeles, CA, USA

[art-portraits]

Chester Dale

Artist: George Bellows (American, 1882-1925)

Date: 1922

Medium: Oil on canvas

Collection: National Gallery of Art, Washington, DC, United States

Description

Hardworking and ambitious, Chester Dale had risen from his modest beginnings on Wall Street at the turn of the century to become a wealthy investment banker and member of the New York Stock Exchange by 1918. In the late teens he and his wife Maud began amassing an outstanding collection of modern American and French paintings as well as a number of works by the Old Masters. After retiring in 1935, Dale served as a trustee of several major art museums, including the National Gallery of Art, of which he became president in 1955. Beginning in 1943, the Gallery received the majority of Dale’s collection, including this portrait by Bellows and three of the artist’s most iconic paintings: Both Members of This Club, Blue Morning, and The Lone Tenement.

Bellows painted this half-length portrait of Dale in his New York studio in January 1922 following three earlier attempts to depict Maud in 1919. Despite Bellows’ intention to represent Dale as a sportsman at leisure, the portrait possesses a formal, awkward quality. Dale’s tentative expression seems at odds with his reputation as a self-made millionaire and cosmopolite. Some art historians have suggested that Dale was dissatisfied with the image, and that it exemplifies the artist’s difficulty with conventional commissioned portraiture. Nevertheless, Bellows’ portrait of Dale brings to mind the court portraits of King Philip IV of Spain painted by Diego Velázquez (Spanish, 1599 - 1660), and it is likely that Bellows deliberately quoted this famous Old Master source as an allusion to the fact that both Dale and King Philip were powerful men who collected art on a princely scale.

[lionofchaeronea]

The Lone Tenement, George Bellows, 1909

[chriskreider]

i’d never heard of george bellows before Thank You i’m doing a deep dive now this guy rules

GUY OF ALL TIMEEEE this piece has been a fixture on the 7th floor of the whitney museum for years, every time i go i circle back to it like 4 or 5 times. Dempsy & Firpo, 1924

[whatevergreen]

'Both Members of This Club' (1909) - George Bellows, National Gallery, Washington DC

"Painted in October 1909... The painting’s title is a reference to the practice in private athletic clubs of introducing the contestants to the audience as “both members” to circumvent the Lewis Law of 1900 that had banned public boxing matches in New York State. Boxing was a controversial subject, but the interracial theme made this painting even more so, especially since the black boxer appears to be winning the match.

It is likely that Bellows intended Both Members of This Club as an allusion to the recent and much-publicized success of the African American professional prizefighter Jack Johnson, who had won the world heavyweight championship in 1908. The idea of a black boxing champion was so unsettling to the prejudiced social order of the time that many thought interracial bouts should be outlawed. Painted at the height of the Jim Crow era, Bellows’s powerful delineation of a white fighter about to be defeated by a black opponent was an exceptionally daring and provocative piece of social commentary."

[galleryofart]

Tennis at Newport

Artist: George Bellows (American, 1882–1925)

Date: 1919

Medium: Oil on Canvas

Collection: Metropolitan Museum of Art, New York City, NY

In the summer of 1919, George Bellows attended an invitational tennis tournament at Rhode Island’s prestigious Newport Lawn Tennis Club. Evidently captivated by its luxurious setting and finely attired people, he produced four large paintings of the subject over the course of the next year. This version is the most complete and captivating of the series. Exquisitely composed, it reveals the artist’s concern with light as a means of directing the viewer’s gaze. Light radiates not from the interior background of the image, as in his other paintings of Newport, but rather from outside the canvas. Casting shadows away from the viewer, the technique effectively highlights the focus of his image, the elegantly dressed spectators in the foreground.

[tomoleary]

George Bellows (1882–1925)