| George Bellows | |
|---|---|
George Bellows |
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| Birth name | George Wesley Bellows |
| Born | August 12, or August 19, 1882 Columbus, Ohio |
| Died | January 8, 1925 (aged 42) New York City |
| Nationality | American |
| Field | Painting |
| Movement | Ashcan School, The Eight, American realism |
| Influenced by | Robert Henri |
George Wesley Bellows (August 12[1][2] or August 19,[3][4][5] 1882 - January 8, 1925) was an American realist painter, known for his bold depictions of urban life in New York City, becoming, according to the Columbus Museum of Art, "the most acclaimed American artist of his generation".[6]
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Bellows was born and raised in Columbus, Ohio. He was an only child, born four years after his parents married, at the ages of fifty and forty respectively.[7] His mother, Anna Wilhelmina Smith, was the daughter of a whaling captain.[7]
Belows attended The Ohio State University from 1901 until 1904. There he played for the baseball and basketball teams, and provided illustrations for the Makio, the school's student yearbook. He was encouraged to become a professional baseball player,[8] and he worked as a commercial illustrator while a student and he continued to accept magazine assignments throughout his life. Despite these opportunities in athletics and commercial art, Bellows desired success as a painter. He left Ohio State in 1904 just before he was to graduate and moved to New York City to study art.[8]
Bellows was soon a student of Robert Henri at the New York School of Art, and became associated with Henri's "The Eight" and the Ashcan School, a group of artists who advocated painting contemporary American society in all its forms.[8] By 1906, Bellows was renting his own studio, on Broadway.[9]
Bellows first achieved notice in 1908, when he and other pupils of Henri organized an exhibition of mostly urban studies. While many critics considered these to be crudely painted, others found them welcomely audacious and a step beyond the work of his teacher. Bellows taught at the Art Students League of New York in 1909, although he was more interested in pursuing a career as a painter. His fame grew as he contributed to other nationally recognized juried shows.
Bellows' urban New York scenes depicted the crudity and chaos of working-class people and neighborhoods, and also satirized the upper classes. From 1907 through 1915, he executed a series of paintings depicting New York City under snowfall. These paintings were the main testing ground in which Bellows developed his strong sense of light and visual texture.[10] These exhibited a stark contrast between the blue and white expanses of snow and the rough and grimy surfaces of city structures, and created an aesthetically ironic image of the equally rough and grimy men struggling to clear away the nuisance of the pure snow. However, Bellows' series of paintings portraying amateur boxing matches were arguably his signature contribution to art history.[8] These paintings are characterized by dark atmospheres, through which the bright, roughly lain brushstrokes of the human figures vividly strike with a strong sense of motion and direction.
Growing prestige as a painter brought changes in his life and work. Though he continued his earlier themes, Bellows also began to receive portrait commissions, as well as social invitations, from New York's wealthy elite. Additionally, he followed Henri's lead and began to summer in Maine, painting seascapes on Monhegan and Matinicus islands.
At the same time, the always socially conscious Bellows also associated with a group of radical artists and activists called "the Lyrical Left", who tended towards anarchism in their extreme advocacy of individual rights. He taught at the first Modern School in New York City (as did his mentor, Henri), and served on the editorial board of the socialist journal, The Masses, to which he contributed many drawings and prints beginning in 1911. However, he was often at odds with the other contributors because of his belief that artistic freedom should trump any ideological editorial policy. Bellows also notably dissented from this circle in his very public support of U.S. intervention in World War I. In 1918, he created a series of lithographs and paintings that graphically depicted the atrocities committed by Germany during its invasion of Belgium. Notable among these was The Germans Arrive, which was based on an actual account and gruesomely illustrated a German soldier restraining a Belgian teen whose hands had just been severed. However, his work was also highly critical of the domestic censorship and persecution of anti-war dissenters conducted by the U.S. government under the Espionage Act.
He was also criticized for some of the liberties he took in capturing scenes of war. The artist Joseph Pennell argued that because Bellows had not witnessed the events he painted firsthand, he had no right to paint them. Bellows responded that he had not been aware that Leonardo da Vinci had "had a ticket to paint the Last Supper".[11]
As Bellows' later oils focused more on domestic life, with his wife and daughters as beloved subjects, the paintings also displayed an increasingly programmatic and theoretical approach to color and design, a marked departure from the fluid muscularity of the early work.
In addition to painting, Bellows made significant contributions to lithography, helping to expand the use of the medium as a fine art in the U.S. He installed a lithography press in his studio in 1916, and between 1921 and 1924 he collaborated with master printer Bolton Brown on more than a hundred images. Bellows also illustrated numerous books in his later career, including several by H.G. Wells.
Bellows taught at the Art Institute of Chicago in 1919. In 1920, he began to spend nearly half of each year in Woodstock, New York, where he built a home for his family.[12] He died on January 8, 1925 in New York City, of peritonitis, after failing to tend to a ruptured appendix.[13] He was survived by his wife, Emma, and two daughters, Anne and Jean. Bellows is buried at Green-Wood Cemetery in Brooklyn.
Paintings and prints by George Bellows are in the collections of many major American art museums, including the National Gallery of Art in Washington, DC, the Memorial Art Gallery of the University of Rochester, Rochester, New York, and the Whitney and the Museum of Modern Art in New York, and The Hyde Collection, in Glens Falls, NY. The Columbus Museum of Art in Bellows' hometown also has a sizeable collection of both his portraits and New York street scenes.
The Archives and Special Collections at Amherst College holds his papers.
In December 1999, Polo Crowd, a 1910 painting, sold for U.S. $27.5 million to billionaire Bill Gates.[14] In November 2008, Bellows's Men of the Docks a 1912 painting of the Brooklyn docks spanning the East River and depicting the Manhattan skyline in the background, was to be auctioned at Christie's in New York. It was expected to set the record for an American painting sold at auction with an estimate of $25–35 million.[15] The painting's sale however was a source of controversy at Randolph College because it was the first masterpiece purchased for the Maier Museum of Art by students and locals who scraped together $2,500 to purchase it in 1920.[16] Due to a series of lawsuits and the deflated art market; the painting remains unsold. [17]
Randolph College was asked by the National Gallery of Art [18] in Washington, D.C. to lend its painting "Men of the Docks" (1912) for the first comprehensive exhibition of the Bellow’s prolific career in three decades. The National Gallery believes that the College’s painting is an important addition to the retrospective and has requested that the College lend its painting to the exhibition. "Men of the Docks" will be on display at the National Gallery of Art in Washington, D.C. June 10-Oct. 8, 2012; The Metropolitan Museum of Art in New York Nov. 14, 2012-Feb. 18, 2013; and the Royal Academy of Arts in London March 16-June 9, 2013.