Between the years 1920 and 2001, there are several clear artistic movements (schools) in American history. There are numerous good examples of these at the several art museums scattered throughout the greater Chicago area. This paper is going to discus an artistic school (movement) that is known as the Ashcan school. The paper will then give a brief overview of two works. This school of thought is usually associated with artistic group that is known as the Eight.
Whose members are Henni Robert (1865 to 1929), Glacken William (1870 to1938), Shinn Everett (1876 to 1953), Sloan French John (1871 to 1951), Lawson Emest (1873 to 1939), Prendergast Maurice (1859 to 1924), and Luks George. The Ashcan school of thought, also known as the Ash Can School of thought, refers to a realistic artistic movement that rose into prominence in America during the early 20th centaury, best known for artistic work showing scenes of daily life in the poorer neighbourhood of New York.
This school of thought was composed of a group of artist, many of whom have had a stint as newspaper illustrators in Philadelphia, who show cased their artistic works once at the Macbeth Gallery in New York. The eight are commonly referred as a group, despite the diversity of their work in terms of the subject and style. Five of these artists are the only ones who painted the urban scenes that characterized the Ashcan school. The main unity of these schools if thought was based on the desire of portraying some truths concerning the dirty city. Henri Robert strived to make art to be akin to journalism.
Robert wanted paint to be as real as mud, as the snow and clods of horse shit that freezes on a Broadway during winter season. The artist of this school of thought went against genteel the United States impression that was a reflection of the vanguard of the United States art of that time. Their artistic work were generally dark in tone, reflected subjects such as drunks, prostitutes, boxing matches and also captured the spontaneous moments of life. This paper is going describe the artistic work of Robert Henri and William Glacken. Chez Mouquin Chez Mouquin is an artistic work that was done by William Glacken in 1905.
Chez Mouquin shows a socio sexual complexity. The picture has a dark background. There is also an image of a beautiful lady who is extravagantly dressed. The woman also looks gloomy (sad). The beautiful lady is seated with a beefy prosperous looking man in a tuxedo in a restaurant. In this picture, the beautiful woman together with the man is taking wine . Glacken William painted Chez Mouquin in 1905 inside the Parisian style cafe of the uptown market. This beautiful lady with redhead painting is Jeanne Louise Mouquin who has been depicted to be sitting politely with an owner of the restaurant James Moore of the cafe Francis.
Glacken captured Jeanne Mouquin facial expression of boredom while she was possibly waiting for her husband to close the restaurant so that they can go home. James Moore resembles Henri, her husband because of the moustache. There is no doubt her husband (Henri) was busy managing the cafe that is why he didn’t sit for the portrait. William Glacken might have started drawing the portrait using James Moore has a stand in for Henri, planning to finish the painting after with Henri in it.
Henri was busy, so he refused to sit down however; Glacken went a head and painted Moore with the wife of Mouquin. William Glacken thought that it was a great idea to have his business partner seated with Jeanne Louise. The lady didn’t like this idea, that his why she sulked. This painting might be a reflection of the marriage scandal that hit the newspaper. James Moore was so well known for squiring young beautiful ladies and used to refer to then as his daughter. This painting can be found at Chicago Art Institute who also has the rights.