Henry Glintenkamp and the Ashcan School of American Art
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| The Triangle Shirtwaist Fire (see left) by Henry Glintenkamp |
Today, every gallery of any size or status in the art community carries paintings by Henry Glintenkamp. Henry was an early adherent to the realist principles of the Ashcan School, whose list of members varies from one analyst to another.
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| Everett Shin's Dancer Before the Footlights |
Henry's work diverged from the others because of its purity. While Hopper, Maurer, Henri and others forsook the incredibly boring but traditional and lucrative portraits of wealthy New Yorkers in their subject
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| Above: Edward Hopper's Pennsylvnia Coal Town. Below, Maurer's Girl in White | |
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matter, Glintenkamp and others like Peggy Bacon also forsook those same New York autocrats as an audience. Instead, they published in the magazines intended for mass circulation among Americans at large. Poor quality and expense of rendered color in magazines in magazines largely unheard of, and
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| Above: George Bellows' White Horse. Below, Glintenkamp's Santa Fe. |
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thus, the shift in audience entailed a shift in medium to lithographs and wood cuts.
In the savage repression introduced by Woodrow Wilson in WWI (click here), the pacifist views expressed in his artwork resulted in Henry's arrest for sedition.
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| Glintenkamp's the Voting Machine. Below: one of his few paintings |
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