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Sheeler Charles

Charles Sheeler: Across Media

University of California Press

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Charles Sheeler (1883-1965) is recognized as one of the founders of American modernism and one of the master photographers of the twentieth century. His work is synonymous with precisionism, a crisp, clean, hard-edged style that reconciled cubist abstraction and the machine aesthetic of Marcel Duchamp with American subject matter. Trained in industrial drawing, decorative painting, and applied art at the School of Industrial Art in Philadelphia, Sheeler also attended the Pennsylvania Academy of the Fine Arts, where he learned an impressionistic, painterly style. He later embraced European modernism and taught himself photography. Sheeler fully absorbed the lessons of each discipline and forged his own singular approach.
This beautifully illustrated book, created to accompany a traveling exhibition of Sheeler's work, features detailed analyses of the artist's mediums and working methods. Focusing on the complex, often paradoxical, relationships among photography, film, drawing, printmaking, and painting that were central to Sheeler's art, this pathbreaking book traces critical points in Sheeler's trajectory, beginning with a small selection of Sheeler's seminal photographs, circa 1917, of the interior of an eighteenth-century Quaker fieldstone house in Doylestown, Pennsylvania. Sections are also devoted to the 1920 film Manhatta, made in collaboration with Paul Strand; a series of commercial photographs of the Ford Motor Company's River Rogue factory (1927); the enigmatic painting The Artist Looks at Nature (1943) and its related works; and finally a group of mill subjects from the 1940s and 1950s that experiments with photomontage.
Copub: National Gallery of Art
Charles Sheeler: Paintings and Drawings

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Charles Sheeler: The Photographs

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Charles Sheeler in Doylestown: American Modernism and the Pennsylvania Tradition

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Charles Sheeler in Doylestown investigates one artist's lifelong engagement with the rich, distinctive traditions of rural Bucks County, Pennsylvania. It charts Sheeler's discovery of the region's architecture and artifacts beginning about 1910, when he and fellow artist Morton Livingston Schamberg rented an 18th-century farmhouse in Doylestown. It assesses the impact this seminal event had on Sheeler's early career, and how his cyclical return to Bucks County themes in later life reveals poignant attachments and emotional depths not usually ascribed to this 20th-century painter and photographer -- known primarily as an iconographer of the machine.
Charles Sheeler: Modernism, Precisionism and the Borders of Abstraction

I. B. Tauris

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Charles Sheeler was the stark poet of the machine age. Photographer of the Ford Motor Company and founder of the painting movement Precisionism, he is remembered as a promoter of--and apologist for--the industrialised capitalist ethic. This major new rethink of one of the key figures of American modernism argues that Sheeler’s true relationship to progress was in fact highly negative, his "precisionism" both skewed and imprecise. Covering the entire oeuvre from photography to painting and drawing attention to the inconsistencies, curiosities and "puzzles" embedded in Sheeler’s work, Rawlinson reveals a profound critique of the processes of rationalisation and the conditions of modernity. The book argues for a re-evaluation of Sheeler's often dismissed late work which, it suggests, may only be understood through a radical shift in our understanding of the work of this prominent figure.


Charles Sheeler and Cult of the Machine (Essays in Art and Culture)

Harvard University Press

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At the dawn of the twentieth century Henry Adams proclaimed that the machine was as central to our modem American culture as the Virgin was to medieval culture. We worshiped in our factories as our ancestors worshiped in cathedrals. In this century we also raised up bridges, grain elevators, and skyscrapers, and many were dazzled by these symbols of the Machine Age—from American presidents such as Calvin Coolidge to European artists such as Marcel Duchamp. Charles Sheeler (1886–1965) was one of the most noted American painters and photographers to embrace the iconography of the machine. But was he high priest or heretic in the religion of mass production and technology that dominated his era?

Karen Lucic considers this intriguing question while telling us Sheeler’s story: his coming of age, his achievement of artistic independence in the teens and twenties, and his later treatments of Machine Age subjects throughout the years of the Depression and World War IL The author shows us how—in paintings, drawings, and photographs depicting New York skyscrapers, Henry Ford’s automobile factories, and machine–dominated interiors—Sheeler produced images of extraordinary aesthetic power that provocatively confirmed America’s technological and industrial prestige in clear, vivid, and exact detail.

Do these compelling works establish Sheeler as a champion of the Machine Age? Most of the artist’s contemporaries thought so. “Sheeter was objective before the rest of us were,” claimed his friend Edward Steichen, and critics either lauded or assailed Sheeler for his seemingly straightforward acceptance of the machine. He is misunderstood today for the same reason. In the post–industrial era, Sheeler has been attacked for objectifying his subjects, for eliminating the human element from the modem landscape, and ultimately for complicity in the mechanization of the world he so accurately portrayed.

By closely investigating Sheeler’s social and aesthetic contexts and through exceptionally clear and convincing visual analysis, Karen Lucic reinterprets the work of this important modernist. She argues that his images do not celebrate the machine but question its predominance during his time. They provoke us to confront the social consequences of modern technology.

Sheeler appears in this book as neither believer nor heretic in the cult of the machine. Lucic asks us to grant Sheeler his ambivalence, for it was his ambivalence that enabled him to portray modernity so splendidly.


Sheeler Charles News




Museum to Present a Major Collection of American and European ... - Art Daily
Museum to Present a Major Collection of American and European Precisionists Charles Demuth, Ralston Crawford, George Ault, and Charles Sheeler are represented, as are the Philadelphia modernists Arthur B. Carles, Hugh H. Breckenridge, Earl Horter, and Morton Schamberg. Sculptures include the work of Elie Nadelman

THE CURIOUS GARDEN - New York Times
THE CURIOUS GARDEN - New York Times New York TimesTHE CURIOUS GARDENBrown's first acrylic and gouache spread pictures the metropolis as bleak and forbidding as one of Charles Sheeler's cityscape paintings, its only visible inhabitants factories, high-rises and roadways. The only movement comes from plumes of smoke

Fewer Exhibitors Yields More Sales At The International Fine Art Fair - Antiques and Arts Weekly
Fewer Exhibitors Yields More Sales At The International Fine Art FairThe opposite wall of Babcock's booth featured the work of Charles Sheeler with a 1946 tempera titled "Barn Abstraction," also marked price on request, while his 1959 tempera on plexiglass "Barn Decorations (Hex Signs)" was $275000, and "Rose in a Vase

Grandchildren of Montclair museum founder protest sale of collection - NJ.com
Grandchildren of Montclair museum founder protest sale of collection - NJ.com NJ.comGrandchildren of Montclair museum founder protest sale of collectionWilliam Merritt Chase (1849-1916) was an important American impressionist and teacher whose pupils included Georgia O'Keefe, Joseph Stella and Charles Sheeler. His oil paintings and pastels appear in the collections of the Metropolitan Museum of Art,

Topwerken van Edward Hopper in de Kunsthal - AD.nl
Topwerken van Edward Hopper in de Kunsthal - AD.nl TiscaliTopwerken van Edward Hopper in de KunsthalBehalve acht topstukken van Hopper wordt werk geëxposeerd van onder anderen Georgia O'Keeffe, Charles Sheeler en Man Ray. Tegelijk presenteert de Kunsthal De Weidse Blik. De Haagse School en het Moderne Nederlandse Landschap, een topselectie van Hopper en andere Amerikaanse toppers in Kunsthal Topstukken Hopper en Haagse School dit najaar in de Kunsthal