Charles Sheeler


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Charles Sheeler and the Cult of the Machine


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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, and showing us how Sheeler produced images of extraordinary aesthetic power that provocatively confirmed America's technological and industrial prestige in vivid detail.




Charles Sheeler Prints


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Charles Sheeler in Doylestown


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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.




The Photography of Charles Sheeler


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Essays by leading authorities on the artist's work accompany a stunning collection of nearly two hundred photographs by modernist American photographer Charles Sheeler, offering a landmark retrospective of of the work of the influential master of twentieth-century photography. 15,000 first printing.




Charles Sheeler


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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 finally 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.




Edith Halpert, the Downtown Gallery, and the Rise of American Art


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This book presents the fascinating untold story of art-world tastemaker Edith Halpert, who sold, promoted, and effectively defined American art in the 20th century.




Cult of the Machine


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A fresh look at a bold and dynamic 20th-century American art style Characterized by highly structured, geometric compositions with smooth surfaces, linear qualities, and lucid forms, Precisionism fully emerged after World War I and flourished in the 1920s and 1930s. This insightful publication, featuring more than 100 masterworks by artists such as Charles Sheeler, Georgia O'Keeffe, and Charles Demuth, sheds new light on the Precisionist aesthetic and the intellectual concerns, excitement, tensions, and ambivalences about industrialization that helped develop this important strand of early American modernism. Essays explore the origins of the style--which reconciled realism with abstraction and adapted European art movements like Purism, Cubism, and Futurism to American subject matter--as well as its relationship to photography, and the ways in which it reflected the economic and social changes brought about by industrialization and technology in the post-World War I world. In addition to making a meaningful contribution to the resurging interest in Modernism and its revisionist narratives, this book offers copious connections between the past and our present day, poised on the verge of a fourth industrial revolution. Fine Arts Museums of San Francisco in association with Yale University Press Exhibition Schedule: Fine Arts Museums of San Francisco, de Young (03/24/18-08/12/18) Dallas Museum of Art (09/16/18-01/06/19)




American Modern: Hopper to O'Keeffe


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The Museum of Modern Art is known for its prescient focus on the avant-garde art of Europe, but in the first half of the twentieth century it was also acquiring work by Stuart Davis, Georgia O’Keeffe, Charles Sheeler, Alfred Stieglitz, and other, less well-known American artists whose work sometimes fits awkwardly under the avant garde umbrella. American Modern presents a fresh look at MoMA’s holdings of American art from that period. The still lifes, portraits, and urban, rural, and industrial landscapes vary in style, approach, and medium: melancholy images by Edward Hopper and Andrew Wyeth bump against the eccentric landscapes of Charles Burchfield and the Jazz Age sculpture of Elie Nadelman. Yet a distinct sensibility emerges, revealing a side of the Museum that may surprise a good part of its audience and throwing light on the cultural preoccupations of the rapidly changing American society of the day.




Andrew Wyeth


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One of Andrew Wyeth's most important paintings, Wind from the Sea, a recent gift to the National Gallery of Art, is also the artist's first full realization of the window as a recurring subject in his art. Wyeth returned to windows over the next sixty years, producing more than 250 works that explore both the formal and conceptual richness of the subject. Spare, elegant and abstract, these paintings are free of the narrative element inevitably associated with Wyeth's better-known figural compositions. In 2014 the Gallery will present an exhibition of a select group of these deceptively 'realistic' works, window paintings that are in truth skilfully manipulated constructions engaged with the visual complexities posed by the transparency, beauty and formal structure of windows. In its exclusive focus on paintings without human subjects, this catalogue will offer a new approach to Wyeth's work, being the first time that his non-figural compositions have been published as a group. The authors explore Wyeth's fascination with windows - their formal structure and metaphorical complexity. In essays that address links with the poetry of Robert Frost and the paintings of Edward Hopper, Charles Sheeler and Franz Kline, the authors consider Wyeth's statement that he was, in truth, an 'abstract' painter.




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