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@troycap.bsky.socialOct 15, 2026, 11:01 PM

Snow in New York by Robert Henri — a wonderful early-20th-century Ashcan School view of NYC in winter. Gritty streets and a muted palette turn everyday scenes into something intimate as snowfall quiets the city. See it: buff.ly/Pa6yJAp #AshcanSchool #NYC

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@open-art.bsky.socialOct 11, 2026, 2:33 PM

#JohnSloan #Sloan #ClevelandMuseumOfArt #ModernArt #OilOnCanvas #AshcanSchool #UrbanGenrePainting

@lronlacy.bsky.socialOct 9, 2026, 7:52 AM

#AUTUMN and the Ashcan School
‘An Autumn Landscape’
Ernest Lawson (1873-1939) n.d.
#ErnestLawson #AmericanArt #AshcanSchool #autumncolors

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@lronlacy.bsky.socialOct 8, 2026, 7:41 AM

#AUTUMN and the Ashcan School
‘Connecticut Landscape’
Ernest Lawson (1873-1939). Oil on canvas. n.d.
#ErnestLawson #AmericanArt #AshcanSchool #autumncolors #Connecticut

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@firstamendmentgirl.bsky.socialOct 3, 2026, 3:31 PM

Italo-American Celebration, Washington Square by William James Glackens, 1912, Museum of Fine Arts, Boston (Massachusetts)

#ArtHistory #ModernArt #Impressionism #AmericanImpressionism #AshcanSchool

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@lronlacy.bsky.socialOct 3, 2026, 7:22 AM

#AUTUMN and the #AshcanSchool
‘Autumn in New England’
Maurice Prendergast (1858-1924). Pencil & watercolor. Ca. 1910-1913.
#MauricePrendergast #AmericanArt #autumncolors #NewEngland

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@lronlacy.bsky.socialOct 2, 2026, 6:43 AM

#AUTUMN and the #AshcanSchool
‘Along the Seine’
Maurice Prendergast (1858-1924). Oil on canvas.
1892-1894.
#MauricePrendergast #AmericanArt #autumncolors #Paris

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@lronlacy.bsky.socialOct 1, 2026, 8:21 AM

#AUTUMN and the Ashcan School
‘Fall, Santa Fe, River’ John French Sloan (1871-1951). Oil glaze over tempera. 1943.
#JohnFrenchSloan #AshcanSchool #AmericanArt #autumncolors

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@lronlacy.bsky.socialSep 30, 2026, 7:23 AM

#AUTUMN and the #AshcanSchool
‘My House, Woodstock’
George Bellows (1882-1925). Oil on panel. 1924.
#GeorgeBellows #AmericanArt #autumncolors

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@lronlacy.bsky.socialSep 29, 2026, 7:17 AM

#AUTUMN and the #AshcanSchool
‘Autumn Brook’
George Bellows (1882-1925). Oil on panel. 1922.
#GeorgeBellows #AmericanArt #autumncolors

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@lronlacy.bsky.socialSep 28, 2026, 7:22 AM

#AUTUMN and the #AshcanSchool
‘Romance of Autumn’
George Bellows (1882–1925). Oil on canvas. 1916.
#GeorgeBellows #AmericanArt #autumncolors

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@worldofartbysue.bsky.socialSep 17, 2026, 6:21 PM

September's theme: Labor
GEORGE BELLOWS (1882 - 1925), “Men of the Docks”, 1912. National Gallery, London UK.
George Bellows was the youngest artist associated with the Ashcan school, and his artwork exudes a confident, vigorous style.
#arthistory #art #Labor #AshcanSchool

The American Ashcan School championed the grit and hard work inherent in contemporary urban life, so it’s no wonder that we’ve looked at several Ashcan artists this month. George Bellows was the youngest artist associated with the Ashcan school, and his artwork exudes a confident, vigorous style. Famous for his tenacious boxing scenes, Bellows also painted portraits, seascapes, landscapes and urban scenes and produced prints. “Men of the Docks” shows a group of longshoremen along the East River near Brooklyn Heights. The dock area is flanked by a warehouse on the left and a large ocean liner, with tugboat, on the right that form diagonals leading the eye towards the sunlit skyline of Lower Manhattan across the partially frozen river. The top of the Brooklyn Bridge can be spotted above the ocean liner. The men seem to be waiting for their assignment to unload the ship; it is winter, with snow on the ground, and the men appear cold as they wait with their hands shoved deep into coat pockets. Bellows’ intrepid use of color sets him apart from his fellow Ashcan artists. His handling of color is bold – his use of blues in this piece keep the viewers’ eyes moving around the composition – and his brushwork is loose but not sloppy. “Men of the Docks” was the first American painting to enter the National Gallery in London’s collection (in 2014).
@worldofartbysue.bsky.socialSep 16, 2026, 2:19 PM

September's theme: Labor
JOHN SLOAN (1871 - 1951), “Renganeschi’s Saturday Night”, 1912. Art Institute of Chicago, Illinois US.
Renganeschi’s was an Italian restaurant on 10th Street in Greenwich Village, located not far from Sloan’s studio.
#arthistory #art #NYC #Labor #AshcanSchool

Sloan was a newspaper artist in Philadelphia (where he took a drawing class at PAFA taught by Thomas Anshutz, whom we saw earlier this week) before moving to New York City to become a full-time artist; he became an important member of the Ashcan School. Although he painted landscapes and seascapes during his summers in Gloucester, Massachusetts, his primary subject matter in his work was the urban working class. Renganeschi’s was an Italian restaurant on 10th Street in Greenwich Village, located not far from Sloan’s studio. Sloan’s informal style serves this scene well: we see a busy night with full tables and active waitstaff. Our attention is drawn to the table with three women – not an unusual sight these days but a little shocking in 1900, when three women eating out without a male chaperone would have raised eyebrows. Sloan’s work with newspapers earlier in his career taught him how to quickly sketch what he saw and as a result his paintings do not feel staged. These are working class women: Sloan gently smiles at their raised pinkies and legs wrapped around their chairs. As an Urban Realist, Sloan sympathized with his subjects but he did not judge them.