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The Artist As Social Critic

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The Artist As Social Critic THE ARTIST AS SOCIAL CRITIC: JOHN SLOAN AND THOMAS HART BENTON by Andrea Tarantino A Thesis/Project Presented to The Faculty of Humboldt State University In Partial Fulfillment of the Requirements for the Degree Masters of Social Science Emphasis in American History May, 2005 THE ARTIST AS SOCIAL CRITIC: JOHN SLOAN AND THOMAS HART BENTON by Andrea Tarantino Approved by the Master’s Thesis Committee: Rodney Sievers, Major Advisor Date Gayle Olson-Raymer, Committee Member Date Delores McBroome, Committee Member Date Delores McBroome, Graduate Coordinator, MASS – Teaching American History Cohort Date Donna E. Schafer, Dean for Research and Graduate Studies Date ABSTRACT Artistic expression reflects and influences the time, place and culture from which it springs. Many artists were inspired by the revolutionary optimism prevalent in the early twentieth century and viewed their art as a tool for changing society. In this study I plan to show how some artists have been politically active, chronicling their times and presenting a vision for a better, reformed America. This project focuses on two artists who represented the American experience during the first half of the twentieth century. Both had long careers and all were concerned with the social and economic issues of their day. John Sloan was a member of the so called Ashcan school of art. He portrayed the life of the common worker at the turn of the century. Sloan’s illustrations for the radical journal The Masses were among the most expressive pieces of political propaganda ever made in this country. Thomas Hart Benton was primarily concerned with the social and economic struggles of the working class person, especially during the Great Depression and New Deal era. He was also known for his championing of regional themes in art, such as that of Missouri. Drawing upon biographies such as Thomas Hart Benton: An American Original by Henry Adams and John Loughery’s John Sloan: Painter and Rebel, I plan to explore how both artists exhibited a sense of social awareness. Was their political expression subtle or overt? How did the artists’ observations change over time? What personal iii experiences shaped the artists’ outlooks? From where did the support for their art come? And, to what degree is their work a mirror of society at large? Many of these questions have been addressed in broader texts emphasizing the complex relationship between art and politics including Frances Pohl’s ambitious survey of American history, Framing America: A Social History of American Art . By understanding the political expression of these two artists, students will gain an appreciation for the power and drama social conditions have on an artist and the powerful influence an artist can have on the era in which he or she lives. Lesson Plans: 1) Create overhead transparencies of select works of art from each of the three artists. Use them with students for their daily journal writes. Write up a brief biographical sketch on each artist to present to the class as background information. Develop questions for each work of art that refer to technique, style and subject matter. (These transparencies and journal questions will provide students with a model for what I expect in the next lesson.) 2) Art Museum Curator Project: This research project will place students in the role of art curators who must write up a biographical sketch on an artist, describe that artist’s technique, and present five of their most influential works to the class in the form of a museum exhibit. iv ACKNOWLEDGMENTS My thanks to Delores McBroome for her trust and encouragement; Gayle Olson- Raymer for her constant support; Rod Sievers for reading and editing this work; Jack Bareilles for administering the Teaching American History program in a generous and easy-going manner; and my loving husband Ron for his kindness and patience. v TABLE OF CONTENTS Page ABSTRACT.......................................................................................................................iii ACKNOWLEDGMENTS .................................................................................................. v TABLE OF CONTENTS................................................................................................... vi THE ARTIST AS SOCIAL CRITIC: JOHN SLOAN AND THOMAS HART BENTON1 Introduction............................................................................................................. 1 John Sloan............................................................................................................... 3 Thomas Hart Benton............................................................................................. 19 Conclusion ............................................................................................................ 34 PAINTING IN AMERICA: THE ART CURATOR MUSEUM PROJECT.................... 39 Introduction........................................................................................................... 39 Prior Content Knowledge and Skills .................................................................... 40 Discussion of Content Hook ................................................................................. 41 Lesson Content...................................................................................................... 42 Evaluation ............................................................................................................. 44 Appendix A Art Museum Curator Project Topic List ........................................ 45 Appendix B Grade Level Standards ................................................................... 49 Appendix C Hook Questions Related to Works by John Sloan and Thomas Hart Benton................................................................................................................... 52 Appendix D Grading Rubric............................................................................... 55 ENDNOTES ..................................................................................................................... 58 BIBLIOGRAPHY............................................................................................................. 61 vi THE ARTIST AS SOCIAL CRITIC: JOHN SLOAN AND THOMAS HART BENTON Introduction Artistic expression reflects and influences the time, place and culture from which it springs. Artists working in the first half of the twentieth-century were witness to profound revolutions in science, technology, politics, and social relations. People’s lives became animated by electricity and accelerated by the gasoline engine. Warfare was conducted with unimaginable savagery. Monarchies gave way to experiments in democracy and proletarian communism. Women began to explore the dream of equality with men. It was a period of fascination for all things “modern,” sometimes invigorating and at other times disturbing. Worldwide depression undermined some ideas and gave new life to others. Not surprisingly, artists and their work were shaped by these events. John Sloan and Thomas Hart Benton were two painters whose overlapping years of influence span this period of dramatic transformation in America and the world. An investigation of their lives and work will illustrate how artists were inspired by the revolutionary optimism common at that time. They were politically conscious men with well-developed ideas about justice and equality. Though their art was decidedly not propagandistic, their choices of subjects and even mediums represented their political, social and economic ideals (Benton’s work with murals was a conscious attempt to make art accessible to a broad range of people). 1 2 Both men were prominent in the art world and exerted influence far beyond the product of their hands. Sloan was a key organizer of the momentous 1913 Armory Show that introduced Americans to the many tangents of the European modernist movement. For nearly thirty years Sloan was president of the Society of Independent Artists which promoted exhibition opportunities for many up and coming artists. They each shaped countless students at the Art Students League, as well as in private tutorials. Benton’s most famous pupil, ironically, was the abstract expressionist Jackson Pollock. Importantly, both published books that took on the major issues of art in their day and explained their philosophies. At the start of the twentieth-century the art world was still insecurely grappling with the question that came into being since the earliest days of the new American republic, “What is American Art”? Both men confidently answered this question with bodies of work that explored American themes in a forthright manner, emulating traditional populist values. Though both were obviously influenced by abstract art being created in Europe, Benton, in a flamboyant and ultimately self-destructive flourish, rejected these modernist schools as un-American. In the highly politicized art scene of New York during the first half of the twentieth-century, another elemental debate swirled around the purpose of art. Was it purely an aesthetic endeavor, meant to entertain and beautify, or was it a social act that reached its most noble end when it served to provoke, educate, and transform? In their own way each chose the social definition of art; though Sloan, especially in his later years, would explore a very personal form of art. The reservation both men had for 3 abstract art was that it could never match the power and depth of representational art, and thus
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