RAPHAEL SOYER – PRINTS and DRAWINGS September, 2011

Total Page:16

File Type:pdf, Size:1020Kb

RAPHAEL SOYER – PRINTS and DRAWINGS September, 2011 RAPHAEL SOYER – PRINTS AND DRAWINGS September, 2011 1. Soyer, Raphael. BACKSTAGE. Cole 36. Lithograph, 1935. 15 1/4 x 11 1/2 inches. Edition of about 30. In excellent condition. Rare. $6500.00 2. Soyer, Raphael. BACKSTAGE (THE TEAM). Lithograph, 1932 (Cole 23). 14 3/4" x 11." Edition of about 25 published by Asociated American Artists, NY. Titled "Backstage" and signed in pencil. In very good condition. $3500.00 3. Soyer, Raphael. BEDTIME. Cole 54. Lithograph, 1937. 18 x 10 1/4 inches; 457 x 260 mm. Total edition of 225 commissioned by Rabin & Kreuger Gallery, Newark, NJ (a first edition of 75 was supplemented by a second edition of 150. Although Cole is silent about it, it seems likely that the second edition was really a further printing, done shortly after the first; he offers no indication that there is any variation between the two, or any way to tell them apart). In the next year Soyer did his first lithograph for Associated American Artists, "Protected" which is very similar to this image (here the baby looks at the viewer from the mother's right shoulder; in "Protected" the baby is on the mother's left shoulder; the format for "Protected" is smaller). Bedtime is much less frequently seen than "Protected," a surprise given that the editions were apparently close in size. A fine impression of this large, early print, in excellent condition. $1200.00 4. Soyer, Raphael. BEHIND THE SCREEN. Etching with aquatint, 1935. Cole 39 (2d state). 4 7/8 x 3 15/16 in. An unrecorded apparent later state from of Cole 39, with additional cross-hatching, creating deeper shading. An unsigned, possibly unique, impression. $875.00 5. Soyer, Raphael. BEHIND SCREEN (MODEL RESTING). Cole 68. Lithograph in colors, 1949. 16 x 12 1/4 inches; 405 x 310 mm. Edition of 150, of which 75 were in black and 75 were in color (Soyer used four stones - black, green, pale orange and brown). Signed in pencil. Cole identified this as Soyer's first color print, but in his appendix he added, as Cole 57A, Young Woman Drying Herself, which he dates from 1940, and also identifies as Soyer's first color print. In excellent condition. $1800.00 6. Soyer, Raphael. BOWERY NOCTURNE. Cole 28. Lithograph, 1933. 12 3/4 x 17 7/8 inches. Edition of 25. Signed in pencil. In excellent condition. Soyer considered this and its companion piece, "The Mission" to be among his most important works as a printmaker. Rare. $37,500.00 7. Soyer, Raphael. BRONX STREET. Lithograph, 1928 (Cole 11) Edition of 50, signed and dated in pencil. 7 x 8 3/4 inches (180 x 224 mm). $3000.00 From Gettings: "This is Bourne Avenue in the Bronx, the same street shwon in Night Scene. I had finished an oil painting of this scene and copied in onto transfer paper. Miller then put it onto a lithographic stone and printed it..." 8. Soyer, Raphael. CASTING OFFICE. Lithograph, 1945. (Cole 65). 9 3/4" x 12 3/4", signed and titled in pencil. From the AAA edition of 250. Margins trimmed to about 1 1/2" all around, else very good. $1200.00 9. Soyer, Raphael. CASTING OFFICE. Lithograph, 1945. (Cole 65). 9 3/4" x 12 3/4", signed and titled in pencil. From the AAA edition of 250. $2250.00 10. Soyer, Raphael. CONVERSATION. Cole 21. Lithograph, 1931-32. Hand colored in watercolor. 11 x 15 inches; 280 x 382 mm., with wide (full ?) margins. Edition of 25. Signed, and titled in pencil, lower margin, and also further inscribed, and signed in pencil. A very good impression of this scarce print, with fresh colors. Although Cole does not mention that any of the prints of this edition were colored, it was not unusual for Soyer to handcolor prints, particularly a presentation print like this one. Rare and Fine. $5500.00 11. Soyer, Raphael. COUPLE IN INTERIOR. Etching, 1963. Edition of 85. Signed in pencil and numbered 67/85. From the portfolio Sixteen Etchings by Raphael Soyer, published by Association American Artists in 1965. 9 3/4 x 7 3/4 inches plus full margins. In excellent condition. $750.00 12. Soyer, Raphael. DANCERS. Lithograph, 1954. (Cole74), Ed of 250, 12"x8", signed. Excellent condition $875.00 13. Soyer, Raphael. DANCERS RESTING. Cole 42. Lithograph, 1936. 11 x 9 inches; 280 x 228 mm. Signed in pencil. Edition of about 250, of which only a small number were signed. Published by American Artists Group, NY. In excellent condition. $2250.00 14. Soyer, Raphael. DRAWING OF A BOY. Drawing, ink on paper. 11 x 7 3/8 inches (sheet). Signed in pencil. Sheet edges irregular, else in very good condition. $750.00 15. Soyer, Raphael. DRAWING OF A BOY (I). Pencil on brown paper. c. 19 X 14 inches; 482 x 360mm. (sheet). Signed. In very good condition except for chips at sheet edges; mounted to Japanese tissue for support. $600.00 16. Soyer, Raphael. DRAWING OF A BOY (II). Pencil on brown paper. c. 19 X 14 inches; 482 x 360mm. (sheet). Signed. In very good condition except for chips at sheet edges; mounted to Japanese tissue for support. $600.00 17. Soyer, Raphael. DRAWING OF A BOY (III). Pencil on brown paper. c. 19 X 14 inches; 482 x 360mm. (sheet). Signed. In very good condition except for chips at sheet edges; mounted to Japanese tissue for support. $500.00 18. Soyer, Raphael. DRAWING OF A BOY (IV). Pencil on brown paper. c. 19 X 14 inches; 482 x 360mm. (sheet). Signed. In very good condition excpet for chips at sheet edges; mounted to Japanese tissue for support. $500.00 19. Soyer, Raphael. DRAWING OF A BOY (V). Pencil on brown paper. c. 19 X 14 inches; 482 x 360mm. (sheet). Signed. In very good condition except for chips at edges; mounted to Japanese tissue for support. $500.00 20. Soyer, Raphael. DRAWING OF A BOY (VI). Ink on paper. c. 12 1/4 X 9 inches; 310 x 228mm. (sheet). Signed. In very good condition. $750.00 21. Soyer, Raphael. EAST HOUSTON STREET. Lithograph, 1928 (Cole 15). 5 1/2 x 9 1/2 inches; 140 x 241 mm. Edition of about 50. Full margins. A repaired tear in the margin, right, and a light crease visible within the image, upper right, else a fine impression in very good condition. Very scarce. $2500.00 22. Soyer, Raphael. FIGURE COMPOSITION. Cole 31. Lithograph, 1933. Edition of 25. 16 x 11 1/2 inches; 406 x 292 mm. Signed and titled in pencil. In excellent condition. $2250.00 23. Soyer, Raphael. FURNISHED ROOM. Etching, 1937 (Cole 48). Edition of 25 or fewer, signed and titled in pencil. Published by the W.P.A. Federal Arts Project, with its ink stamp in the margin, lower left. 7 x 8 3/4 inches (180 x 224 mm). Three parallel printing creases, right, else a fine impression in excellent condition of this very scarce print. One of Soyer's most affecting images of the period of the depression. $6500.00 24. Soyer, Raphael. GIRL AT DOORWAY (GIRL AT WINDOW). Etching, 1941. 9 1/2 x 6 7/8 in. Edition of 250, published by AAA. Cole 58. Signed and titled in pencil "Girl at Window." Margins trimmed to about 1" from platemark. $650.00 25. Soyer, Raphael. GIRL AT TABLE. Cole 32. Lithograph, 1934. Edition of 25. Titled and signed in pencil. 15 1/2 x 11 1/2 inches. In very good condition, though with tape residue at the edges of the lower margin, top and bottom, far from the image. Rare. $3500.00 26. Soyer, Raphael. GIRL COMBING HER HAIR. Lithograph. 10 1/4 x 8 inches; 260 x 203 mm. Signed in the stone. A proof aside from the signed edition of 125 signed copies. Pale matstain, else in very good condition. Framed. $225.00 27. Soyer, Raphael. GIRL IN STRIPED SWEATER (HELEN). Lithograph printed on newsprint, about 1920 (Cole 10, Gettings 7). Edition of about 15, signed in pencil. Printed with wide margins on three sides, and to the sheet edge, bottom, as issued. 10 1/8 x 10 1/2 inches (255 x 265 mm). Chipping at edges resulting from brittleness of paper (newspeint), else a fine impression of this very scarce early print. Mounted to Japanese paper for support. $4800.00 According to Soyer's comment in the Gettings Hirschhorn catalogue, the model "is the sister of Jacob Friedland, who printed my first lithographs." 28. Soyer, Raphael. GREEK GIRL #3. Etching. 6 7/8" x 5 1/4", margins. Cole 111. Ed of 100, Signed and numbered. Commissioned by A.A.A. for the deluxe edition of the Cole catalogue raisonne. Excellent condition, framed. $650.00 29. Soyer, Raphael. HEAD OF A GIRL. Cole 82. Lithograph, 1960. Edition of 250 published by A.A.A. 14 x 11 1/8 inches; 356 x 284 mm. Signed and annotated "Artist's Proof" in pencil. Residue from earlier mounting at edges, else in very good condition. $600.00 30. Soyer, Raphael. IN STUDIO. Lthograph, 1935. 13 1/2 x 9 1/2 in. Editon of 100 Cole 37. With stamp of American Artists School. "First Annual Print Series" on verso. Signed in pencil. $2500.00 "This was done on the stone in my studio. Those are my sketches tacked on the wall." (Gettings, #28) 31. Soyer, Raphael. JAPANESE GIRL. Cole 118. Lithograph, 1967. 9 x 15 1/4 inches; 219 x 390 mm. An Artists's Proof aside from the edition of 40 published by A.A.A.
Recommended publications
  • Patricia Hills Professor Emerita, American and African American Art Department of History of Art & Architecture, Boston University [email protected]
    1 Patricia Hills Professor Emerita, American and African American Art Department of History of Art & Architecture, Boston University [email protected] Education Feb. 1973 PhD., Institute of Fine Arts, New York University. Thesis: "The Genre Painting of Eastman Johnson: The Sources and Development of His Style and Themes," (Published by Garland, 1977). Adviser: Professor Robert Goldwater. Jan. 1968 M.A., Hunter College, City University of New York. Thesis: "The Portraits of Thomas Eakins: The Elements of Interpretation." Adviser: Professor Leo Steinberg. June 1957 B.A., Stanford University. Major: Modern European Literature Professional Positions 9/1978 – 7/2014 Department of History of Art & Architecture, Boston University: Acting Chair, Spring 2009; Spring 2012. Chair, 1995-97; Professor 1988-2014; Associate Professor, 1978-88 [retired 2014] Other assignments: Adviser to Graduate Students, Boston University Art Gallery, 2010-2011; Director of Graduate Studies, 1993-94; Director, BU Art Gallery, 1980-89; Director, Museum Studies Program, 1980-91 Affiliated Faculty Member: American and New England Studies Program; African American Studies Program April-July 2013 Terra Foundation Visiting Professor, J. F. Kennedy Institute for North American Studies, Freie Universität, Berlin 9/74 - 7/87 Adjunct Curator, 18th- & 19th-C Art, Whitney Museum of Am. Art, NY 6/81 C. V. Whitney Lectureship, Summer Institute of Western American Studies, Buffalo Bill Historical Center, Cody, Wyoming 9/74 - 8/78 Asso. Prof., Fine Arts/Performing Arts, York College, City University of New York, Queens, and PhD Program in Art History, Graduate Center. 1-6/75 Adjunct Asso. Prof. Grad. School of Arts & Science, Columbia Univ. 1/72-9/74 Asso.
    [Show full text]
  • Prints by Raphael Soyer
    Prints by Raphael Soyer from the Collection of the Memorial Art Gallery of the University of Rochester January 25 – April 22, 2012 right: Self-Portrait, 1963 Etching The Charles Rand Penney Collection of the Memorial Art Gallery, 75.304 below: Self-Portrait, 1967 Lithograph Gift of Diane Ambler, UR Class of 1971, and Ethan Grossman, 2011.48 right: Self Portrait (Know Thyself), 1982 Lithograph Gift of Diane Ambler, UR Class of 1971, and Ethan Grossman, 2011.50 Funds for this brochure were generously provided by Diane Ambler and Ethan Grossman. To learn more about works of art in the Gallery’s collection, school programs, and upcoming exhibitions and events, visit our website: mag.rochester.edu Memorial Art Gallery of the University of Rochester 500 University Avenue Rochester, NY 14607 585.276.8900 Prints by Raphael Soyer January 25 – April 22, 2012 from the Collection of the Memorial Art Gallery of the University of Rochester A prolific realist painter and printmaker, Raphael Soyer had a career that spanned most of the twentieth century with its various artistic ‘isms.’ New York was his first and only American home, to which he immigrated from Russia in 1912, and it became his muse: “I painted only what I saw in my neighborhood in New York City which I call my country…New York and I are a part of one another.” Soyer studied at Cooper Union’s night school, the National Academy of Design, and the Art Students League while he worked at a variety of day jobs to earn money for himself and his family.
    [Show full text]
  • Soyer, Raphael Also Known As Schoar, Raphael American, Born Russia, 1899 - 1987
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 Soyer, Raphael Also known as Schoar, Raphael American, born Russia, 1899 - 1987 Alfred Valente, Raphael Soyer, c. 1940, photograph, Alfred Valente papers, 1941–1978, Archives of American Art, Smithsonian Institution BIOGRAPHY Born in Borisoglebsk, Russia, Raphael Schoar’s surname was changed to Soyer after his family immigrated to the United States in 1912. Arriving in Philadelphia, the Soyers ultimately settled in New York City. Raphael and his twin brother, Moses (1899–1974), along with their younger brother Isaac (1907–1981), were encouraged by their parents to pursue their artistic ambitions. When the twins were forced to drop out of high school to help support their family, both took advantage of the free evening drawing classes at Cooper Union. In the fall of 1918, Raphael and Moses pursued a more serious study of art and entered the free school at the National Academy of Design. Raphael remained at the Academy through 1922, while Moses, in a conscious effort to differentiate the twins’ artistic styles and practices, enrolled at the Education Alliance Art School. In December 1920 and January 1921, and again in early 1923, Raphael also studied with Guy Pène du Bois (American, 1884 - 1958) at the Art Students League. After leaving art school Soyer held a series of jobs and continued to paint in his spare time. He later wrote: “As soon as I left the Academy, I made a conscious effort to forget everything I had learned there . I started from the beginning again and painted in a frank and almost naïve manner subjects of ordinary interest that were part of my immediate life.”[1] Reserved and introspective, the artist turned to his surroundings for subject matter.
    [Show full text]
  • The Federal Art Project in Provincetown, Massachusetts: the Impact of a Relief Program on an Established Art Colony
    University of New Hampshire University of New Hampshire Scholars' Repository Master's Theses and Capstones Student Scholarship Spring 2009 The Federal Art Project in Provincetown, Massachusetts: The impact of a relief program on an established art colony Whitney E. Smith University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/thesis Recommended Citation Smith, Whitney E., "The Federal Art Project in Provincetown, Massachusetts: The impact of a relief program on an established art colony" (2009). Master's Theses and Capstones. 113. https://scholars.unh.edu/thesis/113 This Thesis is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Master's Theses and Capstones by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. THE FEDERAL ART PROJECT IN PROVINCETOWN, MASSACHUSETTS THE IMPACT OF A RELIEF PROGRAM ON AN ESTABLISHED ART COLONY BY WHITNEY E. SMITH BA, University of New Hampshire, 2007 THESIS Submitted to the University of New Hampshire in Partial Fulfillment of the Requirements for the Degree of Masters of Liberal Studies in History May 6, 2009 UMI Number: 1466954 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted.
    [Show full text]
  • Entering the Studio Eric Friendly
    University of South Carolina Scholar Commons University Libraries Award for Undergraduate Undergraduate Student Works Research 2019 Entering the Studio Eric Friendly Follow this and additional works at: https://scholarcommons.sc.edu/libraries_award Publication Info 2019, pages 1-22. © The Author This Article is brought to you by the Undergraduate Student Works at Scholar Commons. It has been accepted for inclusion in University Libraries Award for Undergraduate Research by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Entering the Studio~ Raphael Soyer (c. 1935) ​ By Eric Friendly (Fig. 1) Entering the Studio~ Raphael Soyer (c. 1935) ​ ​ In Raphael Soyer’s painting Entering the Studio (c. 1935) (Fig. 1), Soyer depicts his wife ​ ​ Rebecca Letz1, who was both well-educated and, like Soyer, Jewish. The biographical facts of Soyer’s life and the development of both his artistic style and subject matter, allow for an explanation of the painting, predominantly through the use of Feminist and Social Marxist methods. Soyer and his family experienced persecution at the hands of the anti-semitic Czarist 1 Entering the Studio, C. 1935. Wall Label, Columbia Museum of Art, Columbia, SC. ​ ​ 1 Russian government and Soyer’s status as an immigrant to the United States limited his financial, educational, and personal opportunities. These factors forced the young artist to financially support his parents at the expense of his education and influenced both his artistic style and subject matter. Soyer became an adamant Realist, reflecting his opinion that art is meant to “describe and express people, their lives and times”2, and he dedicated himself to painting intimate scenes of women.
    [Show full text]
  • Oral History Interview with Raphael Soyer, 1981 May 13-June 1
    Oral history interview with Raphael Soyer, 1981 May 13-June 1 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Funding for this interview was provided by the Wyeth Endowment for American Art. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Raphael Soyer on May 13, 1981. The interview was conducted by Milton Brown for the Archives of American Art, Smithsonian Institution. Interview Tape 1, side A MILTON BROWN: This is an interview with Raphael Soyer with Milton Brown interviewing. Raphael, we’ve known each other for a very long time, and over the years you have written a great deal about your life, and I know you’ve given many interviews. I’m doing this especially because the Archives wants a kind of update. It likes to have important American artists interviewed at intervals, so that as time goes by we keep talking to America’s famous artists over the years. I don’t know that we’ll dig anything new out of your past, but let’s begin at the beginning. See if we can skim over the early years abroad and coming here in general. I’d just like you to reminisce about your early years, your birth, and how you came here. RAPHAEL SOYER: Well, of course I was born in Russia, in the Czarist Russia, and I came here in 1912 when I was twelve years old.
    [Show full text]
  • ARTISTS WHO HAD CANCER Works from the Hillstrom and Shogren-Meyer Collections
    ARTISTS WHO HAD CANCER Works from the Hillstrom and Shogren-Meyer Collections September 14 through November 8, 2020 Hillstrom Museum of Art ON THE COVER Dorothea Lange (1895–1965) Part of the daily lineup outside State Employment Service Office, Memphis, Tennessee, 1938 1 1 Gelatin silver print, 10 ⁄8 x 13 ⁄4 inches Lent by Shogren-Meyer Collection ARTISTS WHO HAD CANCER Works from the Hillstrom and Shogren-Meyer Collections September 14 through November 8, 2020 Hillstrom Museum of Art gustavus.edu/finearts/hillstrom For more information, including special hours and visiting policies due to the COVID-19 pandemic, visit gustavus.edu/finearts/hillstrom. To be placed on the Museum’s email list, write to [email protected]. ARTISTS WHO HAD CANCER DIRECTOR’S NOTES The Hillstrom Museum of Art is pleased to present Artists Who Had Cancer: Works from the Hillstrom and Shogren- Meyer Collections. The exhibit and a concurrent one titled Cancer Never Had Me: Views by Artists are presented in conjunction with the 2020 Nobel Conference of Gustavus Adolphus College, titled “Cancer in the Age of Biotechnology.” The commonality of the 32 works included in Artists Who Had Cancer, beyond their being by prominent American artists and dating mostly from the first half of the 20th century, is that they are all by artists who succumbed to cancer. For some of the 16 individual painters, printmakers, and photographers, published biographical information indicates the specific type of cancer the artist had. For those artists, some discussion of their careers, their type of cancer, and, when possible, the impact the disease had on their lives and work, is presented.
    [Show full text]
  • Painting Today and Yesterday in the US
    1941 Painting Today and Yesterday in the U.S. (June 5–September 1) Painting Today and Yesterday in the United States was the museum’s opening exhibition, highlighting trends in American art from colonial times onward as it reflected the unique culture and history of the United States. The exhibition also exemplified the mission of the SBMA to be a center for the promotion of art in the community as well as a true museum (Exhibition Catalogue, 13). The exhibition included nearly 140 pieces by an array of artists, such as Walt Kuhn (1877–1949), Yasuo Kuniyoshi (1889–1953), Charles Burchfield (1893–1967), Edward Hopper (1882–1967), and Winslow Homer (1836–1910). A very positive review of the exhibition appeared in the June issue of Art News, with particular accolades going to the folk art section. The Santa Barbara News-Press wrote up the opening in the June 1 edition, and Director Donald Bear wrote a series of articles for the News-Press that elaborated on the themes, content, and broader significance of the exhibition. Three paintings from this exhibition became part of the permanent collection of the SBMA: Henry Mattson’s (1873–1953) Night Mystery, Katherine Schmidt’s (1899–1978) Pear in Paper Bag and Max Weber’s (1881–1961) Winter Twilight (scrapbook 1941–1944–10). The theme of this exhibition was suggested by Mrs. Spreckels (Emily Hall Spreckels (Tremaine)) at a Board meeting and was unanimously approved. The title of the exhibition was suggested by Donald Bear, also unanimously approved by the Board. Van Gogh Paintings (September 9) Seventeen of Vincent van Gogh’s paintings were shown in this exhibition of the “most tragic painter in history.” This exhibition was shown in conjunction with the Master Impressionists show (see “Three Master French Impressionists” below).
    [Show full text]
  • A Visual Dialogue: on the Art of the Soyer Brothers
    A Visual Dialogue: On the Art of the Soyer Brothers To Guillermo Agaze and David Soyer and, full circle, to Gerard Degre Section 1: Introduction Opening I.Beginning A Visual Dialogue engages the creative struggle of the Soyer brothers, Isaac, Moses and Raphael, as passionately disciplined visual artists whose work profoundly and intentionally addresses the human condition.1. Their art matured in the 1930's. They are now deceased. They were Jewish Americans, New Yorkers: born in Russia. They were “on the left”, yet rejected the designation “social realist”, with its resonance of communist “agitprop”. Isaac is my father. Moses and Raphael are my uncles. III. Focus 1 In the literature, Moses and Raphael are almost always considered separately. Isaac is normally disregarded. I discuss them together (questioning similarities and differences). The basic structure and dynamics of the brothers’ work are usually approached outside artistic projects and problems. It is classified by content. They are “regionalists” (“New York artists”) and “painters of the American scene”. It is explained and critiqued as expressions of non-artistic group identities (primarily as immigrant, Jewish and leftist). I follow Isaac, Moses and Raphael in foregrounding artistic concerns. 2 I generalize Max Weber’s heuristic assumption that religion is normally influenced by “religious needs” to all disciplines including art (c.270): hypotheses of influence must demonstrate relevance to artistic problems and choices. 1 I refer to Isaac Moses and Raphael as “the Soyer brothers.” There is another brother, Israel, and two sisters, Fanny and Rebecca. They were not visual artists. 3 Academic discussion of the brothers’ artistic process focuses on limited tactical/technical concerns.
    [Show full text]
  • A Railroad Station Waiting Room C
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 Raphael Soyer American, born Russia, 1899 - 1987 A Railroad Station Waiting Room c. 1940 oil on canvas overall: 87 × 114.94 cm (34 1/4 × 45 1/4 in.) framed: 111.13 × 139.07 × 9.84 cm (43 3/4 × 54 3/4 × 3 7/8 in.) Inscription: lower left: Raphael / Soyer Corcoran Collection (Museum Purchase, William A. Clark Fund) 2015.19.69 ENTRY Raphael Soyer’s A Railroad Station Waiting Room treats a common theme in the artist’s work: people waiting. [1] He depicted the subject in different contexts throughout his career, from the benign ennui of Bus Passengers (1938, location unknown) to the nervous anticipation of Waiting for the Audition [fig. 1]. A Railroad Station Waiting Room indexes the moods of a diverse group of travelers in the Harlem125th Street Station as they wait for trains to take them to the Bronx, New Haven, or other destinations. [2] A man in a brown suit staves off boredom by engrossing himself in his newspaper, while a woman seated in the foreground in a brilliant red crocheted hat leans on a paper that has been unfolded and refolded several times over, as if she has exhausted her reading material and now resigns herself to an unrelieved wait. Between these poles of resistance and resignation, other travelers smoke, yawn, or lose themselves in thought. Soyer also conveys the monotony of the wait through various formal means. He repeats the alternation of mint green, brown, and white that makes up the station walls and ticket windows with marked uniformity.
    [Show full text]
  • Reginald Marsh's Wooden Horses
    TEACHER RESOURCE Reginald Marsh (American, 1898–1954), School & Teacher Wooden Horses, 1936 Programs 1936; Tempera on board, 24 x 40 inches on board, Tempera 1936; Reginald Marsh (American, 1898–1954) Marsh (American, Reginald Horses, Wooden Fund, Archibald Thomas L. and Clark Archibald The Dorothy Fund, Purchase The American Paintings American Art, for Fund The Krieble Family 2013.1.1 Fund, Sumner Collection The Ella Gallup Sumner and Mary Catlin and / Artists Rights York New Marsh / Art of League, Reginald Students © 2015 Estate York New Society (ARS), “The best show is the people themselves.” —Reginald Marsh The Advent of Social Realism The Great Depression of the 1930s categorically altered the lives of the American people. As the stock market fell to unprecedented lows, citizens struggled to live and to provide for their families. Amid this atmosphere of panic, hopelessness, and uncertainty, artists responded by capturing the harsh realities of life in New York City as well as the leisure and entertainment activities that provided some means of escape. This artistic movement came to be known as Social Realism. While there were regional styles of Social Realism, the works almost always question the social structures that created and maintained the marginalization Museum of Art of the lower classes and simultaneously reference the vitality and resiliency of the people. Social Realism emerged from the complementary work of the proceeding Ashcan School. Those artists sought to realistically capture the gritty conditions of New York City’s crowded tenements, alleys, subways, and slums and such social outsiders as street urchins, alcoholics, and prostitutes. Many Ashcan School artists were former newspaper illustrators who transformed their art into a form of visual journalism that established an American identity during the era’s Wadsworth Atheneum Atheneum Wadsworth www.thewadsworth.org/teachers (860) 838-4170 economic crisis.
    [Show full text]
  • A Finding Aid to the Raphael Soyer Papers, 1933-1989, in the Archives of American Art
    A Finding Aid to the Raphael Soyer Papers, 1933-1989, in the Archives of American Art Erin Corley Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. September 04, 2007 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 3 Arrangement..................................................................................................................... 4 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, 1939-1986............................................................. 5 Series 2: Correspondence, 1940-1988.................................................................... 7 Series 3: Writings & Notes, circa 1946-1987........................................................
    [Show full text]