| American Gothic, 1930 |  | Grant Wood
Convinced that America had no culture, Wood studied Impressionism in Paris. Hating it, he applied German discipline to his Quaker roots: careful composition, precision, order. Rural American here is solid, symmetrical, and suspicious. | | Nighthawks, 1942 |  | Edward Hopper
Loneliness again, but notice how stark the scene: bald and unfriendly restaurant, deserted city, all the sound lost behind the glass, the tired people don't care about each other, oblivious. | | Automat, 1927 |  | Edward Hopper | | City Sunlight, 1954 |  | Edward Hopper
Cities? Sure. But more, the quiet desolation of loneliness. Hopper was a realist, but one who represented the darkness of the human soul. | | A Day in June, 1913 |  | George Bellows
One of his works a bit outside of the AshCan School. Contrast to his Stag at Sharkey's. However, this afternoon at Central Park conveys the same sense of motion as Sharkey's. At DIA. | | Between Rounds, 1899 |  | Thomas Eakins | | Gross Clinic, 1875 |  | Thomas Eakins
Eakins sought a truthful portrayal, often earning criticism of viewers and the subjects of the paintings! Homer and others were celebrities; Eakins was scandalous: note lecturer, woman, and doctors around the lit body. | | Christina's World, 1948 |  | Andrew Wyeth
More of a romantic realist with symbolism. Like Hopper, Wyeth dwells on loneliness, but more a quiet longing. Barren landscape, uncomplicated scene, the woman placed low as if to reach for the distant horizon.... | | Master Bedroom, 1965 |  | Andrew Wyeth | | Weatherside, 1955 |  | Andrew Wyeth |
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