| Ash Can School Unknown Image |  | unknown
Until Luks, Sloan, and others, no artist attempted the poverty of urban life as subject. Honesty of subject, regardless of its effect. . . . | | Stag at Sharkey's, 1909 |  | George Bellows
Robust and direct = American. Honesty and energy, a love of the country, all Bellows. Began college to become a professional baseball player but met Robert Henri and went to New York to paint. | | Snow in New York, 1902 |  | Robert Henri | | Music on the Plaza, 1920 |  | John Sloan
Bring form and color together to breathe modern life into stuffy art. Sloan was a painter at war with tradition--his goal was to capture the idea of "city." | | Sun and Wind on the Roof, 1915 |  | John Sloan
"Painting is drawing with the additional means of color. Painting without drawing is just 'coloriness,' color excitement. To think of color for color's sake is like thinking of sound for sound's sake." | | Winter, 1920 |  | Ernest Lawson | | Promenade, 1914 |  | Maurice Prendergast | | Cafferty, 1922 |  | Robert Henri | | McSorley's Bar, 1912 |  | John Sloan
Painter of backyards, back alleys, saloons, restaurants, streets, storefronts, all with unique atmosphere. Find beauty in the common, like male companionship. (In the 1970s, feminist protests opened the bar to women.) At DIA. | | Octopus, in The Verdict magazine, 1899 |  | George Luks
Suspected of being a socialist or anarchist, Luks began as a cartoonist for "New York World," generating comments on politics and urban trouble. He led the Ashcan School to a new direction for American painting. | | The Yellow Kid (cartoon series), 1898 |  | George Luks
The Yellow Kid is a political cartoon series of the time published in New York World magazine. |
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