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Thomas Hart BentonStudy of a Male Nude (Original Thomas Hart Benton, Signed & Authenticated)
About the Item
A rare ORIGINAL and authenticated pen-and-ink drawing with a fine provenance, and a wonderful drawing at that, by legendary American Scene artist Thomas Hart Benton. Though we are most familiar with his WPA-era paintings of rural Midwestern scenes, his drawings are less familiar - but they dramatically demonstrate his superb draftsmanship. The work as framed measures 19.5" x 15.25"; unframed, the artwork measures 14.5" x 10.25". Fine condition. Comes with a copy of a certificate of authenticity: provenance: Savor Gallery, New York, NY; Parke-Bernet Galleries, New York, NY. Proudly presented by Guy Lyman Fine Art, New Orleans
The following bio information was taken from AskArt:
"Important realist painter of the regional school, muralist, printmaker, teacher, writer.
A member of the famous Missouri political family, Tom Benton grew up near the Ozarks. He left at 17 to study at the Art Institute of Chicago from 1906-07 and in Paris at the Julian Academy 1908-11. Back in New York City, he was a professional painter beginning 1912, but he was unable to sell his painting based on European modernism.
In WWI, Benton was an architectural draftsman for the Navy and in this job was forced into realism. At his first postwar exhibition, some of his new paintings sold.
He taught at the Art Students League from 1926-35. During this period, Benton traveled all over the US, sketching in the industrial centers, the South, the Far West, Texas, and New Mexico.
After 20 years in New York City, Benton left what he termed an intellectually diseased lot of painters to return to Missouri as Director of painting at the Kansas City Art Institute.
He has become famous for painting the Contemporary American mural called tabloid art for the New School of Social Research in New York City. When he painted the 45,000 sq. ft. mural for the Missouri State Capital in 1935-36, he rejected customary heroic figures and instead depicted Boss Prendergast, Jesse James, and Frankie and Johnny.
With Grant Wood and John Steuart Curry, Benton realistically portrayed the essence of an American region."
Source:
Peggy and Harold Samuels, Encyclopedia of Artists of the American West, 1985, Castle Publishing
- Creator:Thomas Hart Benton (1889-1975, American)
- Dimensions:Height: 19.5 in (49.53 cm)Width: 15.25 in (38.74 cm)
- Medium:
- Period:
- Condition:Very good condition!
- Gallery Location:New Orleans, LA
- Reference Number:1stDibs: LU994312503302
Thomas Hart Benton
Thomas Hart Benton was born in Neosho, Missouri on April 15, 1889. Even as a boy, he was no stranger to the "art of the deal" or to the smoke-filled rooms in which such deals were often consummated. His grandfather had been Missouri's first United States Senator and served in Washington for thirty years. His father, Maecenas Benton, was United States Attorney for the Western District of Missouri under Cleveland and served in the United States House of Representatives during the McKinley and Theodore Roosevelt administrations. Benton's brother, Nat, was prosecutor for Greene County, Missouri, during the 1930s. As soon as he could walk, Benton traveled with his father on political tours. There he learned the arts of chewing and smoking, and while the men were involved in their heated discussions, Benton delighted in finding new cream colored wallpaper on the staircase wall, at the age of six or seven, and drew in charcoal his first mural, a long multi-car freight train. As soon as he was eighteen, even though his father wanted him to study law, Benton left for Chicago where he studied at the Art Institute during the years 1907 and 1908. He continued his studies in Paris, where he learned delicious wickedness, aesthetic and otherwise. Once back home, he became the leader of the Regionalist School, the most theatrical and gifted of the 1930s muralists and as Harry Truman described him,"the best damned painter in America." Detractors said that Benton was "a fascist, a communist, a racist and a bigot"; the ingenious structure, powerful use of modeling and scale and the high-colored humanity of the murals and easel paintings are retort enough. He was a dark, active dynamo, only 5 ft., 3 1/2 in. tall. He was outspoken, open, charmingly profane; he had a great mane of hair and a face the texture of oak bark. He wore rumpled corduroy and flannel, and walked with the unsteady swagger of a sailor just ashore. He poured a salwart drink, chewed on small black cigars and spat in the fire. Benton was once described as the "churlish dean of regionalist art." If you listened to a variety of art authorities, you would find them equally divided between Harry Truman's assessment of Benton as "the best damned painter in America" and Hilton Kramer who proclaimed Benton "a failed artist." The East Coast art establishment tended to regard Benton as memorable for one reason only: he was the teacher of Jackson Pollock. Benton was married in 1922 to Rita, a gregarious Italian lady, and they had a daughter and a son. At the height of his fame in the 1940s, Benton bungled the buy-out he was offered by Walt Disney and went his own way, completing his last mural in 1975 in acrylics the year of his death. He died in 1975.
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