Henry Hobart Nichols Jr.

Untitled, Brooklyn Bridge

c. 1915-1920

Meyerowitz's earliest paintings and prints were realistic; however, he soon began absorbing and adapting modernistic aesthetics to create his own abstracted pictorial language of colors and forms. This work is an example of that evolution. Notice the cubist influence particularly in the canopy of trees above the figures. Meyerowitz and Bernstein split their time between New York and Gloucester. This painting shows New York's Central Park in high summer with strollers on the left and riders on horseback in the middle background. William Meyerowitz was an important early American modernist painter who painted a rich variety of subjects working in both realist and cubist modes. The nuances and diversity in Meyerowitz's paintings, prints, and sculpture, were nurtured through his friendships with many of America's premier artists. These included the ashcan painters William Glackens and John Sloan, realists such as Reginald Marsh and Edward Hopper, and the modernists Alfred Stieglitz, Charles Demuth, Stuart Davis, Oscar Bleumner, and Marcel Duchamp. According to Theresa Bernstein, Meyerowitz's wife, Meyerowitz was particularly close to Duchamp and he and Marcel would often spend hours talking or playing chess. Throughout the 1920s, 1930s, and 1940s, Meyerowitz exhibited regularly across the United States and was also a teacher. Through shows at the Whitney Studio Club, he met other modernists such as Charles Sheeler, Niles...

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