Norman Barr

Norman Barr, Coney Island (large), 1940

1940

Norman Barr recorded his beloved New York City from the Bronx, to Coney Island, to the Fulton Fish Market. In this period he was on the New Deal's Mural ...

Norman Barr recorded his beloved New York City from the Bronx, to Coney Island, to the Fulton Fish Market. Although Barr was on the Mural Project of the ...

Norman Barr recorded his beloved New York City from the Bronx, to Coney Island, to the Fulton Fish Market. In this period he was on the New Deal's Mural ...

British-born Sid Gotcliffe has made a powerfully poignant image in the lithograph Tompkins Square Park. At the center sit three men dressed in black. Their clothes suggest they bel...

Staten Island Watercolor on paper, c. 1928 Signed with the Estate stamp lower left Sheet size: 19 1/8 x 23 7/8 inches Titled on verso Part of small series of watercolors done of the ...

A lively and detailed mid-1940's vintage boardwalk scene of Santa Cruz, California by California artist Cassard (20th Century), 1944. This figurative...

"To Market To Market", a whimsical early 20th century modern figurative village landscape by Frank Simon Herrmann (American, 1866-1942). In this charming scene of a downtown village ...

Family at the Beach WPA Modernism American Scene Social Realism Mid 20th Century William Gropper (1898 - 1977) "Family at the Beach" 27 1/2 x 19 1/2 inches Mixed media on paper, c. 1940 Signed lower left Provenance: Estate of the artist. The drawing will ship from the home of Mr. Gropper's grandson. Bio Throughout his life, William Gropper used his artistic talents to protest social injustice. Born in New York City, he grew up there in poverty and left high school to work as a dishwasher and delivery boy. He eventually began a career in art and was able to study with Robert Henri and George Bellows from 1912 to 1915. He adopted their realistic painting style, and his own work expressed sympathy for common laborers and outrage at society's ills. In 1919 Gropper established a reputation as a political cartoonist working for the New York Tribune. His blunt, forceful style attracted the attention of other publications, and he provided illustrations and cartoons for a variety of magazines, from the left-wing New Masses to mainstream Vanity Fair. Like many social realist artists of the 1930s, Gropper supported liberal political causes, depicting subjects such as the plight of migrant laborers and striking factory workers. In his first gallery exhibition in 1936 at ACA Galleries, Gropper's work was so well received by critics, collectors, and artists that the following year he had two one-man exhibitions at ACA Galleries. In 1937, Gropper traveled west on a Guggenheim Fellowship and visited the Dust Bowl and the Hoover and Grand Coulee Dams, sketching studies for a series of paintings and a mural he painted for the Department of the Interior. That same year he had paintings purchased by both the Metropolitan Museum of Art and the Museum of Modern Art. Gropper exhibited at the 1939 New York World's Fair, Whitney Museum of American Art (1924-55), Art Institute of Chicago (1935-49), Carnegie International (1937-50), Pennsylvania Academy of the Fine Arts (1939-48), and National Academy of Design (1945-48). He was a founder of the Artists Equity Association and member of the National Institute of Arts and Letters. From 1940 to 1945 William Gropper was preoccupied with anti-Nazi cartoons...