Thomas Hart Benton Prints and Multiples

THOMAS HART BENTON (1889-1975) PLOUGHING IT UNDER (aka Ploughing) 1934 (Fath 8) Original lithograph, signed in pencil. Edition of 250 as published by Associated American Artists (AA...

Medium: lithograph. Executed by Thomas Hart Benton to illustrate the Lynn Riggs classic "Green Grow the Lilacs" and printed in 1954 in a limited edition of 1500 by the University of ...

Medium: lithograph. Executed by Thomas Hart Benton to illustrate the Lynn Riggs classic "Green Grow the Lilacs" and printed in 1954 in a limited edition of 1500 by the University of ...

Medium: lithograph. Executed by Thomas Hart Benton to illustrate the Lynn Riggs classic "Green Grow the Lilacs" and printed in 1954 in a limited edition of 1500 by the University of ...

Medium: lithograph. Executed by Thomas Hart Benton to illustrate the Lynn Riggs classic "Green Grow the Lilacs" and printed in 1954 in a limited edition of 1500 by the University of ...

Thomas Hart Benton, 'Goin' Home', lithograph, 1937, edition 250, Fath 14. Signed in pencil. Signed in the stone, lower right. A fine, richly-inked impression, on off-white, wove paper, with margins, in excellent condition. Published by Associated American Artists. Archivally matted to museum standards, unframed. Image size 9 7/16 x 11 7/8 inches; sheet size 10 3/4 x 13 5/16 inches. Impressions of this work are held in the following museum collections: Figge Art Museum, Georgetown University Art Collection, Indianapolis Museum of Art, Library of Congress, Metropolitan Museum of Art, and the Nelson-Atkins Museum of Art. ABOUT THE ARTIST “Benton’s idiom was essentially political and rhetorical, the painterly equivalent of the country stump speeches that were a Benton family tradition. The artist vividly recalled accompanying his father, Maecenas E. Benton — a four-term U.S. congressman, on campaigns through rural Missouri. Young Tom Benton grew up with an instinct for constituencies that led him to assess art on the basis of its audience appeal. His own art, after the experiments with abstraction, was high-spirited entertainment designed to catch and hold an audience with a political message neatly bracketed between humor and local color.” —Elizabeth Broun “Thomas Hart Benton: A Politician in Art,” Smithsonian Studies in American Art, Spring 1987. Born in 1889 in Neosho, Missouri, Thomas Hart Benton spent much of his childhood and adolescence in Washington, D.C., where his father, Maecenas Eason Benton, served as a Democratic member of Congress from 1897 to 1905. Hoping to prepare Benton for a political career, his father sent him to Western Military Academy. After nearly two years at the academy, Benton persuaded his mother to support him in attending the Art Institute of Chicago for two years, followed by two additional years at the Académie Julian in Paris. In 1912, Benton returned to America and moved to New York to pursue his artistic career. One of his first jobs involved painting sets for silent films, which were being produced in Fort Lee, New Jersey. Benton credits this experience with equipping him with the skills necessary to create his large-scale murals. When World War I broke out, Benton joined the Navy. Stationed in Norfolk, Virginia, he was assigned to create drawings of camouflaged ships arriving at Norfolk Naval Station. These renderings were used to identify vessels that might be lost in battle. Benton later remarked that being a "camofleur" profoundly impacted his career: "When I came out of the Navy after the First World War," he said, "I made up my mind that I wasn’t going to be just a studio painter, a pattern maker in the fashion then dominating the art world—as it still does. I began to think of returning to the painting of subjects, subjects with meanings, which people, in general, might be interested in." While developing his Regionalist vision, Benton also taught art, first at a city-supported school and later at The Art Students League from 1926 to 1935. One of his students was a young Jackson Pollock, who regarded Benton as both a mentor and father figure. In 1930, Benton was commissioned to paint a mural for the New School for Social Research. The "America Today" mural, now permanently exhibited at the Metropolitan Museum of Art, led to many more commissions as Benton’s work gained wide recognition. The Regionalist Movement became popular during the Great Depression of the 1930s. Painters such as Benton, Grant Wood, and John Steuart Curry rejected modernist European influences, choosing instead to depict realistic images of small-town and rural life—comforting representations of the American heartland during a period of upheaval. Time Magazine referred to Benton as "the most virile of U.S. painters of the U.S. Scene," featuring his self-portrait on the cover of a 1934 issue that included a story titled "The Birth of Regionalism." In 1935, Benton left New York and returned to Missouri, where he taught at the Kansas City Art Institute. His outspoken criticism of modern art, art critics, and political views alienated him from many influential figures in both political and art circles. Nonetheless, Benton remained true to his beliefs, continuing to create murals, paintings, and prints that captured enduring images of American life. The dramatic and engaging characteristics of Benton’s artwork drawn the attention of Hollywood producers, leading him to create illustrations and posters for films, including his famous lithographs for the film adaptation of John Steinbeck’s "The Grapes of Wrath," produced by Twentieth Century Fox. During the 1930s, The Limited Editions Club of New York asked Benton to illustrate special editions of three of Mark Twain’s books...

Original stone lithograph created 1939 by well-known Regionalist Thomas Hart Benton. The print is in fine condition with full margins and pencil signed lower right. Also signed in the stone lower left. Fath #27. Image size: 9 1/2"h x 12"w. Title: “Cradling Wheat...

THOMAS HART BENTON (1889-1975) COMING ROUND THE MOUNTAIN (MISSOURI MUSICIANS) 1931 (Fath 4) Lithograph, signed in pencil. Although Fath indicates an edition of 75, it is numbered ...

Medium: lithograph. Executed by Thomas Hart Benton to illustrate the Lynn Riggs classic "Green Grow the Lilacs" and printed in 1954 in a limited edition of 1500 by the University of ...

THOMAS HART BENTON (1889-1975) MISSOURI FARMYARD, 1936 (Fath 10) AKA KANSAS FARMYARD Lithograph as published by Associated American Artists. Edition 250. Signed in pencil and in the...

Medium: lithograph. Executed by Thomas Hart Benton to illustrate the Lynn Riggs classic "Green Grow the Lilacs" and printed in 1954 in a limited edition of 1500 by the University of ...

'Morning Train or Soldier's Farewell' is a lithograph by Thomas Hart Benton from 1943. Presented in a custom frame with all archival materials measuring 20 ¾ x 24 ½ inches; image size is 9 ¼ x 13 ½ inches. Print is in good condition, please contact us for a detailed condition report. About the Artist: Born Missouri, 1889 Died Missouri, 1975 Thomas Hart Benton was born in Neosho, Missouri and named for a great uncle and early United States Senator. His father, Colonel M.E. Benton was a Congressman for eight years. The family lived in Washington D.C. in the winter and Neosho in the summer. Determined to pursue his talent he later said he had to run away from home to become an artist. His draftsman experience in the Navy from 1918-19 led to his American Scene realist style, beginning with a mural titled The American Historical Epic made for the New School of Social Research in New York City. This work earned much respect for mural painting and was key to the support of artists in the Federal Art Projects. His murals at the Missouri State Capitol in Jefferson City are major American Scene murals, and in 1957 he was commissioned by Robert Moses, chairman of the board of the Power Authority of the State of New York, to paint a mural for the Power Authority at Massena. For this work at the site, he did extensive research on the theme which was the Canadian expedition of Jacques Cartier in the mid-1500s. During the early part of his career he lived in New York City where he taught at the Art Students League and became a major influence on the style of gestural painter, Jackson Pollock. But increasingly Benton grew to believe that art should express one’s surroundings rather than abstract ideas and that the ordinary person most exemplified American life. He inherited many of these ideas from his populist father who served as a Congressman from Missouri from 1897 to 1905. In 1935, he established a studio in Kansas City where he painted for the next forty years until his death at age 85. Fellow Missourian and former US President...