George Bellows미국, 1882–1925Splinter Beach
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〈Splinter Beach 〉는 지금 어디에 있나요? 소장처: 클리블랜드 미술관, 클리블랜드. 현재 전시하지 않습니다. 확인일 2026년 11월 2일.
클리블랜드, 미국
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작품 소개
George Bellows made Splinter Beach in 1916; the print is in the Cleveland Museum of Art, Cleveland. East River docks provided unofficial recreation grounds for children from New York tenements. Bellows shows naked children without idealizing their circumstances. Fully dressed adults watch them, and the image includes disturbing sexual contact. Newspapers of his early New York years treated poor neighbourhoods as places lacking cleanliness and order. His treatment of sexual impropriety also reflects the coarse humour used in contemporary fictional portrayals of urban poverty.
미술관의 설명
During George Bellows’s first decade in New York City, starting in 1904, newspapers ran many stories about the “social problem” of the urban poor, reporting that the city’s tenement district lacked cleanliness and order. Drawn to this unvarnished side of city life, Bellows made several images of the public docks along the East River that were unofficial places of recreation for the city’s tenement children. Both Splinter Beach and River-Front feature, without sentimentality, children that display their nakedness unabashedly. Disturbingly, both images feature fully clothed adults observing or even touching children, as well as other sexual touching. Portrayals of sexual indecency in Bellows’s work aligned with the off-color humor often found in fictional representations of the urban poor of the time.
클리블랜드 미술관
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- 소장품 번호
- 1936.582
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출처
- 클리블랜드 미술관
- 이미지: 클리블랜드 미술관 — Museum open access
George Bellows의 생애 속 이 작품
생애 전체 보기1915년 4월 23일
Daughter born: Jean Bellows
1916
A lithography press in his studio
He installs a lithography press in his studio and makes a significant contribution to establishing lithography as a fine art in the United States.
1918
The quarrel with Pennell: who may paint a war
The artist Joseph Pennell argues that, since Bellows did not witness the events he painted, he has no right to paint them; Bellows replies that he had not known Leonardo da Vinci “had a ticket to paint the Last Supper”.
