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Onde está a obra-prima, e a que horas se abre a porta.

Coleções: Art Institute of Chicago, Galeria Nacional de Arte, Galeria Tretiakov, Getty Villa, Harvard Art Museums, Hermitage, Hirshhorn Museum and Sculpture Garden, Instituto de Artes de Minneapolis, Museu de Arte de Cleveland, Museu de Arte Moderna, Museu do Louvre, Museu Estatal de Amesterdão, Museu J. Paul Getty, Museu Metropolitano de Arte, Museu Nacional de Arte da Dinamarca, Museu Pushkin, Museu Russo, Museu Smithsoniano de Arte Americana, Museu Vitória e Alberto, Museu Whitney de Arte Americana, National Museum of Asian Art, National Portrait Gallery, Catálogo Estatal do Fundo Museológico da Rússia (274 museus), Europeana (19 museus), Wikidata (6 museus), Paris Musées (12 museus) e Joconde, a base de museus do Ministério da Cultura de França (495 museus). As imagens pertencem aos titulares dos direitos.

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  3. Cotton Pickers
Cotton Pickers, Thomas Hart Benton, 1945
Thomas Hart Benton, retratoThomas Hart BentonEstados Unidos, 1889–1975

Cotton Pickers

1945 · Painting

Sobre a pintura

Thomas Hart Benton first saw laborers cultivating cotton on a trip to Georgia in the late 1920s, and he returned to the subject in this painting in 1945. In Cotton Pickers, the artist rendered the figures with a sinuous, curvilinear style to articulate the exertion of their movement along the landscape. Cotton sharecropping, a system of tenant farming that developed after the Civil War, allowed landowners to rent land to poor farmers in return for a portion of the crops. Because the practice kept agricultural workers impoverished, it became a symbol of a racially and economically unjust system. Benton’s vision of modernism was firmly rooted in figuration. He often explored themes of US history, centering African Americans in those shared narratives.

Art Institute of Chicago · CC BY 4.0

Pormenores

1945 · aos 56 anos
18891975
Número de inventário
2013.4

Entretanto, na vida de Thomas Hart Benton

A vida inteira
  1. 1929–1974

    92 lithographs, 1929–1974

    From 1929 to 1974 Benton produces 92 lithographs in editions ranging from 2 to 500; the signed, limited-edition lithographs are sold at five dollars each through the Associated American Artists Galleries in New York.

  2. 1939–1944

    Illustrates Twain and Steinbeck

    Creates illustrations for Mark Twain's “Tom Sawyer” (1939), John Steinbeck's “The Grapes of Wrath” (1940), Twain's “Huckleberry Finn” (1941) and “Life on the Mississippi” (1944).

  3. 1944

    In the film series “Passing Parade”

    Appears in an episode of John Nesbit's Passing Parade titled “Grandpa Called It Art”, which shows several contemporary artists at work; Benton demonstrates his process for the camera, from obtaining a farmer's permission to sketch his farm through making a three-dimensional model of the scene to the final painting.

  4. after 1945

    Regionalism falls from favor

    After the war Regionalism falls from favor, eclipsed by the rise of Abstract Expressionism; Benton remains active for another 30 years, but his work contains less contemporary social commentary and portrays pre-industrial farmlands.

Mais obras de Thomas Hart Benton

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Na mesma sala · Gallery 263, Art Institute of Chicago

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Art Institute of Chicago

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PinturasÓleoPintura norte-americanaArte do pós-guerraSéculo XXModernismoEstados Unidos

Fontes

  • Art Institute of Chicago
  • Imagem: Art Institute of Chicago — © the artist or rights holder
Martha's Vineyard, Thomas Hart Benton, c. 1925

Martha's Vineyard

c. 1925 · Galeria Nacional de Arte

Homestead, Thomas Hart Benton, 1938

Homestead

1938 · Museu de Arte Moderna

Study for Homestead, Thomas Hart Benton, 1928-1930

Study for Homestead

1928-1930 · Não exposta · Museu de Arte Moderna

The Station, Thomas Hart Benton, 1929

The Station

1929 · Não exposta · Galeria Nacional de Arte

Plowing it Under, Thomas Hart Benton, 1934

Plowing it Under

1934 · Não exposta · Galeria Nacional de Arte

Going West, Thomas Hart Benton, 1934

Going West

1934 · Não exposta · Galeria Nacional de Arte

Homestead, Thomas Hart Benton, 1934

Homestead

1934 · Não exposta · Museu de Arte Moderna

Mine Strike from The American Scene, no. 2, Thomas Hart Benton, 1936

Mine Strike from The American Scene, no. 2

1936 · Não exposta · Museu de Arte Moderna

American Gothic, Grant Wood, 1930

Grant Wood

Gótico Americano, 1930

Picture of Dorian Gray, Ivan Albright, 1943–44

Ivan Albright

Picture of Dorian Gray, 1943–44

The Room No. VI, Eldzier Cortor, 1948

Eldzier Cortor

The Room No. VI, 1948

The Wedding, Jacob Lawrence, 1948

Jacob Lawrence

The Wedding, 1948

Weaving, Diego Rivera, 1936

Diego Rivera

Weaving, 1936

Train Station, Walter Ellison, 1935

Walter Ellison

Train Station, 1935

Zapata, José Clemente Orozco, 1930

José Clemente Orozco

Zapata, 1930

Head, Fang, Mid–late 19th century

Fang

Head, Mid–late 19th century

American Gothic, Grant Wood, 1930

Grant Wood

Gótico Americano, 1930

Art Institute of Chicago

Nighthawks, Edward Hopper, 1942

Edward Hopper

Nighthawks, 1942

Art Institute of Chicago

Figure with Meat, Francis Bacon, 1954

Francis Bacon

Figure with Meat, 1954

Art Institute of Chicago

The Child's Bath, Mary Cassatt, 1893

Mary Cassatt

The Child's Bath, 1893

Art Institute of Chicago

American Collectors (Fred and Marcia Weisman), David Hockney, 1968

David Hockney

American Collectors (Fred and Marcia Weisman), 1968

Art Institute of Chicago

The Advance-Guard, or The Military Sacrifice (The Ambush), Frederic Remington, 1890

Frederic Remington

The Advance-Guard, or The Military Sacrifice (The Ambush), 1890

Não exposta · Art Institute of Chicago

The Fountain, Villa Torlonia, Frascati, Italy, John Singer Sargent, 1907

John Singer Sargent

The Fountain, Villa Torlonia, Frascati, Italy, 1907

Art Institute of Chicago

Arrangement in Flesh Color and Brown: Portrait of Arthur Jerome Eddy, James McNeill Whistler, 1894

James Abbott McNeill Whistler

Arrangement in Flesh Color and Brown: Portrait of Arthur Jerome Eddy, 1894

Não exposta · Art Institute of Chicago