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  1. Coleção/
  2. Galeria Nacional de Arte/
  3. Going West
Going West, Thomas Hart Benton, 1934
Thomas Hart Benton, retratoThomas Hart BentonEstados Unidos, 1889–1975

Going West

1934 · Print

Pormenores

1934 · aos 45 anos
18891975
Número de inventário
2000.98.1

Entretanto, na vida de Thomas Hart Benton

A vida inteira
  1. 1926–1935

    Employed by: Art Students League of New York

  2. late 1920s – early 1930s

    Jackson Pollock among his students

    Among Benton's students at the Art Students League of New York is Jackson Pollock, the future founder of Abstract Expressionism. Pollock often said that Benton's traditional teaching gave him something to rebel against.

  3. 1932

    A breakthrough: the commission for the Indiana murals

    He breaks through to the mainstream: a relative unknown, he wins the commission to paint murals of Indiana life that the state has planned for the 1933 Century of Progress Exhibition in Chicago. The success brings him fame in the following years.

  4. 1933

    A scandal over the Indiana murals

    The Indiana murals stir controversy: Benton painted everyday people and events from the state's history that some did not want publicized, and critics attack the work for showing members of the Indiana Ku Klux Klan in full regalia. At the Klan's height (membership peaked in 1925) an estimated 30% of adult men in Indiana belonged to it; the panels are now at Indiana University in Bloomington.

  5. 24 December 1934

    On the cover of Time magazine

    Appears on one of the earliest color covers of Time magazine: in the feature “The U.S. Scene” he, together with fellow Midwesterners Grant Wood and John Steuart Curry, is presented as a new hero of American art, and Regionalism is described as a significant art movement.

Mais obras de Thomas Hart Benton

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Vizinhas de sala: Galeria Nacional de Arte

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Sobre o mesmo tema · Travel

Todas as obras sobre o tema
  • 1935

    Leaving New York for Missouri

    Having alienated both the left-leaning community of artists with his disregard for politics and the larger New York–Paris art world with what was considered his folksy style, Benton leaves the artistic debates of New York for his native Missouri. Settling in Kansas City and taking a teaching job at the Kansas City Art Institute, he gains greater access to a rapidly changing rural America; a Populist by upbringing, he sympathizes with the working class and the small farmer.

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    • Galeria Nacional de Arte
    • Imagem: Galeria Nacional de Arte — © 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

    Cotton Pickers, Thomas Hart Benton, 1945

    Cotton Pickers

    1945 · Art Institute of Chicago

    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

    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

    Ginevra de' Benci [obverse], Leonardo da Vinci, c. 1474/1478

    Leonardo da Vinci

    Retrato de Ginevra de' Benci, c. 1474/1478

    Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forma Decorat [reverse], Leonardo da Vinci, c. 1474/1478

    Leonardo da Vinci

    Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forma Decorat [reverse], c. 1474/1478

    Green Wheat Fields, Auvers, Vincent van Gogh, 1890

    Vincent van Gogh

    Green Wheat Fields, Auvers, 1890

    Girl in White, Vincent van Gogh, 1890

    Vincent van Gogh

    Girl in White, 1890

    Roses, Vincent van Gogh, 1890

    Vincent van Gogh

    Roses, 1890

    Self-Portrait, Vincent van Gogh, 1889

    Vincent van Gogh

    Self-Portrait, 1889

    Farmhouse in Provence, Vincent van Gogh, 1888

    Vincent van Gogh

    Farmhouse in Provence, 1888

    La Mousmé, Vincent van Gogh, 1888

    Vincent van Gogh

    La Mousmé, 1888

    "Neige" (Snow); Itinerary [recto], Paul Gauguin, 1884-1888

    Paul Gauguin

    "Neige" (Snow); Itinerary [recto], 1884-1888

    Não exposta · Galeria Nacional de Arte

    Country Outing (Partie de campagne), Henri de Toulouse-Lautrec, 1897

    Henri de Toulouse-Lautrec

    Country Outing (Partie de campagne), 1897

    Não exposta · Galeria Nacional de Arte

    Lorenzo & Larry Ferlinghetti, stopover in Fiji on way to Adelaide Arts Festival, Australia March 72, Allen Ginsberg, 1972, printed later

    Allen Ginsberg

    Lorenzo & Larry Ferlinghetti, stopover in Fiji on way to Adelaide Arts Festival, Australia March 72, 1972, printed later

    Não exposta · Galeria Nacional de Arte

    Joe Richey and New York ladies on Roland Leggiardi-Laura's film crew, waiting at Ministerio de Cultura door, outside Managua, January 23, 1986, Allen Ginsberg, 1986

    Allen Ginsberg

    Joe Richey and New York ladies on Roland Leggiardi-Laura's film crew, waiting at Ministerio de Cultura door, outside Managua, January 23, 1986, 1986

    Não exposta · Galeria Nacional de Arte

    Allen Ginsberg, utility man S.S. John Blair first back from Galveston-Dakar Doldrums trip, I handed my camera to the radio-man on the ship's fantail, smoking what? In New York harbor, circa October 30, 1947., Allen Ginsberg, 1947, printed 1990

    Allen Ginsberg

    Allen Ginsberg, utility man S.S. John Blair first back from Galveston-Dakar Doldrums trip, I handed my camera to the radio-man on the ship's fantail, smoking what? In New York harbor, circa October 30, 1947., 1947, printed 1990

    Não exposta · Galeria Nacional de Arte

    Korean War Vet Ken Babbs, Captain of Ken Kesey's "Trips Festival" bus, co piloting Neal Cassady on Amphetamine at wheel rolling up highway to Millbrook estate near Poughkeepsie N.Y. where Dr. Tim O'Leary's Castalia Foundation was then experimenting with D.M.T. on half hour psychedelic trip useful for psychiatric sessions. Burglar Gordon Liddy, then assistant D.A. in Poughkeepsie raided the Foundation a number of times illegally lacking search warrants during that season, so Castalia folk were jittery on arrival of honking Day-Glo graffit'd "Merry Prankster" Further bus which'd been driven cross-country S.F to N.Y. via Texas before Fall 1964 Presidentiad, "A Vote for Goldwater is a Vote for Fun" logo painted above bus side windows, L.S.D. Kool-Aid in pitcher in icebox. Kesey & Pranksters had met with Jack Kerouac a day before . . ., Allen Ginsberg, 1964, printed 1995

    Allen Ginsberg

    Korean War Vet Ken Babbs, Captain of Ken Kesey's "Trips Festival" bus, co piloting Neal Cassady on Amphetamine at wheel rolling up highway to Millbrook estate near Poughkeepsie N.Y. where Dr. Tim O'Leary's Castalia Foundation was then experimenting with D.M.T. on half hour psychedelic trip useful for psychiatric sessions. Burglar Gordon Liddy, then assistant D.A. in Poughkeepsie raided the Foundation a number of times illegally lacking search warrants during that season, so Castalia folk were jittery on arrival of honking Day-Glo graffit'd "Merry Prankster" Further bus which'd been driven cross-country S.F to N.Y. via Texas before Fall 1964 Presidentiad, "A Vote for Goldwater is a Vote for Fun" logo painted above bus side windows, L.S.D. Kool-Aid in pitcher in icebox. Kesey & Pranksters had met with Jack Kerouac a day before . . ., 1964, printed 1995

    Não exposta · Galeria Nacional de Arte

    Harry Smith talking to Scotch folk-singer English Professor at University of Mississippi who drove me to visit Ike's Barber Shop in Clarksdale-- Ike had played in Black rhythm & Blues bands around the 40's Country & his shop was legendary social center after he'd returned to his home town-- Harry came to record the rhythm of his barber scissors & razor strapping as we spent the afternoon hanging out & listening to the jukebox by the bar, back of the Barbershop. Later we drove across the Mississippi River & returned to "ole' Miss" at Oxford by midnight, April 19, 1987., Allen Ginsberg, 1987

    Allen Ginsberg

    Harry Smith talking to Scotch folk-singer English Professor at University of Mississippi who drove me to visit Ike's Barber Shop in Clarksdale-- Ike had played in Black rhythm & Blues bands around the 40's Country & his shop was legendary social center after he'd returned to his home town-- Harry came to record the rhythm of his barber scissors & razor strapping as we spent the afternoon hanging out & listening to the jukebox by the bar, back of the Barbershop. Later we drove across the Mississippi River & returned to "ole' Miss" at Oxford by midnight, April 19, 1987., 1987

    Não exposta · Galeria Nacional de Arte

    Ken Kesey—Merry Pranksters’ day-glo painted “Further” cross-country bus Neal Cassady’d driven S.F. to Manhattan, L.S.D. cool-aid pitcher in icebox for local hitchhikers and Police, here stopped for gas lunch upstate on trip to Timothy Leary’s Millbrook n.y. psychedelic research commune just before election time, “A Vote For Barry Is A Vote for Fun” logo painted large across bustop side, Goldwater the libertarian Republican would-be Presidential candidate Hawk during Vietnam War, summer 1964., Allen Ginsberg, 1964, printed 1995

    Allen Ginsberg

    Ken Kesey—Merry Pranksters’ day-glo painted “Further” cross-country bus Neal Cassady’d driven S.F. to Manhattan, L.S.D. cool-aid pitcher in icebox for local hitchhikers and Police, here stopped for gas lunch upstate on trip to Timothy Leary’s Millbrook n.y. psychedelic research commune just before election time, “A Vote For Barry Is A Vote for Fun” logo painted large across bustop side, Goldwater the libertarian Republican would-be Presidential candidate Hawk during Vietnam War, summer 1964., 1964, printed 1995

    Não exposta · Galeria Nacional de Arte