Cotton Pickers, Thomas Hart Benton, 1945
Thomas Hart Benton肖像Thomas Hart Benton美国, 1889–1975

Cotton Pickers

1945 · Painting

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芝加哥藝術博物館

芝加哥, 美國

展厅展厅 263

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关于这幅画

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.

芝加哥藝術博物館CC BY 4.0

作品信息

馆藏编号
2013.4

画面内容

已收入目录

出处

与此同时,在Thomas Hart Benton的生活中

完整生平
  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.

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