Ashcan Art Analysis

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The Ashcan artists were mainly in New York and made “art rooted in the defining social trends of their time and created a record of a gregarious, contradictory and hybrid moment in the history of urban life.” (Snyder 279) Their subject was “New York City in the years 1897 to 1917, when the metropolis became an emblem of modernity.” (Snyder 279) They intensively concentrated more on immigration than on “the emerging towers of the Manhattan skyline.” (Snyder 279)
“Unlike their contemporaries who celebrated the emerging towers of the Manhattan skyline, the Ashcan artists explored New York at street level and grasped the new social trends that changed the daily life of the city: immigration, advertising and mass communication, popular entertainment, the development of grand public spaces, the gap between rich and poor, and shifting
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It seems like you are part of Glackens’s painting and observing the daily life of residents. The atmosphere is very dark because of the use of colors like brown and grey. Apartments are next to apartments as if there is no space left. Between these buildings people are living, selling, communicating and children are dangerously playing in front of horses. Housewives are cleaning up at home and are washing clothes. One further important element of this painting is the comparison of rich and poor. Glackens depicted on one side women with luxurious garments and on the other side wives with their kids in buggies. “The city’s business deals, fashions, cultural affairs, politics, neighborhoods and everyday life” are presented and emphasized by this painting. (Snyder 282) Moreover, the focus is on the “entry of women into the workforce.” (Snyder 283) Thus women were given “a measure of economic autonomy and new social roles.” (Snyder

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