Social Realism - Gallery

Gallery

  • Thomas Hart Benton, People of Chilmark, 1920, Hirshhorn Museum and Sculpture Garden, Washington, DC.

  • John Augustus Walker, City Hall Murals, 1936, Mobile, Alabama, (now displayed in the Museum of Mobile)

  • Walker Evans, Floyd Burroughs, Alabama cotton Sharecropper, Hale County, Alabama, c. 1935-1936, photograph

  • Walker Evans, Allie Mae Burroughs, Wife of a Cotton Sharecropper, Hale County, Alabama, c. 1935-1936, photograph

  • Arthur Rothstein, A Farmer and His Two Sons During a Dust Storm, Cimarron County, Oklahoma, 1936, photograph considered as an icon of the Dust Bowl

  • John Steuart Curry, Tragic Prelude, 1938-1940, Kansas State Capitol, Topeka, Kansas

  • Thomas Hart Benton, Cut the Line, 1944, depicting the launch of a U.S. Navy Tank Landing Ship

  • Ben Shahn, Register to Vote, Congress of Industrial Organizations (CIO) poster, 1946

  • Santiago Martinez Delgado, Mural for the 1933 Chicago International Fair.

  • José Orozco, detail of mural Omnisciencia, 1925, Mexican Social Realist Mural Movement

  • Diego Rivera, Recreation of Man at the Crossroads (renamed Man, Controller of the Universe), originally created in 1934, Mexican muralism movement

  • David Alfaro Siqueiros, Unfinished Mural, c. 1940s, in Escuela de Bellas Artes, (School of Fine Arts), a cultural center in San Miguel de Allende, Mexico.

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Famous quotes containing the word gallery:

    “I never can pass by the Metropolitan Museum of Art in New York without thinking of it not as a gallery of living portraits but as a cemetery of tax-deductible wealth.”
    —Lewis H. Lapham (b. 1935)

    “To a person uninstructed in natural history, his country or sea-side stroll is a walk through a gallery filled with wonderful works of art, nine-tenths of which have their faces turned to the wall. Teach him something of natural history, and you place in his hands a catalogue of those which are worth turning round.”
    —Thomas Henry Huxley (1825–95)

    “I should like to have seen a gallery of coronation beauties, at Westminster Abbey, confronted for a moment by this band of Island girls; their stiffness, formality, and affectation contrasted with the artless vivacity and unconcealed natural graces of these savage maidens. It would be the Venus de’ Medici placed beside a milliner’s doll.”
    —Herman Melville (1819–1891)