640:, wrote. Like many of the later Abstract Expressionist men, he made a great display of his masculinity and could seldom retreat from a dare. He took pride in being known as the "bad boy" of American art, liked to characterize himself as entirely self-created, and downplayed the influence of Robert Henri, or any contemporary, on his artistic development. He was given to hyperbolic statements and was often intentionally vague about autobiographical details, preferring to maintain an aura of self-mythologizing mystery. He was equally at home at a prize fight or in a tavern as in a museum or a gallery. Luks was always a heavy drinker, and his friend and one-time roommate William Glackens often had to undress him and haul him to bed after a night of drunken debauchery. Although many sources confirm this tendency, they also characterize him as a man with a kind heart who befriended people living on the edge who became subjects for his works of art. Examples of this are numerous: e.g.,
464:, the group exhibited as "The Eight" in January 1908. Their exhibition at the Macbeth Galleries in New York was a significant event in the promotion of twentieth-century American art. Although the styles of "The Eight" differed greatly (Davies, Lawson, and Prendergast were not urban realists), what unified the group was their advocacy of exhibition opportunities free from the jury system as well as their belief in content and painting techniques that were not necessarily sanctioned by the Academy. The traveling exhibition organized by John Sloan that followed the New York show brought the paintings to Chicago, Indianapolis, Toledo, Cincinnati, Pittsburgh, Bridgeport, and Newark and helped to promote a national debate about the new realism that the Ashcan school represented. Luks'
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journalists were calling attention to slum conditions in
American cities, the Ashcan painters played a role in enlarging the nation's sense of what a suitable topic for artistic expression might be. The difference, though, between the realist writers and socially-minded journalists, on the one hand, and the painters, on the other hand, was that the Ashcan artists did not see their work primarily as social or political criticism.
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improved and less crowded urban transit. When a contract was awarded to one of the companies with no bidding, the public outcry led to huge mass meetings throughout the city. Gov. Theodore
Roosevelt settled the immediate dispute (contributing to the Republican leaders' expelling him from state politics).
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on the other hand, is a testament to masculine bravado, a massive, sumptuously painted canvas in which one beefy man has been pinned to the mat by another; the face of the defeated wrestler, turned upside down, stares straight at us. The pose is contorted, every muscle bulges, and the paint reflects
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During his time as an illustrator there, he lived with
William Glackens. Along with Everett Shinn and Robert Henri, Glackens encouraged Luks to spend more time on his serious painting. What ensued were several productive years in which Luks painted some of the most vigorous examples of what would be
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Luks painted working-class subjects and scenes of urban life, the hallmarks of Ashcan realism, with great gusto. "Hester Street" (1905), in the collection of the
Brooklyn Museum, captures Jewish immigrant life through Luks's vigorously painted representation of shoppers, pushcart peddlers, casual
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January 1899, after years of orchestrated delay in beginning the New York City subway, the issue came to a head. On one side were Tammany Hall and the businessmen who monopolized the city's street railways and who wanted no competition from a subway. On the other side was the public demanding
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The Ashcan School successfully challenged academic art institutions, and the authority of the
National Academy of Design as a cultural arbiter declined throughout the 1910s. At a time when the realist fiction of Theodore Dreiser and Frank Norris was gaining a wider audience and when muckraking
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Luks was respected as a master of strong color effects. When interviewed on the topic, he said, "I'll tell you the whole secret! Color is simply light and shade. You don't need pink or grey or blue so long as you have volume. Pink and blue change with light or time. Volume endures."
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Like Henri and Sloan, Luks was also a teacher, first at the Arts
Students League on West 57th Street in Manhattan and, later, across the street at a school he established himself, which remained open until the time of his death. One student, the painter
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Gambone's study of Luks's work as an illustrator indicates that his body of work in the field of magazine illustration was much more extensive than previously regarded, encompassing a 40-year period; he was drawing for
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His packed funeral was attended by family, former students, and past and present friends. He was buried in an 18th-century embroidered waistcoat, one of his most valued possessions. He is buried at
Fernwood Cemetery in
652:(both of 1905), in which Luks depicted with sensitivity elderly, down-and-out women who knew the harsh realities of the street. Luks was a paradox: a man of enormous egotism and a great generosity of spirit.
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Biographical information for this entry is taken from Judith O'Toole, "George Luks: An
Artistic Legacy" (1997), Judith O'Toole, "George Luks: Rogue, Raconteur, and Realist" (2009), and Robert L. Gambone,
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Luks portrays the ability of working-class children to experience pleasure despite their circumstances. Sentimental or otherwise, he painted the truth, as he saw it, as his friend
Everett Shinn wrote.
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strollers, and curious onlookers of the ethnic variety that characterized turn-of-the century New York. Luks's work typifies the real-life scenes painted by the Ashcan School artists.
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who treated Luks for alcoholism, but it has been noted that Luks was more concerned with depicting the boy's demeanor than conveying an authentic representation of the surroundings.
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motivated Henri's followers to form their own short-lived independent exhibiting group. Consisting of Robert Henri, George Luks, William Glackens, John Sloan, Everett Shinn,
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before he traveled to Europe, where he attended several art schools and studied the Old Masters. He became an admirer of Spanish and Dutch painting, especially the work of
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Luks was a born rebel and one of the most distinctive personalities in American art. "He is Puck. He is Caliban. He is Falstaff," his contemporary, the art critic
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artist-reporter proved seminal to his career, not so much for the work he accomplished as for the lifelong friends he acquired." Working at that newspaper, he met
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After travelling and studying in Europe, Luks worked as a newspaper illustrator and cartoonist in Philadelphia, where he became part of a close-knit group, led by
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Although Luks is most well known for his depictions of New York City life, he also painted landscapes and portraits and was an accomplished watercolorist. His
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also demonstrates Luks' ability to effectively manipulate crowded compositions and to capture expressions and gestures as well as gritty background details.
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He left performing when he decided to pursue a career as an artist. Luks knew from a young age that he wanted to be an artist and studied briefly at the
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Luks' 1899 cartoon "The menace of the Hour" about "The Traction Monster" following the awarding of a no bid subway franchise contract by New York City's
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Famous Painter, 66, Was Once Member of 'The Eight'. Foes of Academicians. Proud of Former Amateur Lightweight Boxing Championship and Newspaper Work.
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597:(1906) contains more impressionist touches than his usual dark scenes of lower-class urban life, and his interest in documentary accuracy varied.
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O'Toole, Judith Hansen. "George Luks: The Watercolors Rediscovered." Canton, OH: Canton Museum of Art (exhibition catalogue), 1994.
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Everett Shinn, "Everett Shinn on George Luks: An Unpublished Memoir." New York: Archives of American Art, 6.2 (April 1966).
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Luks was found dead in a doorway by a policeman in the early morning hours of October 29, 1933. Ira Glackens, the son of
499:(1917) are equally successful in this sense. The Lower East Side was a rich source of visual material for George Luks.
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O'Toole, Judith Hansen. "George Luks: An Artistic Legacy." New York City: Owen Gallery (unpaginated catalogue), 1997.
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Segunda exposición nacional de artes plásticas celebrada con el motivo del Primer centenario de la República Dominicana
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The rejection of many of their paintings, including works by Luks, from the exhibitions of the powerful, conservative
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O'Toole, Judith Hansen. "George Luks: Rogue, Raconteur, and Realist" (pp. 91–108) in Elizabeth Kennedy (ed.).
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two young girls dance frenetically, their joyous faces forming an appealing contrast to their grimy hands.
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2007: Life's Pleasures: The Ashcan Artists' Brush with Leisure, 1895–1925, The New York Historical Society
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360:. These men would gather for weekly meetings, ribaldly social as well as intellectual, at the studio of
141:(August 13, 1867 – October 29, 1933) was an American artist, identified with the aggressively realistic
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In 1893, Luks returned to Philadelphia, where he eventually found work as an illustrator for the
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1995: Metropolitan Lives: The Ashcan Artists and Their New York, National Museum of American Art
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These two paintings also illustrate radically different aspects of Luks' temperament. In
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series (featuring the Yellow Kid). Luks began drawing the Yellow Kid after its creator,
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were seen as examples of this new earthiness many art lovers were not ready to accept.
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The first known use of the "ash can" terminology in describing the movement was by
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William Glackens and the Ash Can School: The Emergence of Realism in American Art.
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John Loughery, "Blending the Classical and the Modern: The Art of Elsie Driggs,
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In 1905, Luks painted two of his most famous works, icons of the Ashcan school:
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Life on the Press: The Popular Art and Illustrations of George Benjamin Luks.
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1992: Painters of a New Century: The Eight and American Art, Brooklyn Museum
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1904: National Arts Club (Luks, Glackens, Henri, Sloan, Davies, Prendergast)
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1994: George Luks: The Watercolors Rediscovered, Canton Museum of Art
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In 1896, Luks moved to New York City and began work as an artist for
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vaudeville circuit in the early 1880s while still in their teens.
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2000: City Life Around the Eight, The Metropolitan Museum of Art
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Sadakichi Hartman: Critical Modernist: Collected Art Writings.
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2009: The Eight and American Modernisms, Milwaukee Art Museum
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1937: New York Realists, the Whitney Museum of American Art
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The Guitar (Portrait of the Artist’s Brother with his Son)
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American Painting from the Armory Show to the Depression.
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1391:(full pdf) from The Metropolitan Museum of Art Libraries
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1913: The Armory Show (six Luks paintings were included)
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Burials at Fernwood Cemetery (Lansdowne, Pennsylvania)
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American Visions: The Epic History of Art in America.
601:(1908), for example, depicts the son of a doctor at
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Jackson, MS: University Press of Mississippi, 2009.
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1908: The Macbeth Galleries exhibition of The Eight
1356:Painters of the Ashcan School: The Immortal Eight.
1073:O'Toole, "George Luks: An Artistic Legacy" (1997).
1121:(Berkeley: University of California Press, 1991).
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1334:Loughery, John. "The Mysterious George Luks."
1268:(in Spanish). Ciudad Trujillo: Editora Montalvo.
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660:Luks was married twice but had no children.
1286:Princeton: Princeton University Press, 1955.
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1348:Chicago: University of Chicago Press, 2009.
1331:Chicago: University of Chicago Press, 2009.
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1117:Sadakichi Hartmann and Jane Calhoun (ed.).
16:American cartoonist and painter (1867–1933)
1086:(New York: Henry Holt, 1995), pp. 218–219.
1011:George Luks: The "Other" Yellow Kid Artist
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1264:GalerĂa Nacional de Bellas Artes (1944).
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1104:Helen McCloy, "Color and George Luks."
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1455:People from Williamsport, Pennsylvania
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998:(New York: McGraw-Hill, 2003), p. 424.
1132:The Butler Institute of American Art.
312:Pennsylvania Academy of the Fine Arts
825:Westmoreland Museum of American Art
574:the sweat and strain of the match.
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1475:20th-century American male artists
1470:19th-century American male artists
1346:The Eight and American Modernisms.
1329:The Eight and American Modernisms.
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708:1997: Owen Gallery, New York, 1997
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996:American Art: History and Culture
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792:Butler Institute of American Art
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195:Hunter Museum of American Art
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836:Nursemaids, High Bridge Park
830:The New York River, New York
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514:(another student of Henri),
205:Street Scene (Hester Street)
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759:Museum of Fine Arts, Boston
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1314:New York: Scribners, 1920.
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930:National Humanities Center
846:Metropolitan Museum of Art
832:(1910), private collection
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766:(1905), private collection
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450:National Academy of Design
282:Williamsport, Pennsylvania
154:National Academy of Design
62:Williamsport, Pennsylvania
1310:Huneker, James Gibbons.
801:Detroit Institute of Arts
722:Selected list of artworks
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806:Portrait of a Young Lady
673:Royersford, Pennsylvania
294:Pottsville, Pennsylvania
1450:American comics artists
656:Personal life and death
428:William Randolph Hearst
249:as Col. Philippe Bridau
223:, 1917, oil on canvas,
207:, 1905, oil on canvas,
1415:American male painters
1358:New York: Dover, 1979.
1307:New York: Knopf, 1997.
1300:New York: Crown, 1957.
1211:Glackens, pp. 96, 100.
856:His students included
783:Brooklyn Museum of Art
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638:James Gibbons Huneker
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164:Early life and career
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1013:, Hogan's Alley #13"
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741:Toledo Museum of Art
679:Selected exhibitions
626:1932 Summer Olympics
139:George Benjamin Luks
93:Pennsylvania Academy
1157:Woman's Art Journal
816:Phillips Collection
737:The Little Milliner
462:Maurice Prendergast
420:Richard F. Outcault
382:William Morris Hunt
260:The White Blackbird
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603:Bellevue Hospital
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1234:February 16,
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1177:. Retrieved
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934:the original
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516:Jerome Myers
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470:Mammy Groody
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386:Talks on Art
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174:Tammany Hall
150:Robert Henri
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114:Notable work
75:(1933-10-29)
39:
1410:1933 deaths
1405:1867 births
1318:Hunter, Sam
892:Vanity Fair
642:Widow McGee
632:Personality
495:(1905) and
444:"The Eight"
416:comic strip
380:as well as
191: 1905
40:George Luks
23:George Luks
1399:Categories
1023:2015-10-16
909:References
644:(1902) or
540:Lewis Hine
536:Jacob Riis
480:See also:
350:John Sloan
334:Cartoonist
328:lion tamer
324:DĂĽsseldorf
320:Frans Hals
305:New Jersey
301:vaudeville
54:1867-08-13
1312:Bedouins.
1174:Olympedia
812:Sulky Boy
599:Sulky Boy
508:Art Young
276:, c. 1920
89:Education
42:, c. 1910
1179:2 August
852:Students
844:(1925),
823:(1908),
814:(1908),
799:(1907),
790:(1906),
781:(1905),
772:(1905),
757:(1905),
748:(1905),
739:(1905),
730:(1901),
127:Movement
103:Painting
1277:Sources
958:(2009).
624:at the
620:in the
370:Emerson
366:Whitman
290:Bavaria
864:, and
553:, and
530:, and
460:, and
376:, and
356:, and
286:Poland
251:, 1919
107:comics
83:, U.S.
64:, U.S.
937:(PDF)
926:(PDF)
876:Notes
424:World
378:Ibsen
346:Press
1236:2009
1181:2020
895:and
648:and
538:and
468:and
426:for
388:and
374:Zola
318:and
70:Died
48:Born
1320:.
430:'s
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384:'s
1401::
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188:c.
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56:)
52:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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