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Portfolios%3D%221145%22
Painting
The Opposition
William Gropper, 1897 - 1977
Gropper, William
United States
1897 - 1977
Male
28 x 38 in. (71.1 x 96.5 cm)
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overall framed size
horizontal
frame
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without frame
Oil
Oil
1942
1942
1942
1900-2000, 20th century, American Scene/Regionalism, Encyclopedia Britannica Collection, men, paintings, politics in art, Social Realism
Painting
William Gropper satirized the United States Senate in The Opposition as lawmakers were threatening to cut significant federal funding for the arts. Gropper wrote, “I have portrayed the type of representative that is opposed to progress and culture. The U.S. Senate…[has] such an influence on American life, good and bad, that it has even affected the artist and the cultural development of our country.”
William Gropper supported himself with his political cartoons, satirical drawings, and illustrations, most of which pointed out how the burdens of society were largely borne by the working class.
[Gallery label text, 2024]
Lawmakers were threatening to cut significant federal funding for the arts when political cartoonist and painter William Gropper satirized the United States Senate in The Opposition. Gropper wrote, “I have portrayed the type of representative that is opposed to progress and culture. The U.S. Senate…[has] such an influence on American life, good and bad, that it has even affected the artist and the cultural development of our country.”
[Gallery label text, 2007]
William Gropper was best known for his caustic commentary on the American political and social scene. He depicted realistic and identifiable subjects; The Opposition was one of a number of paintings and illustrations that came out of his 1934 assignment for the magazine Vanity Fair, to sketch legislators in action in Washington. Gropper made no bones about his distaste for politics and used his art to further his point of view:
"I have portrayed the type of representative that is opposed to progress and culture. The U.S. Senate and the House of Representatives have had such an influence on American life, good and bad, that it has even affected the artist and the cultural development of our country. No matter how far removed from politics artists may be, it seems to strike home. Only recently one blasting speech of a reactionary representative resulted in not only doing away with the Section of Fine Art, but also dismissing the Graphic Division of the OWI [Office of War Information] and nullifying art reportage for the War Department."
Gropper's start as a newspaper illustrator informed the creative processes of the rest of his life. His work retained his journalist's interest in issues of the day, giving it a particularly topical essence presented in a dynamic, expressionistic format.
[Gallery label text, 2006]
lower left
1951.5
item
Memorial Art Gallery
9/8/1999
51.5TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.5SL1
slide
2 x 2
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glossy
8x10
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negative
8x10
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negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.5DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/51.5_A1.jpg
51.5DI2
digital image
Memorial Art Gallery
Imaging complete
00/00/00
http://127.0.0.1:5000/Media/images/51.5_A2.jpg
63gropper1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/63gropper1.tif
Print
The Opposition
William Gropper, 1897 - 1977
Gropper, William
United States
1897 - 1977
Male
12 1/8 x 17 in. (30.8 x 43.2 cm)
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Printer's ink
Printer's ink
1942
1942
1942
1900-2000, 20th century, lithographs, politics in art, Social Realism
Print
lower rightlower right, in the platelower left, in the plate
1989.59
item
Memorial Art Gallery
9/8/1999
89.59DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/89.59_A1.jpg
89.59TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
63gropper2.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/63gropper2.tif
89.59DI#2
digital image
1/20/2006
http://127.0.0.1:5000/Media/images/89.59_A2.jpg
Print
The 1920's... The Migrants Arrive and Cast Their Ballots
Jacob Lawrence, 1917 - 2000
Lawrence, Jacob
United States
1917 - 2000
Male
34 3/8 x 26 in. (87.3 x 66 cm)
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overall
vertical
image
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sheet
Printer's ink
Printer's ink
1974
1974
1974
1900-2000, 20th century, Images of Black People, politics in art, serigraphs, Social Realism
Print
In 1975, Jacob Lawrence and twelve other artists were asked to respond to the question, "What does independence mean to me?" The prints made by the artists comprise the Kent Bicentennial Portfolio: Spirit of Independence, commissioned in honor of the American Bicentennial.
Jacob Lawrence's parents migrated from the south to New York City, so the theme of migration was one that had great meaning to his personal history. He said, "During the post World War I period millions of black people left southern communities in the United States and migrated to northern cities. This migration reached its peak during the 1920's. Among the many advantages the migrants found in the north was the freedom to vote. In my print, migrants are represented expressing that freedom."
[Gallery label text]
lower rightlower centerlower rightlower right
Jacob and Gwendolyn Lawrence
1975.120.8
item
Memorial Art Gallery
9/8/1999
glossy
8x10
00/00/00
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negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
75.120.8DI1
digital image
7/22/2004
http://127.0.0.1:5000/Media/images/75.120.8_A1.jpg
Print
The County Election (after George Caleb Bingham)
John Sartain, (London, England, 1808 - 1897, Philadelphia, Pennsylvania)
Bingham, George Caleb
United States
1811 - 1879
Male
Original artist
After
Sartain, John
United States
1808 - 1897
Male
Engraver
25 5/8 x 32 3/16 in. (65.1 x 81.8 cm)
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Printer's ink
Printer's ink
Hand-colored line, stipple and mezzotint engraving on chine colle
1854
1854
1854
1800-1900, 19th century, mezzotints, politics in art
Print
This scene is a commentary on American elections as well as on a specific Election Day in 1850. On that day, in Saline County, Missouri, the artist George Caleb Bingham ran for a place in the State Legislature. E. D. Sappington, the candidate lifting his shiny top hat, was the winner. Sappington, with his workers, tried to buy votes with liquor, and because he was related to the judge and one of the clerks, the election’s outcome aroused suspicion. While Bingham did not contest the results, The County Election makes a powerful statement about his thoughts concerning the corrupt proceedings. The artist represents himself as the figure in the stovepipe hat seated on the courthouse steps, attended by a friendly dog and two men in white hats who pause to look over his shoulder.
John Sartain was a highly successful engraver and publisher. He is well-known for his mezzotints of paintings by some of America’s major artists, including Emanuel Leutze and Thomas Sully. His descendants continued to make important contributions to the world of 19th century American art.
[Gallery label text, October 2010]
lower rightlower center
1991.73
item
Memorial Art Gallery
9/8/1999
91.73SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2.5 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
91.73DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/91.73_A1.jpg