{ "objects" : [ { "embark_ID" : 211, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/211", "Disp_Access_No" : "1951.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1928", "_Disp_Start_Dat" : "1928", "_Disp_End_Date" : "1928", "Disp_Title" : "Boomtown", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thomas Hart Benton", "Sort_Artist" : "Benton, Thomas Hart", "Disp_Dimen" : "46 1/8 x 54 1/4 in. (117.2 x 137.8 cm)", "Disp_Height" : "46 1/8 in.", "Disp_Width" : "54 1/4 in.", "Dimen_Extent" : "without frame", "Medium" : "Egg yolk and oil", "Support" : "canvas", "Disp_Medium" : "Egg yolk and oil on canvas", "Info_Page_Comm" : "Early in his career, Thomas Hart Benton was involved in the American abstract movement, Synchromism. In the 1920s, Benton embarked on a style that incorporated Synchromist rhythmic line and expressive color with representational imagery of rural America. With this major shift in style, Benton established the Regionalist movement. Many consider Boomtown to be the artist’s first Regionalist masterpiece. [Gallery label text, 2007] Boomtown is one of the masterpieces of the Gallery's collection because of its impressive and unique depiction of an American landscape. When Thomas Hart Benton sketched this panoramic scene from a second floor window, the smoky fire on the horizon signified progress, not pollution. Borger, Texas was a boomtown that sprang to life in 1926 after a refinery company hit a gusher that produced 5000 gallons of oil a day. Benton is one of the three major American Regionalists (the other two are Grant Wood and John Steuart Curry), so called because most of their subjects were about life in the rural heartland of America. While Benton was not a fan of contemporary modernist painting, and in fact disdained artists who painted in the abstract style, he couldn't help but be influenced by the curvy and streamlined aesthetic of his times and the way in which artists were reinterpreting three-dimensional space. Consider the way in which the people, buildings and landscape are layered from top to bottom on the canvas, rather than being laid out carefully from front to back in the manner of traditional artistic renderings. 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(74.9 x 64.1 cm)", "Disp_Height" : "29 1/2 in.", "Disp_Width" : "25 1/4 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Art Patrons' Purchase Award, 1942 Rochester-Finger Lakes Exhibition", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/42.19_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/42.19_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/42.19_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/42.19_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12362", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Note: Archival Master scan has several hairs on it which need to be removed. The most visible has been removed in the Access version; probably needs to be removed in the resized print inhouse version.", "View" : "" } , ] },{ "embark_ID" : 418, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/418", "Disp_Access_No" : "1951.5", "_AccNumSort1" : "", "Disp_Create_DT" : "1942", "_Disp_Start_Dat" : "1942", "_Disp_End_Date" : "1942", "Disp_Title" : "The Opposition", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William Gropper", "Sort_Artist" : "Gropper, William", "Disp_Dimen" : "28 x 38 in. (71.1 x 96.5 cm)", "Disp_Height" : "28 in.", "Disp_Width" : "38 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "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. 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