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Books : Arts & Photography : Artists, A-Z : ( A-C ) : Benton, Thomas Hart
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Born in Missouri at the end of the nineteenth century, Thomas Hart Benton would become the most notorious and celebrated painter America had ever seen. The first artist to make the cover of Time, he was a true original: an heir to both the rollicking populism of his father’s political family and the quiet life of his Appalachian grandfather. In his twenties, he would find his calling in New York, where he was drawn to memories of his small-town youth—and to visions of the American scene.
By the mid-1930s, Benton’s heroic murals were featured in galleries, statehouses, universities, and museums, and magazines commissioned him to report on the stories of the day. Yet even as the nation learned his name, he was often scorned by critics and political commentators, many of whom found him too nationalistic and his art too regressive. Even Jackson Pollock, his once devoted former student, would turn away from him in dramatic fashion. A boxer in his youth, Benton was quick to fight back, but the widespread backlash had an impact—and foreshadowed many of the artistic debates that would dominate the coming decades.
In this definitive biography, Justin Wolff places Benton in the context of his tumultuous historical moment—as well as in the landscapes and cultural circles that inspired him. Thomas Hart Benton—with compelling insights into Benton’s art, his philosophy, and his family history—rescues a great American artist from myth and hearsay, and provides an indelibly moving portrait of an influential, controversial, and often misunderstood man.
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Controversial, flamboyant, contentious, brilliant--Thomas Hart Benton (1889-1975) was certainly all of those. Few American artists have stirred so much love and hatred as he did in a career that lasted almost seventy years. Although his painting aroused much controversy, perhaps equally as much was created by his words, for his piercing wit, profane sarcasms, and insightful condemnations were fired off without restraint. In this fiery and provocative autobiography, Benton presents an intriguing records of American art and society during his lifetime.
The first installment of this work was published in 1937, but Benton continued his life story in chapters added to editions published in 1951 and 1968. This new edition includes seventy-six drawings that add much to his narrative, plus a foreword discussing Benton's place in American art and an afterword covering his career after 1968, both written by art historian Matthew Baigell.
Although Benton is most famous as a regionalist painter and muralist, his complex and fascinating career brought him into contact with many of the most important artists and thinkers of the century, including Jackson Pollock, Grant Wood, Julian Huxley, Felix Frankfurter, Eugene Debbs, John Reed, and Harry Truman. While living in New York and on Martha's Vineyard in the 1920s and 1930s, Ben
Famous for iconic images of the rural Midwest—such as American Gothic, Politics in Missouri, and Baptism in Kansas—Grant Wood, Thomas Hart Benton, and John Steuart Curry have long been lumped together under the rubric the "Regionalists." James M. Dennis offers a fresh and sophisticated look at the modernist tendencies of this trio of American painters, arguing that the individual styles of Wood, Benton, and Curry were both mislabeled and misunderstood. Revisiting the artistic and political culture of America between the World Wars, he shows that critics and ideologues—from Time Magazine to the Partisan Review—pigeonholed, praised, or pilloried the Regionalists to serve their own critical intentions.
A groundbreaking portrait of the intense personal and artistic relationship between Thomas Hart Benton and Jackson Pollock, revealing how their friendship changed American art. The drip paintings of Jackson Pollock, trailblazing Abstract Expressionist, appear to be the polar opposite of Thomas Hart Benton’s highly figurative Americana. Yet the two men had a close and highly charged relationship dating from Pollock’s days as a student under Benton. Pollock’s first and only formal training came from Benton, and the older man soon became a surrogate father to Pollock. In true Oedipal fashion, Pollock even fell in love with Benton’s wife. Pollock later broke away from his mentor artistically, rocketing to superstardom with his stunning drip compositions. But he never lost touch with Benton or his ideas—in fact, his breakthrough abstractions reveal a strong debt to Benton’s teachings. I n an epic story that ranges from the cafés and salons of Gertrude Stein’s Paris to the highways of the American West, Henry Adams, acclaimed author of Eakins Revealed, unfolds a poignant personal drama that provides new insights into two of the greatest artists of the twentieth century.
Images of waterways figure prominently in the art of Thomas Hart Benton (1889-1975). His depictions of rivers, streams, gullies, and creeks form a subgenre of American landscape painting, inviting us to rethink the artistic meaning and historical legacy of even the narrowest of inlets. Among Benton's most significant representations of this subject matter is a body of work from 1938 to 1942 depicting smaller, more intimate coves and creeks. The painting "Shallow Creek" ("1938, Collection of James and Barbara Palmer") is a linchpin of this series, an extraordinarily personal canvas and one of the most symbolically charged works produced by the artist. This catalogue, accompanying an exhibition of the same name and organized by the Palmer Museum of Art at Penn State University, unravels the work's richly expressive forms and densely loaded iconographies to reveal a narrative at once markedly public and deeply private in scope. Several additional works by Benton shed further light on the artist's river imagery and related subject matter, especially his return to remarkably similar themes later in life, based on his numerous "float trips" on the Buffalo and White Rivers in northern Arkansas.
Decorating the Indiana hall at the 1933 Century of Progress Exposition in Chicago was a bold and colorful sequence of paintings by American muralist Thomas Hart Benton depicting the social, economic, and cultural history of the Hoosier state from mound building to the 1930s. In this dramatic 250-foot mural, which has been on display at the Bloomington campus of Indiana University since 1940, Benton sought to create art that spoke to a mainstream audience in a realist style.
This book features a full-color gatefold which represents the flow of the murals along with a portfolio of color reproductions of the 22 existing panels. Accompanying essays trace the history of the murals' creation and their installation at Indiana University, the visual narrative that Benton invented, the artist's method as seen in a series of preparatory drawings, and a detailed account of the conservation of the murals.
Prior to painting his murals or illustrating books, Thomas Hart Benton would make preliminary drawings, whether in the studio or outdoors. This book brings together over 190 of his many drawings which reflect all of his styles and subjects. Benton was a small man - not quite five foot three - who liked to paint big: he covered nearly as much wall space in five years as Michaelangelo did in twenty. The central role that his drawing played in the construction of his murals is clearly explained in this artistic biography giving examples of each stage along the way. The process of making preliminary drawings allowed Benton to paint the murals themselves with seemingly carefree exuberance - a public performance that the theatrical artist thoroughly enjoyed. This work captures Benton's pugnacious personality and aims to reveal his life through his drawings. This study orginally accompanied a travelling exhibition of Benton's work, organized by the Henry Art Gallery in Seattle in 1990.
In this acclaimed revisionist study, Erika Doss chronicles an historic cultural change in American art from the dominance of regionalism in the 1930s to abstract expressionism in the 1940s. She centers her study on Thomas Hart Benton and Jackson Pollock, Benton's foremost student in the early thirties, charting Pollock's early imitation of Benton's style before his radical move to abstraction. By situating painting within the evolving sociopolitical and cultural context of the Depression and the Cold War, Doss explains the reasons for this change and casts light on its significance for contemporary culture.
"A welcome addition to the growing body of literature that deals with the art and culture of the depression and cold war eras. It is a pioneering work that makes a valuable contribution to our understanding of a puzzling conundrum of American art—the shift from regionalism to abstract expressionism."—M. Sue Kendall, Winterthur Portfolio
"An important scholarly contribution. . . . This book will stand as a step along the way to a better understanding of the most amazing transition in the art of our tumultuous century."—James G. Rogers, Jr., Art Journal
"A valuable and interesting book that restores continuity and political context to the decades of depression and war."—Marlene Park, American Historical Review
This lushly illustrated volume for the first time focuses specifically
on the strong influence the South had on Benton's explorations of America
and on his career as an artist.Thomas Hart Benton (1889-1975), a widely recognized American painter,
muralist, printmaker, and illustrator, first attained prominence during
the 1920s and 1930s as an artist, teacher, critic, writer, and outspoken
art world personality. By 1934, when he was the first artist featured on
the cover of Time magazine, he had become one of the most recognized artists
in the United States.Beginning in the 1920s and continuing throughout his career, Benton
traveled the breadth of the country, sketching and recording the details
of the changing daily life he encountered on the backroads and in the isolated
cultural pockets of America. Inspired by his early campaign travels in
Missouri with his father, who had been elected to Congress as a Populist
in 1897, and driven by his own conviction that the nation was sacrificing
its unique culture and history in its rush to become a new, modern society,
Benton set out to capture the essence of contemporary America.The American South held a special fascination for Benton, and from his
travels and sketching trips throughout the region came many of his most
noted images of America. Representing both the drawings Benton made during
his travels to the South and the major paintings and murals that later
incorporated details from these sketches and finished drawings, Thomas
Hart Benton and the American South is a feast to the eye and reveals much
about the artist and the South that so captivated him.
Margot Peet was nearly 90 when an art historian interviewed her about studying with the iconic artist Thomas Hart Benton six decades earlier. Knowing Mrs. Peet to be a museum patron and socialite who painted for pleasure, the scholar was surprised to discover that she was also a gifted artist of exceptional talent and achievement, yet unknown outside of her lifelong home, Kansas City. To some, Kansas City seems an unlikely place for artistic genius, a town spawned by riverboats and railroads. Though ignored by savants on the East and West Coasts, it has played important roles in the history of art in America and it thrives as a cultural capital of the Middle West. Discovering Margot Peet, The Artist and the Art World of Kansas City writes the record on both counts and in two narratives one about the person, the other about her milieu. Marianne Berardi s critical biography recounts the life and appraises the oeuvre of this unsung genius, a woman of parts. Margot Peet s love of painting was nurtured by a favorite aunt, and later by three notable teachers, the last and the most influential of them Tom Benton, then America s most famous artist. Peet combined both discipline and her innate gifts to work brilliantly in oil, watercolor and pastel. A grande dame and a mother, she was driven to make art both by boredom with her status and by despair over a private tragedy that has driven other
Great exhibition catalog featuring artists and art from the Midwest region in the 19th and early 20th century. 108 mostly black and white illustrations (6 illustrations are in color) of American art - still-lifes, landscapes, portraits. Native American Indian scenes, and other subjects. Artists include Thomas Hart Benton, Curry, Nuderscher, Frankestein, John Kane, Duveneck, Wimar and other artists. Includes brief biographies of the artists and bibliography. Softcover. 189 pages. Measures 8 1/2 by 9 1/2 inches. Interesting exhibition catalog, nicely illustrated.
![Thomas Hart Benton: An American Original [Exhibition Catalog]](http://ecx.images-amazon.com/images/I/51WV0W73KML._SL160_.jpg)
Thomas Hart Benton (1889-1975), noted muralist, regionalist painter, art theorist, instructor of Jackson Pollock, and controversial figure in the world of art and politics. Though pigeonholed as a regionalist chronicler of the Midwest, many of his finest on-site pictures are of Southern blacks and poor whites. Remembered best are his folksy rural scenes and aggressively three-dimensional murals, but the public tends to forget that he ran through the gamut of modernist styles and that his brilliant abstract color experiments ally him with the modernist movement. Curated by Henry Adams; organized by Ellen R. Goheen; Checklist by Goheen. During 1989-90, exhibition travelled to Nelson-Atkins Museum of Art, Kansas City; Detroit Institute of Arts; Whitney Museum of American Art & Los Angeles County Museum of Art. stapled pictorial wrappers. 24 pp, 97 illustrations (9 in color, including cover). Note that this is an exhibition catalog, not the monograph subsequently published with a similar title.
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