Charles Sheeler at D.C.'s National Gallery of Art
"Classic Landscape," 1931
Charles Sheeler
"Church Street El," 1920
Charles Sheeler
"Architectural Planes," 1947
Charles Sheeler
"Self-Portrait," 1924
Charles Sheeler
WASHINGTON, D.C., May 12, 2006—The National Gallery of Art here is presenting “Charles Sheeler: Across Media” through Aug. 27, 2006.
This is the first exhibition to focus exclusively on the complex, often paradoxical relationships between photography, film, drawing, printmaking and painting that were so central to Sheeler's art.
A celebration of the formal clarity and beauty of Sheeler's works, the exhibition will build on a core of masterpieces recently added to the National Gallery of Art collections, including the magnificent painting Classic Landscape (1931), the masterful Conté crayon drawings Interior with Stove, (1932) and Counterpoint (1949), as well as three striking examples of the artist's "Doylestown" photographs.
Highlights include the finest works from the series of paintings and drawings inspired by Sheeler's photographs of the River Rouge plant, commissioned by the Ford Motor Co. in 1927. Also featured is Manhatta (1920), a collaboration between Sheeler and Paul Strand that is regarded as the first avant-garde film made in the United States.
The exhibition will conclude with images inspired by Sheeler's experiments with montage in the 1940s and 1950s.
Images (top to bottom): National Gallery of Art, Washington, Collection of Barney A. Ebsworth, 2000.39.2; The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1977.43; Gift of Saundra B. Lane in memory of her husband, William H. Lane, and purchase through the Stoddard Acquisition Fund, Worcester Art Museum, Worcester, Massachusetts 1996.58; National Portrait Gallery, Smithsonian Institution
"Classic Landscape," 1931
Charles Sheeler
"Church Street El," 1920
Charles Sheeler
"Architectural Planes," 1947
Charles Sheeler
"Self-Portrait," 1924
Charles Sheeler
WASHINGTON, D.C., May 12, 2006—The National Gallery of Art here is presenting “Charles Sheeler: Across Media” through Aug. 27, 2006.
This is the first exhibition to focus exclusively on the complex, often paradoxical relationships between photography, film, drawing, printmaking and painting that were so central to Sheeler's art.
A celebration of the formal clarity and beauty of Sheeler's works, the exhibition will build on a core of masterpieces recently added to the National Gallery of Art collections, including the magnificent painting Classic Landscape (1931), the masterful Conté crayon drawings Interior with Stove, (1932) and Counterpoint (1949), as well as three striking examples of the artist's "Doylestown" photographs.
Highlights include the finest works from the series of paintings and drawings inspired by Sheeler's photographs of the River Rouge plant, commissioned by the Ford Motor Co. in 1927. Also featured is Manhatta (1920), a collaboration between Sheeler and Paul Strand that is regarded as the first avant-garde film made in the United States.
The exhibition will conclude with images inspired by Sheeler's experiments with montage in the 1940s and 1950s.
Images (top to bottom): National Gallery of Art, Washington, Collection of Barney A. Ebsworth, 2000.39.2; The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1977.43; Gift of Saundra B. Lane in memory of her husband, William H. Lane, and purchase through the Stoddard Acquisition Fund, Worcester Art Museum, Worcester, Massachusetts 1996.58; National Portrait Gallery, Smithsonian Institution
