Art showing conditions of the working class
Social realism
is the term used for work produced by painters, printmakers, photographers, writers and filmmakers that aims to draw attention to the real socio-political conditions of the
working class
as a means to critique the power structures behind these conditions. While the movement's characteristics vary from nation to nation, it almost always uses a form of descriptive or critical realism.
[1]
The term is sometimes more narrowly used for an
art movement
that flourished between the two World Wars as a reaction to the hardships and problems suffered by common people after the
Great Crash
. In order to make their art more accessible to a wider audience, artists turned to realist portrayals of anonymous workers as well as celebrities as heroic symbols of strength in the face of adversity. The goal of the artists in doing so was political as they wished to expose the deteriorating conditions of the poor and working classes and hold the existing governmental and social systems accountable.
[2]
Social realism should not be confused with
socialist realism
, the official Soviet art form that was institutionalized by
Joseph Stalin
in 1934 and was later adopted by allied Communist parties worldwide. It is also different from
realism
as it not only presents conditions of the poor, but does so by conveying the tensions between two opposing forces, such as between farmers and their feudal lord.
[1]
However, sometimes the terms social realism and socialist realism are used interchangeably.
[3]
Origins
[
edit
]
Social realism, as an art movement that became prominent in the US between the two world wars, as a reaction to the increasing hardship for ordinary people, was influenced by the social realist tradition in France which had existed for decades.
[4]
Social realism traces back to 19th-century European
Realism
, including the art of
Honore Daumier
,
Gustave Courbet
and
Jean-Francois Millet
. Britain's
Industrial Revolution
aroused concern for the poor, and in the 1870s the work of artists such as
Luke Fildes
,
Hubert von Herkomer
,
Frank Holl
, and
William Small
were widely reproduced in
The Graphic
.
In Russia,
Peredvizhniki
or "Social Realism" was critical of the
social environment
that caused the conditions pictured, and denounced the
Tsarist period
.
Ilya Repin
said that his art work aimed "to criticize all the monstrosities of our vile society" of the Tsarist period. Similar concerns were addressed in 20th-century Britain by the
Artists' International Association
,
Mass Observation
and the
Kitchen sink school
.
[1]
Social realist photography draws from the documentary traditions of the late 19th century, such as the work of
Jacob A. Riis
, and Maksim Dmitriyev.
[1]
Ashcan school
[
edit
]
In about 1900, a group of
Realist artists
led by
Robert Henri
challenged the American
Impressionism
and academics, in what would become known as the
Ashcan school
. The term was suggested by a drawing by
George Bellows
, captioned
Disappointments of the Ash Can
, which appeared in the
Philadelphia Record
in April 1915.
[5]
In paintings, illustrations, etchings, and lithographs, Ashcan artists concentrated on portraying
New York
's vitality, with a keen eye on current events and the era's social and political rhetoric. H. Barbara Weinberg of
The Metropolitan Museum of Art
has described the artists as documenting "an unsettling, transitional time that was marked by confidence and doubt, excitement and trepidation. Ignoring or registering only gently harsh new realities such as the problems of immigration and urban poverty, they shone a positive light on their era."
[5]
Notable Ashcan works include
George Luks
'
Breaker Boy
and
John Sloan
's
Sixth Avenue Elevated at Third Street
. The Ashcan school influenced the art of the
Depression era
, including
Thomas Hart Benton
's mural
City Activity with Subway
.
[1]
Art movement
[
edit
]
The term dates on a broader scale to the
Realist movement
in French art during the mid-19th century. Social realism in the 20th century refers to the works of the French artist
Gustave Courbet
and in particular to the implications of his 19th-century paintings
A Burial At Ornans
and
The Stone Breakers
, which scandalized French
Salon
–goers of 1850,
[6]
and is seen as an international phenomenon also traced back to European realism and the works of
Honore Daumier
and
Jean-Francois Millet
.
[1]
The social realist style fell out of fashion in the 1960s but is still influential in thinking and the art of today.
In the more limited meaning of the term, Social Realism with roots in European
Realism
became an important
art movement
during the
Great Depression
in the United States in the 1930s. As an American artistic movement it is closely related to
American scene painting
and to
Regionalism
. American Social Realism includes the works of such artists as those from the
Ashcan School
including
Edward Hopper
, and
Thomas Hart Benton
,
Will Barnet
,
Ben Shahn
,
Jacob Lawrence
,
Paul Meltsner
,
Romare Bearden
,
Rafael Soyer
,
Isaac Soyer
,
Moses Soyer
,
Reginald Marsh
,
John Steuart Curry
,
Arnold Blanch
,
Aaron Douglas
,
Grant Wood
,
Horace Pippin
,
Walt Kuhn
,
Isabel Bishop
,
Paul Cadmus
,
Doris Lee
,
Philip Evergood
,
Mitchell Siporin
,
Robert Gwathmey
,
Adolf Dehn
,
Harry Sternberg
,
Gregorio Prestopino
,
Louis Lozowick
,
William Gropper
,
Philip Guston
,
Jack Levine
,
Ralph Ward Stackpole
,
John Augustus Walker
and others. It also extends to the art of photography as exemplified by the works of
Walker Evans
,
Dorothea Lange
,
Margaret Bourke-White
,
Lewis Hine
,
Edward Steichen
,
Gordon Parks
,
Arthur Rothstein
,
Marion Post Wolcott
,
Doris Ulmann
,
Berenice Abbott
,
Aaron Siskind
, and
Russell Lee
among several others.
[
citation needed
]
In Mexico, the painter
Frida Kahlo
is associated with the social realism movement. Also in Mexico was the
Mexican muralist movement
that took place primarily in the 1920s and 1930s; and was an inspiration to many artists north of the border and an important component of the social realism movement. The Mexican muralist movement is characterized by its political undertones, the majority of which are of a
Marxist
nature, and the social and political situation of post-revolutionary Mexico.
Diego Rivera
,
David Alfaro Siqueiros
,
Jose Clemente Orozco
, and
Rufino Tamayo
are the best known proponents of the movement.
Santiago Martinez Delgado
,
Jorge Gonzalez Camarena
,
Roberto Montenegro
,
Federico Cantu Garza
, and
Jean Charlot
, as well as several other artists participated in the movement.
Many artists who subscribed to social realism were
painters
with
socialist
(but not necessarily
Marxist
) political views. The movement therefore has some commonalities with the socialist realism used in the
Soviet Union
and the
Eastern Bloc
, but the two are not identical – social realism is not an
official art,
and allows space for
subjectivity
. In certain contexts, socialist realism has been described as a specific branch of social realism.
Social realism has been summarized as follows:
Social Realism developed as a reaction against idealism and the exaggerated ego encouraged by Romanticism. Consequences of the Industrial Revolution became apparent; urban centers grew, slums proliferated on a new scale contrasting with the display of wealth of the upper classes. With a new sense of social consciousness, the Social Realists pledged to "fight the beautiful art", any style which appealed to the eye or emotions. They focused on the ugly realities of contemporary life and sympathized with working-class people, particularly the poor. They recorded what they saw ("as it existed") in a dispassionate manner. The public was outraged by Social Realism, in part, because they didn't know how to look at it or what to do with it.
[7]
In the United States
[
edit
]
Social realism in the United States was inspired by the muralists active in
Mexico
after the
Mexican Revolution
of 1910.
Farm Security Administration project
[
edit
]
Social realist photography reached a culmination in the work of
Dorothea Lange
,
Walker Evans
,
Ben Shahn
, and others for the
Farm Security Administration
(FSA) project, from 1935 to 1943.
[1]
After
World War I
, the booming U.S. farm economy collapsed from
overproduction
, falling prices, unfavorable weather, and increased
mechanization
. Many farm laborers were out of work and many small farming operations were forced into debt. Debt-ridden farms were foreclosed by the thousands, and
sharecroppers
and tenant farmers were turned from the land. When
Franklin D. Roosevelt
entered office in 1932, almost two million farm families lived in poverty, and millions of acres of farm land had been ruined from soil erosion and poor farming practices.
[8]
The FSA was a
New Deal
agency designed to combat rural poverty during this period. The agency hired
photographers
to provide visual evidence that there was a need, and that FSA programs were meeting that need. Ultimately this mission accounted for over 80,000
black and white
images, and is now considered one of the most famous documentary photography projects ever.
[9]
WPA and Treasury art projects
[
edit
]
The
Public Works of Art Project
was a program to employ artists during the
Great Depression
. It was the first such program, running from December 1933 to June 1934. It was headed by
Edward Bruce
, under the
United States Treasury Department
and funded by the
Civil Works Administration
.
[10]
Created in 1935, the
Works Progress Administration
was the largest and most ambitious
New Deal agency
, employing millions of unemployed people (mostly unskilled men) to carry out
public works
projects,
[11]
including the construction of public buildings and roads. In much smaller but more famous projects the WPA employed musicians, artists, writers, actors and directors in large arts, drama, media, and literacy projects.
[11]
Many of the artists employed under the WPA are associated with social realism. Social realism became an important
art movement
during the
Great Depression
in the United States in the 1930s. As an American artistic movement encouraged by
New Deal art
, social realism is closely related to
American scene painting
and to
Regionalism
.
[12]
In Mexico, the painter
Frida Kahlo
is associated with the social realism movement. The
Mexican muralist movement
that took place primarily in the 1920s and 1930s was an inspiration to many artists north of the border and an important component of the social realism movement. The Mexican muralist movement is characterized by its political undertones, the majority of which are of a
Marxist
nature, and the social and political situation of post-revolutionary Mexico.
Diego Rivera
,
David Alfaro Siqueiros
,
Jose Clemente Orozco
, and
Rufino Tamayo
are the best known proponents of the movement.
Santiago Martinez Delgado
,
Jorge Gonzalez Camarena
,
Roberto Montenegro
,
Federico Cantu Garza
, and
Jean Charlot
, as well as several other artists participated in the movement.
[13]
Many artists who subscribed to social realism were
painters
with
socialist
(but not necessarily
Marxist
) political views. The movement therefore has some commonalities with the
Socialist Realism
used in the
Soviet Union
and the
Eastern Bloc
, but the two are not identical – Social Realism is not an
official art,
and allows space for
subjectivity
. In certain contexts, socialist realism has been described as a specific branch of social realism.
[13]
World-War II to present
[
edit
]
With the onset of
abstract expressionism
in the 1940s, social realism had gone out of fashion.
[14]
Several
WPA
artists found work with the
United States Office of War Information
during WWII, making posters and other visual materials for the war effort.
[15]
After the war, although lacking attention in the art market, many social realist artists continued their careers into the 1950s, 1960s, 1970s, 1980s, 1990s and into the 2000s; throughout which, artists such as
Jacob Lawrence
,
Ben Shahn
,
Bernarda Bryson Shahn
,
Raphael Soyer
,
Robert Gwathmey
,
Antonio Frasconi
,
Philip Evergood
, Sidney Goodman, and
Aaron Berkman
continued to work with social realist modalities and themes.
[16]
Whether in and out of fashion, social realism and socially conscious art-making continues today within the
contemporary art
world, including artists
Sue Coe
, Mike Alewitz,
Kara Walker
,
Celeste Dupuy Spencer
,
Allan Sekula
, Fred Lonidier, and others.
[16]
Gallery
[
edit
]
-
-
-
Walker Evans
,
Floyd Burroughs, Alabama cotton Sharecropper,
Hale County, Alabama
,
c.
1935?1936, photograph
-
-
Walker Evans
,
Allie Mae Burroughs, Wife of a Cotton Sharecropper,
Hale County, Alabama
,
c.
1935?1936, photograph
-
Arthur Rothstein
,
A Farmer and His Two Sons During a Dust Storm
,
Cimarron County
,
Oklahoma
, 1936, photograph considered as an icon of the
Dust Bowl
-
Santiago Martinez Delgado
, mural for the 1933 Chicago International Fair
-
Jose Orozco
, detail of mural
Omnisciencia
, 1925
-
-
Constantin Meunier
,
Miner at the Exit of the Shaft
, 1880s, Meunier Museum, Brussels
-
-
In Latin America
[
edit
]
Muralists active in Mexico after the Mexican Revolution of 1910 created largely propagandizing murals which emphasized a revolutionary spirit and a pride in the traditions of the indigenous peoples of Mexico, and included
Diego Rivera
's
History of Mexico from the Conquest to the Future
,
Jose Clemente Orozco
's
Catharsis
, and
David Alfaro Siqueiros
's
The Strike
. These murals also encouraged social realism in other
Latin American
countries, from
Ecuador
(
Oswaldo Guayasamin
's
The Strike
) to
Brazil
(
Candido Portinari
's
Coffee
).
[1]
In Europe
[
edit
]
In Belgium, early representatives of social realism are found in the work of 19th century artists such as
Constantin Meunier
and
Charles de Groux
.
[17]
[18]
In Britain, artists such as the American
James Abbott McNeill Whistler
, as well as English artists
Hubert von Herkomer
and
Luke Fildes
had great success with realist paintings dealing with social issues and depictions of the "real" world. Artists in Western Europe also embraced social realism in the early 20th century, including Italian painter and illustrator
Bruno Caruso
, German artists
Kathe Kollwitz
,
George Grosz
,
Otto Dix
, and
Max Beckmann
; Swedish artist
Torsten Billman
; Dutch artists
Charley Toorop
and
Pyke Koch
; French artists
Maurice de Vlaminck
,
Roger de La Fresnaye
,
Jean Fautrier
, and
Francis Gruber
and Belgian artists
Eugene Laermans
and
Constant Permeke
.
[1]
[19]
[20]
The political polarization of the period resulted in social realism's distinction from
socialist realism
becoming less obvious in public opinion, and by the mid-20th century
abstract art
had replaced it as the dominant movement in both Western Europe and the United States.
[1]
France
[
edit
]
Realism
, a style of painting that depicts the actuality of what the eyes can see, was a very popular art form in
France
around the mid- to late-19th century. It came about with the introduction of
photography
– a new visual source that created a desire for people to produce things that look "objectively real". Realism was heavily against
romanticism
, a genre dominating French literature and artwork in the mid-19th century. Undistorted by personal bias, Realism believed in the ideology of external reality and revolted against exaggerated
emotionalism
. Truth and accuracy became the goals of many realists as
Gustave Courbet
.
[21]
Russia and the Soviet Union
[
edit
]
The French
Realist movement
had equivalents in all other Western countries, developing somewhat later. In particular, the
Peredvizhniki
or
Wanderers
group in Russia who formed in the 1860s and organized exhibitions from 1871 included many realists such as
Ilya Repin
and had a great influence on Russian art.
From that important trend came the development of
socialist realism
, which was to dominate
Soviet culture
and artistic expression for over 60 years. Socialist realism, representing
socialist ideologies
, was an art movement that represented social and political contemporary life in the 1930s, from a left-wing standpoint. It depicted subjects of social concern; the
proletariat
struggle – hardships of everyday life that the working class had to put up with, and heroically emphasized the values of the loyal communist workers.
The ideology behind social realism, communicated by depicting the heroism of the working class, was to promote and spark revolutionary actions and to spread the image of optimism and the importance of productiveness. Keeping people optimistic meant creating a sense of
patriotism
, which would prove very important in the struggle to produce a successful socialist nation. The Unions Newspaper, the
Literaturnaya Gazeta
, described social realism as "the representation of the proletarian revolution". During Joseph Stalin's reign, it was considered most important to use socialist realism as a form of
propaganda
in posters, as it kept people optimistic and encouraged greater productive effort, a necessity in his aim of developing
Russia
into an industrialized nation.
Vladimir Lenin
believed that art should belong to the people and should stand on the side of the proletariat. "Art should be based on their feelings, thoughts, and demands, and should grow along with them",
[22]
said Lenin. He also believed that literature must be part of the proletariat's common cause.
[22]
After the revolution of 1917, leaders of the newly formed communist party were encouraging experimentation of different art types. Lenin believed that the style of art the USSR should endorse would have to be easy to understand (ruling out abstract art such as
suprematism
and
constructivism
) for the masses of
illiterate
people in Russia.
[23]
[24]
[25]
A wide-ranging debate on art took place;
[
when?
]
the main disagreement was between those who believed in "Proletarian Art" which should have no connections with past art coming out of bourgeois society, and those (most vociferously
Leon Trotsky
) who believed that art in a society dominated by working-class values had to absorb all the lessons of bourgeois art before it could move forward at all.
The taking of power by Joseph Stalin's faction had its corollary in the establishment of an official art: on 23 April 1932, headed by Stalin, an organization formed by the central committee of the Communist Party developed the
Union of Soviet Writers
. This organization endorsed the newly designated ideology of social realism.
By 1934, all other independent art groups were abolished, making it nearly impossible for someone not involved in the Union of Soviet Writers to get work published. Any literary piece or painting that did not endorse the ideology of social realism was censored or banned. This new art movement, introduced under Joseph Stalin, was one of the most practical and durable artistic approaches of the 20th century. With the communist revolution came also a cultural revolution. It also gave Stalin and his Communist Party greater control over Soviet culture and restricted people from expressing alternative geopolitical ideologies that differed to those represented in socialist realism. The decline of social realism came with the
dissolution of the Soviet Union
in 1991.
[
citation needed
]
In film
[
edit
]
Social realism in cinema found its roots in
Italian neorealism
, especially the films of
Roberto Rossellini
,
Vittorio De Sica
,
Luchino Visconti
and to some extent
Federico Fellini
.
[26]
[27]
In British cinema
[
edit
]
Early
British
cinema used the common social interaction found in the literary works of
Charles Dickens
and
Thomas Hardy
.
[28]
One of the first British films to emphasize realism's value as a social protest was
James Williamson's
A Reservist Before the War, and After the War
in 1902. The film memorialized
Boer War
serviceman coming back home to unemployment. Repressive censorship during 1945?54 prevented British films from displaying more radical social positions.
[28]
After
World War I
, the British middle-class generally responded to realism and restraint in cinema, while the working-class generally favored Hollywood genre movies. Thus realism carried connotations of education and high seriousness. These social and aesthetic distinctions would soon become running themes as social realism is now associated with the arthouse auteur, while mainstream Hollywood films are shown at the multiplex.
[28]
Producer
Michael Balcon
revived this distinction in the 1940s, referring to the British industry's rivalry with Hollywood in terms of "realism and tinsel". Balcon, the head of
Ealing Studios
, became a key figure in the emergence of a national cinema characterized by stoicism and verisimilitude. Critic Richard Armstrong said: "Combining the objective temper and aesthetics of the documentary movement with the stars and resources of studio filmmaking, 1940s British cinema made a stirring appeal to a mass audience."
[28]
Social realism in cinema was reflecting Britain's transforming wartime society. Women were working alongside men in the military and its munitions factories, challenging pre-assigned gender roles. Rationing, air raids and unprecedented state intervention in the life of the individual encouraged a more social philosophy and worldview. Social realist films of the era include
Target for Tonight
(1941),
In Which We Serve
(1942),
Millions Like Us
(1943), and
This Happy Breed
(1944). Historian
Roger Manvell
wrote, "As the cinemas [closed initially because of the fear of air raids] reopened, the public flooded in, searching for relief from hard work, companionship, release from tension, emotional indulgence and, where they could find them, some reaffirmation of the values of humanity."
[28]
In the postwar period, films like
Passport to Pimlico
(1949),
The Blue Lamp
(1949), and
The Titfield Thunderbolt
(1952) reiterated gentle patrician values, creating a tension between the camaraderie of the war years and the burgeoning consumer society.
[28]
Sydney Box
's arrival as head of
Gainsborough pictures
in 1946 saw a transition from the
Gainsborough melodramas
, which had been successful during the war years, to social realism. Issues such as short-term sexual relationships, adultery, and illegitimate births flourished during the Second World War
[29]
and Box, who favoured realism over what he termed as "flamboyance fantasy",
[30]
brought these and other social issues, such as
child adoption
,
juvenile delinquency
, and
displaced persons
to the fore with films such as
When the Bough Breaks
(1947),
Good-Time Girl
(1948),
Portrait from Life
(1948),
The Lost People
(1949), and
Boys in Brown
(1949). Films of new rapidly expanding forms of leisure by
working class
families in postwar Britain were also represented by Box in
Holiday Camp
(1947),
Easy Money
(1948), and
A Boy, a Girl and a Bike
(1949).
[31]
Box remained determined on making social realism films, even after Gainsborough closed in 1951, when he said in 1952 "No film has yet been made of the
Tolpuddle Martyrs
,
the Suffragette Movement
, the
National Health Service
as it is today, or the scandals of the patent medicines, oil control in the World, or armaments manufactured for profit."
[32]
However, he would not go on to make these types of stories into films, instead focusing on issues related to abortion, teenage prostitution,
bigamy
,
child neglect
,
shoplifting
, and
drug trafficking
in films such as
Street Corner
(1953),
Too Young to Love
(1959), and
Subway in the Sky
(1959).
[33]
A
British New Wave
movement emerged in the 1950s and 1960s. British auteurs like
Karel Reisz
,
Tony Richardson
, and
John Schlesinger
brought wide shots and plain speaking to stories of ordinary Britons negotiating postwar social structures. Relaxation of censorship enabled film makers to portray issues such as prostitution, abortion, homosexuality, and alienation. Characters included factory workers, office underlings, dissatisfied wives, pregnant girlfriends, runaways, the marginalized, the poor, and the depressed. The New Wave protagonist was usually a working-class male without bearings in a society in which traditional industries and the cultures that went with them were in decline.
[28]
Mike Leigh
and
Ken Loach
also make contemporary social realist films.
[34]
List of British New Wave films
[
edit
]
[35]
[36]
In Indian cinema
[
edit
]
Social realism was also adopted by
Hindi films
of the 1940s and 1950s, including
Chetan Anand
's
Neecha Nagar
(1946), which won the
Palme d'Or
at the
first Cannes Film Festival
, and
Bimal Roy
's
Two Acres of Land
(1953), which won the International Prize at the
1954 Cannes Film Festival
. The success of these films gave rise to the
Indian New Wave
, with early
Bengali art films
such as
Ritwik Ghatak
's
Nagarik
(1952) and
Satyajit Ray
's
The Apu Trilogy
(1955?59). Realism in
Indian cinema
dates back to the 1920s and 1930s, with early examples including
V. Shantaram
's films
Indian Shylock
(1925) and
The Unaccpected
(1937).
[37]
List of neorealist/social realist films in American cinema
[
edit
]
Filmmakers associated with American neorealism/social realism
[
edit
]
Sources:
[38]
[39]
[40]
[41]
[42]
[43]
[44]
[45]
[46]
[47]
[48]
[49]
[50]
[51]
[52]
[53]
[54]
[55]
[56]
[57]
[58]
[59]
[60]
[61]
List of artists
[
edit
]
The following incomplete list of artists have been associated with social realism:
Artist
|
Nationality
|
Field(s)
|
Years active
|
Abbot, Berenice
|
American
|
photography
|
1923?1991
|
Anand, Chetan
|
Indian
|
film
|
1944?1997
|
Barnet, Will
|
American
|
painting, illustration, printmaking
|
1930?2012
|
Bearden, Romare
|
American
|
painting
|
1936?1988
|
Beckmann, Max
|
German
|
painting, printmaking, sculpture
|
unknown?1950
|
Bellows, George
|
American
|
painting, illustration
|
1906?1925
|
Benton, Thomas Hart
|
American
|
painting
|
1907?1975
|
Billman, Torsten
|
Swedish
|
printmaking, illustration, painting
|
1930?1988
|
Bishop, Isabel
|
American
|
painting, graphic design
|
1918?1988
|
Blanch, Arnold
|
American
|
painting, etching, illustration, printmaking
|
1923?1968
|
Bogen, Alexander
|
Polish/ Israeli
|
painting, etching, illustration, printmaking
|
1916?2010
|
Bourke-White, Margaret
|
American
|
photography
|
1920s?1971
|
Brocka, Lino
|
Filipino
|
Film
|
1970?1991
|
Cadmus, Paul
|
American
|
painting, illustration
|
1934?1999
|
Camarena, Jorge Gonzalez
|
Mexican
|
painting, sculpture
|
1929?1980
|
Caruso, Bruno
|
Italian
|
painting, illustration, printmaking
|
1943?2012
|
Castejon, Joan
|
Spanish
|
painting, sculpture, illustration
|
1945?present
|
Charlot, Jean
|
French
|
painting, illustration
|
1921?1979
|
Chua Mia Tee
|
Singaporean
|
painting
|
1956-1976
|
Counihan, Noel
|
Australian
|
painting, printmaking
|
1930s?1986
|
Curry, John Steuart
|
American
|
painting
|
1921?1946
|
Dehn, Adolf
|
American
|
lithography, painting, printmaking
|
1920s?1968
|
Delgado, Santiago Martinez
|
Colombian
|
painting, sculpture, illustration
|
1925?1954
|
de la Fresnaye, Roger
|
French
|
painting
|
1912?1925
|
de Vlaminck, Maurice
|
French
|
painting
|
1893?1958
|
Dix, Otto
|
German
|
painting, printmaking
|
1910?1969
|
Douglas, Aaron
|
American
|
painting
|
1925?1979
|
Evans, Walker
|
American
|
photography
|
1928?1975
|
Evergood, Philip
|
American
|
painting, sculpture, printmaking
|
1926?1973
|
Fautrier, Jean
|
French
|
painting, sculpture
|
1922?1964
|
Garza, Federico Cantu
|
Mexican
|
painting, engraving, sculpture
|
1929?1989
|
Ghatak, Ritwik
|
Indian
|
film, theatre
|
1948?1976
|
Gropper, William
|
American
|
lithography, painting, illustration
|
1915?1977
|
Grosz, George
|
German
|
painting, illustration
|
1909?1959
|
Gruber, Francis
|
French
|
painting
|
1930?1948
|
Guayasamin, Oswaldo
|
Ecuadorian
|
painting, sculpture
|
1942?1999
|
Guston, Philip
|
American
|
painting, printmaking
|
1927?1980
|
Gwathmey, Robert
|
American
|
painting
|
unknown?1988
|
Henri, Robert
|
American
|
painting
|
1883?1929
|
Hine, Lewis
|
American
|
photography
|
1904?1940
|
Hirsch, Joseph
|
American
|
painting, illustration, printmaking
|
1933-1981
|
Hopper, Edward
|
American
|
painting, printmaking
|
1895?1967
|
Kahlo, Frida
|
Mexican
|
painting
|
1925?1954
|
Koch, Pyke
|
Dutch
|
painting
|
1927?1991
|
Kollwitz, Kathe
|
German
|
painting, sculpture, printmaking
|
1890?1945
|
Kuhn, Walt
|
American
|
painting, illustration
|
1892?1939
|
Lamangan, Joel
|
Filipino
|
Film, Television, Theater
|
1991?present
|
Lange, Dorothea
|
American
|
photography
|
1918?1965
|
Lawrence, Jacob
|
American
|
painting
|
1931?2000
|
Lee, Doris
|
American
|
painting, printmaking
|
1935?1983
|
Lee, Russell
|
American
|
photography
|
1936?1986
|
Levine, Jack
|
American
|
painting, printmaking
|
1932?2010
|
Lozowick, Louis
|
American
|
painting, printmaking
|
1926?1973
|
Luks, George
|
American
|
painting, illustration
|
1893?1933
|
Marsh, Reginald
|
American
|
painting
|
1922?1954
|
Meltsner, Paul
|
American
|
painting
|
1913?1966
|
Montenegro, Roberto
|
Mexican
|
painting, illustration
|
1906?1968
|
Myers, Jerome
|
American
|
painting, drawing, etching, illustration
|
1867?1940
|
Orozco, Jose Clemente
|
Mexican
|
painting
|
1922?1949
|
O'Hara Mario
|
Filipino
|
Film
|
1976?2012
|
Parks, Gordon
|
American
|
photography, film
|
1937?2006
|
Pippin, Horace
|
American
|
painting
|
1930?1946
|
Portinari, Candido
|
Brazilian
|
painting
|
1928?1962
|
Prestopino, Gregorio
|
American
|
painting
|
1930s?1984
|
Ray, Satyajit
|
Indian
|
film
|
1947?1992
|
Reisz, Karel
|
British
|
film
|
1955?1990
|
Richardson, Tony
|
British
|
film
|
1955?1991
|
Rivera, Diego
|
Mexican
|
painting
|
1922?1957
|
Rothstein, Arthur
|
American
|
photography
|
1934?1985
|
Roy, Bimal
|
Indian
|
film
|
1935?1966
|
Schlesinger, John
|
British
|
film
|
1956?1991
|
Shahn, Ben
|
American
|
painting, illustration, graphic art, photography
|
1932?1969
|
Siporin, Mitchell
|
American
|
painting
|
unknown?1976
|
Siqueiros, David Alfaro
|
Mexican
|
painting
|
1932?1974
|
Siskind, Aaron
|
American
|
photography
|
1930s?1991
|
Sloan, John French
|
American
|
painting
|
1890?1951
|
Soyer, Isaac
|
American
|
painting
|
1930s?1981
|
Soyer, Moses
|
American
|
painting
|
1926?1974
|
Soyer, Raphael
|
American
|
painting, illustration, printmaking
|
1930?1987
|
Stackpole, Ralph
|
American
|
sculpture, painting
|
1910?1973
|
Steichen, Edward
|
American
|
photography, painting
|
1894?1973
|
Sternberg, Harry
|
American
|
painting, printmaking
|
1926?2001
|
Tamayo, Rufino
|
Mexican
|
painting, illustration
|
1917?1991
|
Toorop, Charley
|
Dutch
|
painting, lithography
|
1916?1955
|
Ulmann, Doris
|
American
|
photography
|
1918?1934
|
Walker, John Augustus
|
American
|
painting
|
1926?1967
|
Williamson, James
|
British
|
film
|
1901?1933
|
Wilson, John Woodrow
|
American
|
lithography, sculpture
|
1945-2001
|
Wolcott, Marion Post
|
American
|
photography
|
1930s?1944
|
Wong, Martin
|
American
|
painting
|
1946?1999
|
Wood, Grant
|
American
|
painting
|
1913?1942
|
?lhan, Attila
[62]
|
Turkish
|
poetry
|
1942-2005
|
See also
[
edit
]
References
[
edit
]
- ^
a
b
c
d
e
f
g
h
i
j
Todd, James G.; Grove Art Online (2009).
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.
Art Terms
. Museum of Modern Art. Archived from
the original
on 14 May 2015.
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Social Realism
defined at the MOMA
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Max Rieser,
The Aesthetic Theory of Social Realism
, in: The Journal of Aesthetics and Art Criticism, Vol. 16, No. 2 (December 1957), pp. 237-248
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"SOCIALIST REALISM"
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Tate
. Retrieved
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2021
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Weinberg, H. Barbara.
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7 February
2013
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1850; Dresden, destroyed 1945
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instruct.westvalley.edu
. Retrieved
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2008
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Gabbert, Jim.
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Encyclopedia of Oklahoma History and Culture
. Oklahoma Historical Society. Archived from
the original
on 24 May 2013
. Retrieved
7 February
2013
.
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Gorman, Juliet.
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Jukin' It Out: Contested Visions of Florida in New Deal Narratives
. Oberlin College & Conservatory
. Retrieved
7 February
2013
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"History of the New Deal Art Projects"
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wpaMurals.com - New Deal Art During the Great Depression
. Archived from
the original
on 30 October 2005
. Retrieved
29 July
2005
.
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a
b
Eric Arnesen, ed.
Encyclopedia of U.S. Labor and Working-Class History
(2007) vol. 1 p. 1540
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Regionalism: An American Art Movement - Artlove.co
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a
b
"Social Realism, New Masses & Diego Rivera"
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the-artifice.com
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"Raphael Soyer | artnet"
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www.artnet.com
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12 February
2019
.
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"Getting the Message Out"
.
National Archives
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12 February
2019
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a
b
"Social Realism - Concepts & Styles"
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The Art Story
. Retrieved
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2019
.
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Constantin Meunier
at the Britannica
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David Ethan Stark (1979).
Charles de Groux and Social Realism in Belgian Painting, 1848-1875
. Ohio State University.
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Jeff Adams (2008).
Documentary Graphic Novels and Social Realism
. Peter Lang. pp. 34?.
ISBN
978-3-03911-362-0
.
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James Fitzsimmons; Jim Fitzsimmons (1971).
Art International
. J. Fitzsimmons.
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Nineteenth-Century French Realism|The Metropolitan Museum of Art|Heilbrunn Timeline of Art History
- ^
a
b
New Essentials of Unification Thought - Google Books (pg.337)
- ^
John Gordon Garrard, Carol Garrard,
Inside the Soviet Writers' Union
, I.B.Tauris, 1990, p. 23
,
ISBN
1850432600
- ^
Karl Ruhrberg, Klaus Honnef, Manfred Schneckenburger, Christiane Fricke,
Art of the 20th Century, Part 1
, Taschen, 2000, p. 161
,
ISBN
3822859079
- ^
Solomon Volkov,
The Magical Chorus
, Knopf Doubleday Publishing Group, 2008, p. 68
,
ISBN
0307268772
- ^
Hallam, Julia, and Marshment, Margaret.
Realism and Popular Cinema. Inside popular film
. Manchester: Manchester University Press, 2000.
- ^
World Cinema: The rise and fall of Italian Neo-realism - Flickering Myth
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a
b
c
d
e
f
g
Armstrong, Richard.
"Social Realism"
. BFI Screen Online
. Retrieved
4 February
2013
.
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Barrow, Sarah & White, John. (2008).
Fifty Key British Films
. Routledge. p.63.
ISBN
9781283547352
Retrieved 27 April 2020 via Google Books
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Harper, Sue. (2016).
From Holiday Camp to High Camp: Women in British Feature Films
. in Andrew Higson. (2016) Dissolving Views: Key Writings on British Cinema. Bloomsbury Academic p.105.
ISBN
9781474290654
Retrieved 27 April 2020 via Google Books
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Spicer, Andrew. (2006).
Sydney Box
. Manchester University Press. p.109.
ISBN
9780719060007
. Retrieved 27 April 2020 via Google Books
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Harper, Sue. & Porter, Vincent. (2003).
British Cinema of the 1950s: The Decline of Deference
. Oxford University Press p.159.
ISBN
9780198159353
Retrieved 27 April 2020 via Google Books
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Harper, Sue. & Porter, Vincent. (2003).
British Cinema of the 1950s: The Decline of Deference
. Oxford University Press pp.159-162.
ISBN
9780198159353
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"British Realism"
.
The Criterion Collection
. Retrieved
12 July
2019
.
- ^
"FREE CINEMA (BRITISH SOCIAL REALISM) ? Movie List"
.
MUBI
. Retrieved
12 July
2019
.
- ^
"BFI Screenonline: Social Realism"
.
www.screenonline.org.uk
.
- ^
Banerjee, Santanu.
"Neo Realism in Indian Cinema"
.
- ^
"The New Social Realism of American Cinema"
.
Film School Rejects
. 17 January 2018.
- ^
"American Neorealism, Part One: 1948-1984 | UCLA Film & Television Archive"
.
www.cinema.ucla.edu
.
- ^
"Jarmusch in Tucson"
.
The Criterion Collection
.
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"Why Clerks Still Works"
.
The Baffler
. 6 December 2019.
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Welch, Ara H. Merjian,Rhiannon Noel; Merjian, Ara H.; Welch, Rhiannon Noel (22 September 2020).
"It's a Neorealist World"
.
{{
cite web
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"Jim Jarmusch. Stranger Than Paradise. 1984 | MoMA"
.
The Museum of Modern Art
.
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Arabian, Alex (4 March 2020).
"Exploring the New Age of Neorealism on Film"
.
SlashFilm.com
.
- ^
"The Neo Neo-Realist, PopMatters"
. 28 November 2005.
- ^
In the Peanut Gallery with Mystery Science Theater 3000 - Google Books (pgs. 62-63)
- ^
Salvato, Larry.
"15 Great American Movies Influenced by Italian Neo-Realism"
.
- ^
Salvato, Larry.
"15 Great American Movies Influenced by Italian Neo-Realism"
.
- ^
"UCR ARTS"
.
- ^
"Gregory Nava's film 'El Norte' marks 25th anniversary"
.
Los Angeles Times
. 28 January 2009.
- ^
"Critical Discussion Transforms Art: Haile Gerima, the L.A. Rebellion, and Cinema as Life, PopMatters"
. 18 November 2019.
- ^
Meyer, David N. (16 July 2008).
"(Native) American Neo-Realism"
.
The Brooklyn Rail
.
- ^
"About "Neo-Neo Realism"
"
.
The New Yorker
. 19 March 2009.
- ^
"How Sean Baker Became America's Neorealist"
– via CineFix on YouTube.
- ^
Hudson, David.
"American Neorealism"
.
The Criterion Collection
.
- ^
Northern Lights ? The Public Cinema
- ^
American Neorealism Now|Current|The Criterion Collection
- ^
American Neorealism|Current|The Criterion Collection
- ^
The Trouble with Lupino - Comparative Cinema
- ^
"The Criterion Channel's March 2024 Lineup"
.
The Criterion Channel
. 14 February 2024.
- ^
Who Needs Social Realism? - Jewish Currents
- ^
Gungor, Bilgin (11 March 2019).
"Atti?la ?lhan'in Ozgun Toplumcu-Gercekci?li?k Anlayi?i: "Sosyal Reali?zm"
"
.
Motif Akademi Halkbilimi Dergisi
(in Turkish).
12
(25): 188?202.
doi
:
10.12981/mahder.509763
.
ISSN
1308-4445
.
|
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|
Premodern
(Western)
| |
---|
Modern
(1863?1944)
| 1863?1899
| |
---|
1900?1914
| |
---|
1915?1944
| |
---|
|
---|
Contemporary
and
Postmodern
(1945?present)
| 1945?1959
| |
---|
1960?1969
| |
---|
1970?1999
| |
---|
2000?
present
| |
---|
|
---|
Related topics
| |
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