NEW YORK, NY.- Hirschl & Adler Galleries
presents Our American Life, an exhibition of approximately fifty paintings, drawings, prints, and sculpture from the nineteenth century to the present. Our American Life explores both the variety of the American experience and the evolution of our countrys culture and landscape. The show examines daily life through the eyes of American artists in its most recognizable environsquaint towns, bustling cities, sweeping farmland, and meandering shorelines. Together these works paint a collective portrait of what it is to be American, and celebrate the unique diversity of American life.
Our American Life features work by nineteenth-century artists such as Eastman Johnson (1824 1906) and Worthington Whittredge (18201910); twentieth-century artists including William Glackens (18701938), Marsden Hartley (18781943), Edward Hopper (18821967), and Fairfield Porter (19071975); as well as artists from Hirschl & Adlers contemporary program, including John Moore (1941) and Randall Exon (1956), among others.
Eastman Johnsons Barn Swallows (1878) presents a picturesque vision of rural America. The work was painted while visiting his sister and her family at their summer home in Kennebunkport, Maine. Johnson loved painting children, and his young subjects are often imbued with vitality and playful innocence. This is the case with Barn Swallows, which depicts Johnsons own daughter, his sisters children, and other neighbors roosting upon a crossbeam of the barn.
John Moores Pause (199094) presents a scene initially recognizable as the suburban sprawl typical of the contemporary American landscape. The scene is a composite of varying typography, in which a quiet suburban street gives way to a factory and further afield, city buildings stretch into the distance. Upon closer inspection, however, Moores suburbia evokes a feeling of uneasiness. Two children in the foreground gaze away from the viewer, pausing in their play as if suddenly interrupted. It is not only the children who pause; curiously, a lawn mower stands alone, abandoned in the grass and more alarmingly, a baby carriage sits unattended on the sidewalk.
In William Glackens vibrant and impressionistic beach scene, Summer (about 1914), visitors to shore of Bellport, Long Island enjoy the pleasures of a brilliant summers day. Glackens beachgoers wade in water dappled with jewel-like pigment under a bright expansive sky. The composition is infused with light, and the viewer cannot help but feel the warmth of the summer breeze emanating from the canvas.