#elsie driggs

[taf-art]

Pittsburgh (1927). Elsie Driggs.

[topcat77]

Elsie Driggs

Italian Vineyard

[lesmachins]

Elsie Driggs, "Blast Furnaces", 1927. Oil on canvas, 33 x 39 in. (83.8 x 99.1 cm). Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2017.1.

[eahostudiogallery]

House & Gardens

Pablo Picasso - House in a Garden, 1908

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Fairfield Porter - The Pump House

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Hiroshi Yoshida- A Garden in Okayama, 1933

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Ci Demi

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Elsie Driggs - Italian Vineyard

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unknown - Felix da housecat, Belgium

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Charles Rennie Mackintosh - Duille

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Susan Abbott - Lubec Morning

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RHADS - Tree of loneliness

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Rinat Voligamsi - A Cluster of Houses above the Woods

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Beniamino Servino

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Antoine Josse

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unknown

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[pwlanier]

Elsie Driggs (American, 1898-1992)

Egyptian Gothic

Watercolor

Freeman’s

[outdarethenight]

Elsie Driggs, Pittsburg, 1927

[thefarnsworthgallery]

Aeroplane - Elsie Driggs, 1928

[bigspoopygurl]

Elsie Driggs - Pittsburgh (1927)

[zazamatic]

Precisionism developed in a decade following the end of the World War I, in 1920s America. Its short time span of slightly over ten years – until the early ‘30s – does not, however, undermine its significance in modern art world. Being considered the first autochthone art style developed in the US, it nonetheless holds stylistic connection with European Modernism and styles developed by historical avant-gardes. Similarily to Cubism and Futurism, their aesthetics are of a broken, segmented world where precision, dynamism, linearity, and angular forms take over the natural shapes of the everyday objects. Again, like Cubism, Precisionism defined the existing space through conspicuous rendering of angular forms that often simplify the depicted world, but also divest the world from emotions. Industrial aesthetics, with focal point on metropilitan and industrialized landscapes, followed Futurists’ obsession with the new age of technological progress and innovation

Paquebot 'Paris', Charles Demuth

Chimney and Water Tower, Charles Demuth

When the Grass Grows Green, Dale Nichols

Pittsburgh, Elsie Driggs

https://www.pinterest.com/johnbabich/precisionism/?lp=true

http://www.dwigmore.com/precisionism_essay.html

https://www.widewalls.ch/precisionism-art-history/

[biblioklept]

Blast Furnaces -- Elsie Driggs

Blast Furnaces — Elsie Driggs

Blast Furnaces, 1927 by Elsie Driggs (1898-1992)

[whitneymuseum]

Elsie Driggs was inspired to make this painting by a childhood memory of Pittsburgh’s steel mills. Returning twenty years later to capture the scene, she initially tried to paint it from inside the mill. The owners thought the factory floor was no place for a woman, though, and management worried that she might be a labor agitator or industrial spy. Today the painting may seem to warn of the dangers of industrial pollution, but Driggs did not have an oppositional agenda. She ended up basing the work on drawings she made from a hill above her boardinghouse, later writing that she stared at the mills and told herself: “‘This shouldn’t be beautiful. But it is.’ And it was all I had, so I drew it.” See the work now in Where We Are: Selections from the Whitney’s Collection, 1900–1960. 

[Elsie Driggs (1895–1992), Pittsburgh, 1927. Oil on canvas, 34 1/4 × 40 1/4 in. (87 × 102.2 cm). Whitney Museum of American Art, New York; Gift of Gertrude Vanderbilt Whitney Accession number 31.177]

[nevver]

Pittsburgh, Elsie Driggs

[mybeingthere]

Elsie Driggs (1898 – 1992) was an American painter known for her contributions to Precisionism, America's one indigenous modern-art movement before Abstract Expressionism. 

She was the only female participant in the Precisionist movement, which in the 1920s and 1930s took a Cubist-inspired approach to painting the skyscrapers and factories that had come to define the new American landscape.

About the top painting on the left: Elsie Driggs was inspired to make this painting by a childhood memory of Pittsburgh’s steel mills. Returning twenty years later to capture the scene, she initially tried to paint it from inside the mill. The owners thought the factory floor was no place for a woman, though, and management worried that she might be a labor agitator or industrial spy. Today the painting may seem to warn of the dangers of industrial pollution, but Driggs did not have an oppositional agenda. She ended up basing the work on drawings she made from a hill above her boardinghouse, later writing that she stared at the mills and told herself: “‘This shouldn’t be beautiful. But it is.’ And it was all I had, so I drew it.” See the work now in Where We Are: Selections from the Whitney’s Collection, 1900–1960. [Elsie Driggs (1895–1992), Pittsburgh, 1927. Oil on canvas, 34 ¼ × 40 ¼ in. (87 × 102.2 cm). Whitney Museum of American Art, New York; Gift of Gertrude Vanderbilt Whitney Accession number 31.177]

[mosertone]

Elsie Driggs

[fashionbooksmilano]

Bourke-White

100 fotografie da Life: una retrospettiva

Vicki Goldberg

Pubblicato a cura di United Technologies Corporation con la collaborazione di “Life” e “Fortune”, Londra 1988, 120 pagine, copertina rigida,  29.8×30 cm, fotografie in b/n e a colori

euro 70,00

email if you want to buy booksinprogressmilano@yahoo.it

Mostra organizzata da International Center of Photography New York a Milano, Castello Sfozesco Sala Viscontea 3-31 maggio 1989

La fotografia di Margaret Bourke-White, i suoi soggetti ed il suo stile sono lo specchio del suo tempo. Agli inizi della sua carriera la fotografa americana era stata compiutamente moderna: apparteneva esplicitamente e coscientemente al suo tempo ed era convinta che la macchina ne fosse l’espressione. Ella prediligeva l’ambiguità spaziale, i piani sovvrapposti, le geometrie astratte e amava ridurre soggetti tridimensionali ad uno schema a due dimensioni. Questi elementi cubisti mettono i suoi lavori in relazione con quelli di un gruppo di artisti noti come precisionisti. Il romantico cubismo dei suoi esterni della Otis Steel è vicino a quello di Charles Demuth in Inces of a New Church; il cubismo geometrico delle sue fotografie di tubazioni nella fabbrica richiama lo stilizzato Queensborough Bridge di Elsie Drigg. Le sue fotografie industriali tendono a volte al teatrale e perfino al retorico. In definitiva il catalogo “Bourke-White” ripercorre la ricerca di una delle fotografe più influenti e più ammirate del XX secolo.

08/01/22

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[pwlanier]

Elsie Driggs (American, 1898-1992)

The Sulky

Watercolor

Freeman’s