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Curry was an American Painter whose career spanned form 1924-1946; he was noted for his paintings depicting life in his home state, Kansas. Curry was part of the Midwestern Triumvirate of American regionalism which included Thomas Hart Benton and Grant Wood; these men were hailed as the three great painters of American Regionalism<ref name="M. Sue Kendall"> Kendall, M. Sue. Rethinking Regionalism: John Steuart Curry and the Kansas Mural Controversy. Washington D.C.: Smithsonian Institution Press, 1986. </ref>. Regionalism was associated with the area beyond the Mississippi, mainly Iowa, Missouri and Kansas. The artists who were associated with Regionalism were concerned with rural nostalgia, and the American heartland. Regionalism was essentially a revolt against at least one major evil of the industrial revolution: mass centralization.<ref name="James M. Dennis"/ref> Following the stock market crash the Great Depression heightened the peoples dissatisfaction with capitalism. The rough depictions of the independent life with open space provided distractions for those in financial crisis. According to Myer Schapiro Regionalism obscured the crucial forces of history, as defined by Marx, and provided entertaining distractions from the realities facing oppressed people.<ref name="James M. Dennis"/ref> Curry depicted representations of families surviving natural disaster, in his man versus nature themes, themes that were most certainly prevalent during the Depression in the Midwest, which was thrown into economic turmoil due to lack of income and job opportunities. Tornado Over Kansas and The Mississippi reflects Curry’s observance of this theme and expresses how he saw his home state of Kansas. | Curry was an American Painter whose career spanned form 1924-1946; he was noted for his paintings depicting life in his home state, Kansas. Curry was part of the Midwestern Triumvirate of American regionalism which included Thomas Hart Benton and Grant Wood; these men were hailed as the three great painters of American Regionalism<ref name="M. Sue Kendall"> Kendall, M. Sue. Rethinking Regionalism: John Steuart Curry and the Kansas Mural Controversy. Washington D.C.: Smithsonian Institution Press, 1986. </ref>. Regionalism was associated with the area beyond the Mississippi, mainly Iowa, Missouri and Kansas. The artists who were associated with Regionalism were concerned with rural nostalgia, and the American heartland. Regionalism was essentially a revolt against at least one major evil of the industrial revolution: mass centralization.<ref name="James M. Dennis"/ref> Following the stock market crash the Great Depression heightened the peoples dissatisfaction with capitalism. The rough depictions of the independent life with open space provided distractions for those in financial crisis. According to Myer Schapiro Regionalism obscured the crucial forces of history, as defined by Marx, and provided entertaining distractions from the realities facing oppressed people.<ref name="James M. Dennis"/ref> Curry depicted representations of families surviving natural disaster, in his man versus nature themes, themes that were most certainly prevalent during the Depression in the Midwest, which was thrown into economic turmoil due to lack of income and job opportunities. Tornado Over Kansas and The Mississippi reflects Curry’s observance of this theme and expresses how he saw his home state of Kansas. | ||
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===Works=== | ===Works=== | ||
Curry was known for his oil paintings and mural cycles. In August of 1928 Curry painted Baptism in Kansas, which was exhibited at the Corcoran Gallery in Washington D.C. The painting was praised by the New York Times and earned Curry the attention of Mrs. Gertrude Vanderbilt Whitney. In 1931 Mrs. Vanderbilt Whitney purchased the painting Baptism in Kansas for the Whitney Museum in New York City, thus establishing him as a major artist. Baptism in Kansas reflected the fanatic religious sects that held open-air baptisms that these popular religious groups were a part of Curry’s rural life in Kansas. While a traditional religious scene is depicted by Curry with all the reverence one would expect from such a subject no well know Baptismal representations by old world masters employ the compositional layout that Curry favors. Under her patronage Curry painted Tornado Over Kansas, which depicts a farmer, approaching a tornado while his wife ushers the family and pets into the cyclone cellar. The painting was unveiled in 1929 just before the crash of the stock market and provided those in the city with the romance of his man versus nature themes. During the 1930s Curry embraced the heartland of America and focused on his home state of Kansas. He depicted common scenes of the laborer, family and land in order to demonstrate peace and struggle and perseverance that he had come to believe was the essence of American life. Every Sincere Artist Knows that there is no bandwagon that goes all the way; no seeming success of the moment that will atone for the thing he knows in his heart he has not yet accomplished or for the thing he has left undone.<ref name="Mongerson Wunderlich"/ref> Curry’s works were painted with movement which was conveyed by the free brush work and energized forms that characterized his style. His control over brushstrokes created emotions such as excitement, fear, and despair in his paintings. His fellow Regionalists who also painted action and movement influenced Curry’s style.<ref name="James M. Dennis"/ref> | Curry was known for his oil paintings and mural cycles. In August of 1928 Curry painted Baptism in Kansas, which was exhibited at the Corcoran Gallery in Washington D.C. The painting was praised by the New York Times and earned Curry the attention of Mrs. Gertrude Vanderbilt Whitney. In 1931 Mrs. Vanderbilt Whitney purchased the painting Baptism in Kansas for the Whitney Museum in New York City, thus establishing him as a major artist. Baptism in Kansas reflected the fanatic religious sects that held open-air baptisms that these popular religious groups were a part of Curry’s rural life in Kansas. While a traditional religious scene is depicted by Curry with all the reverence one would expect from such a subject no well know Baptismal representations by old world masters employ the compositional layout that Curry favors. Under her patronage Curry painted Tornado Over Kansas, which depicts a farmer, approaching a tornado while his wife ushers the family and pets into the cyclone cellar. The painting was unveiled in 1929 just before the crash of the stock market and provided those in the city with the romance of his man versus nature themes. During the 1930s Curry embraced the heartland of America and focused on his home state of Kansas. He depicted common scenes of the laborer, family and land in order to demonstrate peace and struggle and perseverance that he had come to believe was the essence of American life. Every Sincere Artist Knows that there is no bandwagon that goes all the way; no seeming success of the moment that will atone for the thing he knows in his heart he has not yet accomplished or for the thing he has left undone.<ref name="Mongerson Wunderlich"/ref> Curry’s works were painted with movement which was conveyed by the free brush work and energized forms that characterized his style. His control over brushstrokes created emotions such as excitement, fear, and despair in his paintings. His fellow Regionalists who also painted action and movement influenced Curry’s style.<ref name="James M. Dennis"/ref> | ||
Revision as of 07:42, 31 March 2008
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John Steuart Curry | |
|---|---|
| Born | November 14, 1897 |
| Died | 1946 |
| Occupation | Artist |
| Spouse(s) | Clara Derrick/Kathleen Gould |
| Parent(s) | Smith and Margaret Steuart |
Subject's popular name (birthdate – death) can be a lead-in to the subject's real, formal, or extended name. Describe the subject's nationality and profession(s) in which the subject is most notable. Provide a description of the subject's major contributions in the immediately relevant field(s) of notable expertise.[1]
Biography
John Steuart Curry was born on a farm in Dunavaunt, Kansas November 14, 1897. Curry was the eldest of five children to parents Smith and Margaret Steuart. Despite growing up on a Midwestern farm, both of Curry’s parents were college educated and had even visited Europe for their honeymoon. Curry’s early life consisted of caring for the animals on the farm, attending the near by high school and excelling in athletics. His childhood home was filled with many reproductions of Peter Paul Rubens, and Gustav Doré, these artist’s styles played a significant role in crafting John Curry’s own style. His family was very religious as were most people in Dunavaunt. At the age of twelve Curry had his first art lesson. He was encouraged to paint animals around the farm. In 1916 John entered the Kansas City Art Institute, but after only a month there he transferred to the Art Institute in Chicago, which he stayed at for two years. But by 1918 he attended Geneva College in Beaver Falls, Pennsylvania. After he graduated Curry received a job as an illustrator from 1921-1926. He worked for many magazines including: Boy’s Life, St. Nicholas, County Gentleman, The Saturday Evening Post, and others.[2] Later Curry spent a year in Paris studying the works of Gustave Corbet, and Honore Daumier as well as the color techniques of Titian and Rubens. After his return to the United States he settled in New York City and married Clara Derrick, shortly thereafter they moved to Westport, Connecticut in 1924. Clara died in June of 1932 and for the next two years Curry devoted his time to working in his studio. He traveled with the Ringling Brothers Circus and during his time with them created his painting The Flying Cadonas. He remarried in 1934 to Kathleen Gould. The Federal Art Project was instituted in 1934 as a part way to give work to artists and combat the effects of the Depression. A couple years later in 1936. Curry was appointed as the first artist in residence at the Agricultural College of the University of Wisconsin. He was free to come and go as he pleased and to talk to students or travel throughout the state. This same year he was commissioned to paint a mural for the department of the Justice Building in Washington D.C. and for the Department of the Interior.[3] He was also commissioned by his home state of Kansas to paint a mural for the State Capitol at Topeka. Curry continued to work until he died of a heart attack at the age of 49 in 1946.
Regionalism
Curry was an American Painter whose career spanned form 1924-1946; he was noted for his paintings depicting life in his home state, Kansas. Curry was part of the Midwestern Triumvirate of American regionalism which included Thomas Hart Benton and Grant Wood; these men were hailed as the three great painters of American Regionalism[4]. Regionalism was associated with the area beyond the Mississippi, mainly Iowa, Missouri and Kansas. The artists who were associated with Regionalism were concerned with rural nostalgia, and the American heartland. Regionalism was essentially a revolt against at least one major evil of the industrial revolution: mass centralization.Cite error: Invalid <ref> tag;
invalid names, e.g. too many The painting does not express a political spectacle, rather Curry’s personal feelings. Conversely, Parade to War depicts departing soldiers rather than the return of a victim. Curry portrays the personal tragedy, suffering and death associated with war because Curry himself has experienced the effects of war. Curry was working in a time period fraught with turmoil; He was working during the Great Depression, which was flanked on each side by a World War. He was inspired by a mass anti war sentiment that was reflected in literary works such as All Quiet on the Western Front. Along with war scenes Curry also produced a number of manhunt and fugitive subjects. These ideas were inspired by remembrances from his own childhood, but also from publicized events during the early 1930’s. The Kidnapping of aviator Charles Lindbergh’s son and John Dillinger’s robbery cases were well known and public deaths such as lynching were often the result of such crimes. These earlier works would influence later Curry’s mural work in the Department of Justice Building.Cite error: Invalid <ref> tag;
invalid names, e.g. too many
Notes/Further reading
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- ↑ Last, first (date). Name of page. Page xx. Publisher: xxxx
- ↑ Wunderlich,Mongerson. John Steuart Curry: Rural America. New York: ACA Galleries, 1991
- ↑ Dennis, James M. Renegade Regionalists: The Modern Independence of Grant Wood, Thomas Hart Benton, and John Steuart Curry. Wisconsin: University of Wisconsin Press, 1998.
- ↑ Kendall, M. Sue. Rethinking Regionalism: John Steuart Curry and the Kansas Mural Controversy. Washington D.C.: Smithsonian Institution Press, 1986.