George Bellows
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| '''George Wesley Bellows''' ([[August 12]], [[1882]] - [[January 8]], [[1925]]) was an [[American painter]], known for his bold depictions of urban life in [[New York City]]. | '''George Wesley Bellows''' ([[August 12]], [[1882]] - [[January 8]], [[1925]]) was an [[American painter]], known for his bold depictions of urban life in [[New York City]]. | ||
| - | Bellows was always [[socially conscious]] and he associated with a group of radical artists and activists called "[[the Lyrical Left]]", who tended towards [[anarchism]] in their extreme advocacy of individual rights. He taught at the first [[Modern School (United States)|Modern School]] in New York City (as did his mentor, Henri), and served on the editorial board of the [[Socialism|socialist]] journal, ''[[The Masses]]'', to which he contributed many drawings and prints beginning in 1911. However, he was often at odds with other contributors due to his belief that artistic freedom should trump any ideological editorial policy. Bellows also notably dissented from this circle in his very public support of U.S. intervention in [[World War I]]. In 1918, he created a series of [[lithograph]]s and paintings that graphically depicted atrocities which the Allies said had been committed by [[Germany]] during its invasion of [[Belgium]]. Notable among these was ''The Germans Arrive'', which gruesomely illustrated a German soldier restraining a Belgian teen whose hands had just been severed. However, his work was also highly critical of the domestic censorship and persecution of antiwar dissenters conducted by the U.S. government under the [[Espionage Act]]. | + | [[George Bellows]] was always [[socially conscious]] and he associated with a group of radical artists and activists called "[[the Lyrical Left]]", who tended towards [[anarchism]] in their extreme advocacy of individual rights. He taught at the first [[Modern School (United States)|Modern School]] in New York City (as did his mentor, Henri), and served on the editorial board of the [[Socialism|socialist]] journal, ''[[The Masses]]'', to which he contributed many drawings and prints beginning in 1911. However, he was often at odds with other contributors due to his belief that artistic freedom should trump any ideological editorial policy. Bellows also notably dissented from this circle in his very public support of U.S. intervention in [[World War I]]. In 1918, he created a series of [[lithograph]]s and paintings that graphically depicted atrocities which the Allies said had been committed by [[Germany]] during its invasion of [[Belgium]]. Notable among these was ''The Germans Arrive'', which gruesomely illustrated a German soldier restraining a Belgian teen whose hands had just been severed. However, his work was also highly critical of the domestic censorship and persecution of antiwar dissenters conducted by the U.S. government under the [[Espionage Act]]. |
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George Wesley Bellows (August 12, 1882 - January 8, 1925) was an American painter, known for his bold depictions of urban life in New York City.
George Bellows was always socially conscious and he associated with a group of radical artists and activists called "the Lyrical Left", who tended towards anarchism in their extreme advocacy of individual rights. He taught at the first Modern School in New York City (as did his mentor, Henri), and served on the editorial board of the socialist journal, The Masses, to which he contributed many drawings and prints beginning in 1911. However, he was often at odds with other contributors due to his belief that artistic freedom should trump any ideological editorial policy. Bellows also notably dissented from this circle in his very public support of U.S. intervention in World War I. In 1918, he created a series of lithographs and paintings that graphically depicted atrocities which the Allies said had been committed by Germany during its invasion of Belgium. Notable among these was The Germans Arrive, which gruesomely illustrated a German soldier restraining a Belgian teen whose hands had just been severed. However, his work was also highly critical of the domestic censorship and persecution of antiwar dissenters conducted by the U.S. government under the Espionage Act.
