George Luks

Biographie
Naissance	13 août 1867 Williamsport
Décès	29 octobre 1933 (à 66 ans) New York
Sépulture	Pennsylvanie
Nationalité	américaine
Activités	Peintre, auteur de bande dessinée, illustrateur

Autres informations
A travaillé pour	New York World Verdict (d)
Mouvement	Ash Can School
Maîtres	Thomas Pollock Anshutz, Heinrich Lauenstein
Genre artistique	Portrait

Œuvres principales
The Wrestlers (d)

George Benjamin Luks, né le 13 août 1867 à Williamsport (Pennsylvanie), et mort à New York le 29 octobre 1933, est un peintre américain moderniste^[1]^,^[2], rattaché à l'Ash Can School.

Biographie modifier

Luks a travaillé pour le journal de Joseph Pulitzer, le New York World^[3]^,^[4]^,^[5]^,^[6].

En février 1908, il expose aux Macbeth Galleries (Manhattan), avec sept autres peintres, retrouvant ses amis Robert Henri, William Glackens, John French Sloan, Everett Shinn, et auxquels se joignent Arthur Bowen Davies, Maurice Prendergast, et Ernest Lawson. La presse les surnomment The Eight^[7].

1904: National Arts Club (Luks, Glackens, Henri, Sloan, Davies, Prendergast)
1908: The Macbeth Galleries exhibition of The Eight
1913: The Armory Show (six Luks paintings were included)
1937: New York Realists, the Whitney Museum of American Art
1943: The Eight, Brooklyn Museum of Art
1992: Painters of a New Century: The Eight and American Art, Brooklyn Museum
1994: George Luks: The Watercolors Rediscovered, Canton Museum of Art
1995: Metropolitan Lives: The Ashcan Artists and Their New York, National Museum of American Art
1997: Owen Gallery, New York, 1997
2000: City Life Around the Eight, The Metropolitan Museum of Art
2007: Life's Pleasures: The Ashcan Artists' Brush with Leisure, 1895–1925, The New York Historical Society
2009: The Eight and American Modernisms, Milwaukee Art Museum

The Butcher Cart (1901), Chicago Art Institute
The Little Milliner (1905), Toledo Museum of Art
The Spielers (1905), Addison Gallery of American Art (en)
The Wrestlers (1905), Museum of Fine Arts, Boston
The Rag Picker (1905), private collection
The Old Duchess (1905), Metropolitan Museum of Art
Hester Street (1905), Brooklyn Museum of Art
The Cafe Francis (1906), Butler Institute of American Art
Woman with Macaws (1907), Detroit Institute of Arts
Sulky Boy (1908), Phillips Collection
The Guitar (Portrait of the Artist’s Brother with his Son) (1908), Westmoreland Museum of American Art (en)
The New York River, New York (1910), private collection
Nursemaids, High Bridge Park, private collection
Boy with Baseball (1925), Metropolitan Museum of Art

The White Blackbird (Portrait of Margarett Sargent (en)) (1919)
Armistice Night, 1918, oil on canvas
Allen Street, c. 1905, Hunter Museum of American Art (en)
Houston Street, 1917, oil on canvas, Saint Louis Art Museum
Street Scene (Hester Street), 1905, oil on canvas, Brooklyn Museum
Otis Skinner as Col. Philippe Bridau, 1919
Madison Square, c. 1920
Luks' 1899 cartoon "The menace of the Hour" about "The Traction Monster" after the award of a no bid subway franchise contract by New York City's Tammany Hall^[8]

↑ Biographical information for this entry is taken from Judith O'Toole, "George Luks: An Artistic Legacy" (1997), Judith O'Toole, "George Luks: Rogue, Raconteur, and Realist" (2009), and Robert L. Gambone, Life on the Press (2009).
↑ Hunter, pp. 33–35.
↑ George Luks: The "Other" Yellow Kid Artist, Hogan's Alley #13
↑ « George Luks »
↑ Glackens, p. 16.
↑ Craven, p. 428.
↑ (en) Sylvia Yount, « The Ashcan School, The Eight, and the New York Art World », The Metropolitan Museum of Art, 26 mai 2015.
↑ « the image of the OCTOPUS: six cartoons, 1882–1909 » [archive du 2 juin 2017], sur National Humanities Center, 18 novembre 2017 : « In January 1899, after years of orchestrated delay in beginning the New York City subway, the issue came to a head. On one side were Tammany Hall and the businessmen who monopolized the city’s street railways and who wanted no competition from a subway. On the other side was the public demanding improved and less crowded urban transit. When a contract was awarded to one of the companies with no bidding, the public outcry led to huge mass meetings throughout the city. Gov. Theodore Roosevelt settled the immediate dispute (contributing to the Republican leaders’ expelling him from state politics). »

Brown, Milton. American Painting from the Armory Show to the Depression. Princeton: Princeton University Press, 1955.
Gambone, Robert L. Life on the Press: The Popular Art and Illustrations of George Benjamin Luks. Jackson, MS: University Press of Mississippi, 2009.
Glackens, Ira. William Glackens and the Ash Can School: The Emergence of Realism in American Art. New York: Crown, 1957.
Hughes, Robert. American Visions: The Epic History of Art in America. New York: Knopf, 1997.
Huneker, James Gibbons. Bedouins. New York: Scribners, 1920.
Hunter, Sam. Modern American Painting and Sculpture. New York: Dell, 1959.
Kennedy, Elizabeth (ed.) The Eight and American Modernisms. Chicago: University of Chicago Press, 2009.
Loughery, John. "The Mysterious George Luks." Arts Magazine (December 1987), pp. 34–35.
O'Toole, Judith Hansen. "George Luks: An Artistic Legacy." New York City: Owen Gallery (unpaginated catalogue), 1997.
O'Toole, Judith Hansen. "George Luks: Rogue, Raconteur, and Realist" (pp. 91–108) in Elizabeth Kennedy (ed.). The Eight and American Modernisms. Chicago: University of Chicago Press, 2009.
O'Toole, Judith Hansen. "George Luks: The Watercolors Rediscovered." Canton, OH: Canton Museum of Art (exhibition catalogue), 1994.
Perlman, Bennard B. Painters of the Ashcan School: The Immortal Eight. New York: Dover, 1979.

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