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333:, said that the painting was a new direction for the gallery, as a non-European painting in a European style. The museum also touted a “new, transatlantic academic partnership, the first of its kind between an American college and a UK gallery” established by the sale, in which curators could lecture at Randolph and students of the college could do their internships at the National Gallery.
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of the message received by this group of men, whether it is news that no work is available or notice that the men can begin their labor. This tension, they write, paired with the juxtaposition of the skyline and harbor (almost hidden from land), emphasizes the precariousness of the laborers' situation.
227:
In the early 20th century, day laborers in the New York docks worked depending on the availability of ships to unload, and thus when not working they often stood nearby, waiting for news that there was work. One interpretation is the man at the lower left is the odd one out. He walks away dejected
180:
to be "free of affectation of soul or technique", presenting a situation of solidity the way a normal man would see it, thus holding onto the scene through reality. However, the art critics Robert W. Snyder and
Rebecca Zurier consider the painting to leave viewers in suspense as to the exact nature
413:
called it "a class by itself", noting that, as opposed to the work's value of millions of dollars, prints by the artist could be bought for $ 50,000. The curator
Christopher Riopelle considers the painting to "evoke something of the raw and unbeautiful energy of the urban experience in what was at
228:
in a cold shadow. Other men see him and some pity him but that’s the way the cookie crumbled. Maybe tomorrow, but today he has to go home and tell the family there’s no money today. This subject of men at the New York docks was a common one for
Bellows, as well as fellow Ashcan painters such as
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work. College president
Bradley W. Bateman defended the sale by saying that the college was "a college, not a museum", and thus not bound to follow guidelines established for museums. He further argued that Randolph's priority was to ensure quality education for its students, and that the $ 25.5
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in New York, and expected to sell for $ 25–35 million. This would have been a record for an
American painting sold at auction. However, this prospective sale faced controversy at the college. Students made "Missing" posters overlaid showing photocopies of
302:. As the art market deflated, a Virginia judge blocked the sale in November 2007, but in March 2008 opponents of the sale had to drop their suit as they were unable to post the $ 1 million bond required of them. In 2012 the painting was lent to the
640:
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In response to the sale, the
College Art Association stated that Randolph had "compromised the educational and cultural mission of the museum" by selling art to increase its coffers, rather than to purchase further art. In protest, both the
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found the painting to be "an important painting of the year", "a freshly painted canvas ... presented with the thrill and wonder inherent in the edges of great seaport towns".
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After the 1980s, Randolph
College faced decreasing enrollment and financial difficulties. As such, in 2007 it decided to sell four of its works – including
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as "irritating ... yet full of talent" owing to its "deliberate carelessness" in the drawing of the crowd, which he found to have character. The writer for
256:
159:, at the docks to find work. They look to the left, as if receiving a message, while a large steam liner looms over them to their right. Behind them are a
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was the first major
American painting acquired by the gallery, and the second painting by Bellows to be publicly owned in Europe. After its acquisition,
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275:, students and locals raised $ 2,500 to purchase the work. Beginning with this painting, the Maier collection eventually grew to include 3,500 works.
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A lawsuit against the sale continued over the next several years, with detractors including the
Association of Academic Museums and Galleries, the
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in London in
February 2014 for a total of $ 25.5 million (ÂŁ15.6 million). The money was acquired from a fund established by
264:
271:, in 1920; at the time, the college was one of the foremost for women intent on studying art. At the recommendation of Professor
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in Washington, D.C., to be included in a comprehensive exhibition of Bellow's career. This exhibition later continued on to the
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282:. All of these works were taken from the Maier Museum in late 2007. Bellows' painting was scheduled to be auctioned at
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as "the definitive essay on the U.S. in the first half of the 20th century. It’s big, brawny, tough." Alan Franham of
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641:"National Gallery spends $ 25.5m on George Bellows' Men of the Docks – its first major American painting"
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and the waters and ice floes of the harbor in winter. Further behind them are the skyscrapers of the lower
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the time one of the world's fastest-growing cities" through its "wilful awkwardness and brutality".
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of $ 136 million. At the time of the sale, Randolph had already sold another of its works,
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on canvas. It depicts a group of men, wearing overcoats smeared in grime, standing at a dock in
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944:"Ten months after 'Men of the Docks' sale, Randolph College says benefits outweigh costs"
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Critic Charles Henry Meltzer, reviewing after the National Academy exhibition, described
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was hung in Room 43 of the National Gallery, between works by such European artists as
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128:, this 114.3-by-161.3-centimetre (45.0 by 63.5 in) painting was sold to the
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114.3 cm Ă— 161.3 cm (45.0 in Ă— 63.5 in)
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500:"National Gallery to acquire George Bellows' Men of the Docks for $ 25.5m"
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million for the painting was a "considerable" addition to the college's
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of 1915, winning a gold medal. The painting was purchased for the
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Snyder, Robert W.; Zurier, Rebecca (1995). "Picturing the City".
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is the largest example of Bellows' treatment of the subject.
911:"Randolph sale of art to National Gallery sparks criticism"
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skyline. The winter weather about them is bleak and gray.
539:
Metropolitan Lives: The Ashcan Artists and Their New York
820:. National Gallery of Art. July 17, 2012. Archived from
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is a 114.3-by-161.3-centimetre (45.0 by 63.5 in)
815:"George Bellows; June 10, 2012 – October 8, 2012"
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and the three other paintings which were to be sold.
679:
The World To-day: A Monthly Record of Human Progress
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542:. National Museum of American Art. pp. 97–98.
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47:
37:
23:
877:"A Bellows Painting Moves From Virginia to London"
569:"The Spring Academy: Its Tendencies and Successes"
384:of NG6649, hangs in Room 45 as of December 2014.
208:, arrived in New York City in 1904. He completed
720:"Alumni Bulletin of the University of Virginia"
247:was exhibited at the Vanderbilt Gallery of the
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718:Lindsay Rogers; James S. Wilson, eds. (1920).
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847:"George Bellows June 10 – October 8, 2012"
438:. National Gallery, London. Archived from
255:. Bellows again exhibited the work at the
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1126:Paintings in the National Gallery, London
849:. National Gallery of Art. Archived from
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257:Panama–Pacific International Exposition
132:in London in 2014 for $ 25.5 million.
726:. University of Virginia Press: 204.
7:
942:Pounds, Jessie (December 25, 2014).
909:Jaschik, Scott (February 12, 2014).
403:Marc Porter of Christie's described
783:"Look Out Bellows – Looking Around"
724:The University of Virginia Magazine
673:Meltzer, Charles Henry (May 1912).
605:Franham, Alan (November 26, 2007).
300:Association of Art Museum Directors
220:, has been considered part of this
781:Lacayo, Richard (March 10, 2008).
506:. February 7, 2014. Archived from
467:. National Gallery. Archived from
465:"George Bellows, Men of the Docks"
14:
875:Vogel, Carol (February 6, 2014).
1131:New York City in popular culture
639:Clark, Nick (February 7, 2014).
124:in 1912. Depicting the docks of
29:
748:Conant, Eve (October 9, 2007).
265:Randolph Macon Woman's College
1:
675:"Art at our National Academy"
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345:cancelled plans to borrow a
1136:Paintings by George Bellows
116:on canvas completed by the
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339:Indianapolis Museum of Art
310:in New York City, and the
308:Metropolitan Museum of Art
249:National Academy of Design
16:Painting by George Bellows
1023:Both Members of This Club
697:"Exhibition of Paintings"
380:. The painting, with the
212:in 1912. At the time the
155:. These men appear to be
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750:"A Shot Through the Art"
701:The Cornell Alumni News
579:(2): 129–30. May 1912.
304:National Gallery of Art
296:College Art Association
948:The News & Advance
201:
827:on September 20, 2012
312:Royal Academy of Arts
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923:on December 28, 2014
853:on February 21, 2015
795:on December 28, 2014
762:on December 28, 2014
707:(32): 380. May 1913.
651:on December 25, 2014
617:on December 28, 2014
510:on December 28, 2014
471:on December 28, 2014
442:on December 28, 2014
251:in 1912, as well as
1082:The Law Is Too Slow
327:Sir John Paul Getty
273:Louise Jordan Smith
269:Lynchburg, Virginia
261:Maier Museum of Art
151:together with some
1141:Maritime paintings
954:on January 7, 2018
881:The New York Times
321:was bought by the
253:Cornell University
202:
1108:
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1063:Dempsey and Firpo
1055:Tennis at Newport
1031:Stag at Sharkey's
887:on March 30, 2014
549:978-0-937311-27-1
343:Tacoma Art Museum
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607:"Ashcan on Fire"
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405:Men of the Docks
394:Men of the Docks
382:accession number
378:Camille Pissarro
370:Men of the Docks
366:Men of the Docks
347:Georgia O'Keeffe
323:National Gallery
319:Men of the Docks
289:Men of the Docks
280:Men of the Docks
245:Men of the Docks
234:Men of the Docks
218:Men of the Docks
210:Men of the Docks
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141:Men of the Docks
130:National Gallery
109:Men of the Docks
92:National Gallery
78:National Gallery
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24:Men of the Docks
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685:(11): 2291–94.
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573:The Craftsman
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170:A writer for
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60:Oil on canvas
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1080:
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1015:Miss Bentham
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958:December 28,
956:. Retrieved
952:the original
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937:
927:December 28,
925:. Retrieved
921:the original
914:
891:December 28,
889:. Retrieved
885:the original
880:
857:December 28,
855:. Retrieved
851:the original
841:
831:December 28,
829:. Retrieved
822:the original
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799:December 28,
797:. Retrieved
793:the original
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766:December 28,
764:. Retrieved
760:the original
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655:December 28,
653:. Retrieved
649:the original
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621:December 28,
619:. Retrieved
615:the original
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514:December 28,
512:. Retrieved
508:the original
504:The Guardian
503:
475:December 28,
473:. Retrieved
469:the original
446:December 28,
444:. Retrieved
440:the original
408:
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397:
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374:Claude Monet
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317:Ultimately,
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204:The artist,
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157:day laborers
153:draft horses
145:oil painting
140:
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114:oil painting
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18:
1074:Lithographs
436:"Key Facts"
329:. Director
314:in London.
176:considered
136:Description
80:, Room 41,
1115:Categories
418:References
298:, and the
284:Christie's
240:Provenance
185:Completion
66:Dimensions
1007:Paintings
732:0195-8798
388:Reception
360:Troubador
352:endowment
165:Manhattan
98:Accession
755:Newsweek
222:movement
149:Brooklyn
118:American
74:Location
1093:Related
585:1565375
161:tugboat
120:artist
1085:(1923)
1066:(1924)
1058:(1919)
1050:(1913)
1042:(1912)
1034:(1909)
1026:(1909)
1018:(1906)
730:
611:Forbes
583:
546:
410:Forbes
112:is an
101:NG6649
82:London
56:Medium
38:Artist
825:(PDF)
818:(PDF)
88:Owner
960:2014
929:2014
893:2014
859:2014
833:2014
801:2014
788:Time
768:2014
728:ISSN
657:2014
623:2014
581:OCLC
544:ISBN
516:2014
477:2014
448:2014
376:and
341:and
200:1900
51:1912
48:Year
358:'s
267:in
263:at
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
