315:, which appears to come from this period. Drawn with ink and wash on paper, it shows an African-American man carrying a heavy bag of coal on his back. He is leaning forward as he places his right foot down and begins to raise the left one. He holds the coal bag with his right hand and leaves his left arm hanging free. The sketch suggests a patient endurance. The composition gives contrasts of diagonal—from left foot to cap—and vertical—the right leg and left arm, the whole showing both the pull of gravity and the energy of forward motion. In work such as this, Ruellan was seen to present social criticism with artistic frankness and little covering up of social facts, but also with empathy and awareness of the value of each person as a specific individual and not simply a generic "type".
508:
in the background. Next appears the woman standing with her two children on a strip of grass before a large conifer. The man with his mules, standing on turned earth, drinks a glass of milk or water. At right is a hillside orchard and a stand of trees with two turkeys in the foreground. Ruellan made sketches for the painting in
Lawrenceville but it is clear that she did not make the painting from a single drawing but rather constructed it, frieze-like, out of a number of scenes she viewed. The composite nature of the composition draws attention to the painting's symbolic import. Of this symbolism, one critic said "the whole has the patchwork quality of abiding memories and not the spontaneity and vitality of an actual scene."
396:
658:, Long Island. A few years later, in 1920, André died in an airfield accident. Ruellan and her mother returned to Manhattan and Ruellan obtained scholarship aid to develop her skills so as to help support herself and her mother. Following the death of her father, she and her mother remained together for the rest of their lives. During the 1920s, they resided together in Paris. In 1929, Ruellan met, and three months later, married John W. Taylor. Returning to the United States, the three lived together in a farmhouse Taylor had purchased in
561:
494:
266:
326:. The industrial structures in the background provides what amounts to a stage on which the actions of the game take place. Ruellan normally worked surreptitiously, hiding her sketchbook in a newspaper, or sketching from the window of a car with the sketchbook in her lap. In doing this she insured a high degree of spontaneity in her work, but on this occasion the formality of the composition tempers the immediacy which her work usually shows. She made the sketch while on a trip to
549:
199:, they believed the visual arts could help redress the dismissive attitude with which many Americans viewed people who were both less advantaged than themselves and, as they saw it, unpleasantly alien. When she was about eight, they arranged for an amateur artist, Ben Liber, to give her informal instruction and a year later her first published work appeared in the April issue of a socialist monthly,
651:
about 1900, their socialist politics and pacifist beliefs led them to migrate to New York so that André would not be drafted into the French army. Ruellan was born in a brownstone building in New York's
Greenwich Village on April 6, 1905. She was an only child. French was the language spoken at home and thus was her first language. In 1952, Ruellan was described as a petite brunette.
358:
438:, is similar to the harbor view. The light is warm and bright and the colors are warm and muted. The tone is placid and there's a suggestion of timeless continuity, yet the scene is clearly a specific moment in time. Once again there is a distinction between those who perform manual labor, shown at right, and those who do not, including a man in military uniform.
662:. They resided there until their deaths. Ruellan and Taylor had determined to support themselves via their art and Lucette agreed to take on the management of their household so as to give them more time for their work. She also accompanied them on their travels. John Taylor was also known as Jack Taylor, John Williams Taylor, and John W. Taylor. He was born in
666:, in 1897, and died in Shady, New York, in 1983. Ruellan provided income through sale of artworks and Taylor did the same while also taking temporary jobs teaching college-level art courses. Ruellan and Taylor were active participants within the artists' colony at Woodstock and she continued to produce art well into her eighties.
454:
an interview conducted in 1943 she said, "People are never just spots of color. What moves me most is that in spite of poverty and the constant struggle for existence, so much kindness and sturdy courage remain. Naturally I want to paint well-designed pictures—but I also wish to convey these warmer human emotions."
1884:
At Austin Dunham's Sea Chest there is an unusually interesting exhibition of water colors by a young
American girl, Andrée Ruellan, a resident of Paris, who is but eighteen years of age and who paints in the modernist manner with the breadth and assurance of an artist many years her senior. Her color
1800:
In an essay accompanying the retrospective exhibit of her work in 2005, Andrew Ladis writes, "Never having abandoned nature, Andrée
Ruellan returned, in the end as in the beginning, to her enduring source of inspiration: the visible world, as perceived by sensing eyes and recollected in the matrix of
353:
During these years, Ruellan said her practice was to prepare a sketch in the field, develop the sketch into an intermediate form, usually gouache on paper, then create the finished product in oil on canvas. She worked on more than one painting at a time, moving on when she felt she was losing a sense
1528:
She added: "No ivory tower—I feel strongly that the artist is an important member of society, and should do his part to build a world where war and poverty, as well as racial discrimination are impossible. I want as good a technic as possible, but only for the purpose of expressing clearly, yet with
674:
At 95 years old Andree was quoted as saying, "If you have talent, don't neglect it. One of my great life joys was marrying an artist who was my equal. It made my life so much richer than those of most of my friends." She died July 15, 2006, at the age of 101 at an extended care facility in
Kingston,
591:
of 1949 is one of her best-known works of this period. It shows four children wearing carnival masks and costumes. Their pose suggests an attempt to mimic decadent adult behavior that is associated with Mardi Gras. Behind them, four uncostumed children peer through a grating on the top of a wall and
232:
Over the next few years
Ruellan suffered setbacks, first when she was injured in a fire and later when her father died in an accident at work and, while still in her teens, she began selling paintings, watercolors, and drawings to help support herself and her mother. In 1920 she won a scholarship to
507:
shows ordinary people in a rural setting: a woman and a girl tilling a flower garden, a mother with young boy and infant, and a man with a team of mules. The painting conveys a sense of purpose and resourcefulness. It has four roughly equal segments. At left is the flower garden with cozy homestead
489:
shows a small steam-driven mill. At right, a worker moves logs into position for sawing while a man with a notebook supervises. At center, men can be seen observing the sawing within the mill and finished lumber is stacked. At far left a man drives a team of horses pulling more logs from the forest
453:
later that year. Showing a sandlot ball game near a gas storage tank and some low-income housing, it depicts players and spectators enjoying weekend downtime. The painting fulfills
Ruellan's intention to make works that are both well executed in a technical sense and also have emotional content. In
341:
in New York had given
Ruellan a means of selling her work and Taylor took temporary jobs as art teacher at several universities. By the mid-1930s they had enough money to permit some travel and selected Charleston as destination in hope that it would produce the sort of down-to-earth subjects which
172:
650:
Ruellan's father, André (also known as Andrew), worked in the aviation industry as a pilot and mechanic. He had hoped to become a sculptor, but found he could not support his family by that means. Her mother was
Lucette Lambert (also called Louise). Both parents were born and raised in France. In
531:
Ruellan signed with the
American Artists Group soon after the company's founding in 1936. She contributed works to their catalog in the category called "fine art reproductions of museum artists." Both in Paris and New York she made a habit of making circus sketches which she later developed into
391:
dates from this period. Although Savannah is a city, there is no urban bustle and the painting has an almost pastoral appeal. The few figures shown are unhurried. The viewer sees what is clearly a real place at a specific moment of time, but is also aware of an emotionally evocative content:
490:
which can be seen in the distance. The seven workers in view are African-American while the two supervisors are white. Ruellan prepared sketches on-site, as was her usual practice, and painted the mural in her studio retaining much of the freshness of the scene she had drawn.
1689:
In 1935 with the encouragement of such famous artists as John Sloan, Grant Wood, John Steuart Curry and Rockwell Kent, we introduced art to greeting cards. And since then with the help of over 400 noteworthy artists we have continued to dedicate our line to the same high
392:
warehouses which are shut up, a man slumped in a doorway. Those who are not burdened by the necessity of manual labor (children, a white man with a cane, loiterers on the dock) contrast with one who is, an African-American pushing a handcart of lumber up the ramp.
1072:
Monograph accompanying an exhibition held at the Georgia Museum of Art, University of Georgia, Athens, January 30-March 21, 1993; the Hyde Collection, Glens Falls, N.Y., June 27-August 22, 1993; Gibbes Museum of Art, Charleston, S.C., September 15-October 31,
31:
832:
2005 Georgia Museum of Art, Telfair Museum of Art (Savannah), and the Columbus Museum of Art (Ohio), retrospective in honor of Ruellan's 100th birthday. The exhibition was accompanied by an essay of appreciation by Andrew Ladis and a documentary
523:
of this type. She insisted that her subjects be actual people not just representatives of a class of people, a race, or residents of a geographic region. She was also more modernist in her approach and her work showed influences of the French
241:. Two years later she followed Sterne to Rome on another art scholarship and over the next five years she and her mother remained in Paris where she continued to work and study. During that time she obtained her first solo exhibition at the
354:
of freshness in her work. When working in oils she thought out composition, balance, movement, and the tension of colors and patterns while retaining as much as possible the informality that was present in the original drawing.
928:
604:. In both works the figures are moving from left to right, glancing downward and in both one sees the same diagonal and vertical lines of force. However, in tone the two works are distinctly different from one another. In
1763:
572:
tendencies. She appears to have been disillusioned by the devastation suffered by Europeans during and after the war, by the discrimination suffered by her close friend, the Japanese-American artist
195:
in 1905 and was the only child of a couple who had immigrated from France a few years earlier. Her parents encouraged an early talent she showed for making realistic and fanciful drawings. Ardent
515:
where she continued for the rest of her life. Her reason for leaving the Walker Galleries had to do with an unwanted association. That gallery was known for showing the work of the leading
163:. Her paintings, prints, watercolors, and drawings are known for their depiction ordinary people at work and play. They are held by many American museums and private collectors.
249:
in New York. While in Paris she met and fell in love with the American artist John Taylor. With Ruellan's mother, the pair returned to the United States in 1929 and settled in
1702:
612:
the viewer senses the discordance of the scene. In the latter, there is no youthful exuberance, nothing like the quiet resilience and sturdy courage conveyed by the former.
708:
634:
work. It shows a stalk of dates lying on an undifferentiated flat surface. Her most abstract work came after a stay in Florida during the early 1960s. An untitled colored
1771:
1801:
a resourceful memory, a world whose incidents and emotions she renders with a skilled hand." (Ladis, Andrew, "Andrée Ruellan, Ever Young," Georgia Museum of Art, 2005.)
1272:
536:. She also made seasonal images for cards and colored advertisements. One of the latter promoted the drinking of beer during the traditional Thanksgiving meal. Called
642:
and is both brighter and freer than her work in the post-war period. In these paintings the panels of color are elements of design as much as objects in nature.
2101:
2096:
1553:
Park, Marlene and Gerald E. Markowitz, "Democratic Vistas: Post Offices and Public Art in the New Deal", Temple University Press, Philadelphia, 1984 p. 88
568:
During World War II and the post-war years, Ruellan's style evolved to become darker and her work began to convey greater tension than before and to show
2091:
587:
costumes and masks. They might seem to be playful, but there are disturbing elements in their too-adult attitudes and the segregation of onlookers.
532:
paintings, gouache, and prints to which American Artists Group purchased reproduction rights. A well-known example of this work is a gouache called
2086:
2005:
592:
another is seen through a metal-wire barrier. Of the four costumed children, one pair are dancing together. The two appear again in Ruellan's
1415:
1386:
1215:
2106:
2081:
758:
1976:
1089:
2037:
638:
from that period, which is informally called "Boulders", while clearly revealing its subject, nonetheless shows sympathy the art of the
540:, it appeared in 1945 accompanied by text naming it "one of a series of typical American scenes painted by America's foremost artists."
395:
222:
458:
1626:
776:
This is a selected list. Unless otherwise noted, the source is the "Calendar of Art Exhibitions" section of in various issues of
213:, showed an angel scattering flowers above the head of a workman. That same year Ruellan's artwork came to the attention of the
106:
764:
446:
322:
of 1936, is more stylized than other compositions of the same period. As the title suggests, it shows a group of men playing
1280:
619:
of the 1930s, but, following a trip to France, her art became increasingly abstract. At about that time she began to do
1178:
The Masses Vol. 5, No. 7, April 1914, p. 5, in: Robert F. Wagner, Labor Archives, Tamiment Library, New York University
723:
330:, a place which, she said, was like a "whole new world" compared to New York and Paris where she had spent her youth.
1245:
976:
729:
702:
347:
327:
746:
387:
with her husband and her mother in order to spend several weeks observing and sketching. The painting she called
560:
654:
When Ruellan was about 12 she was injured in a fire and shortly thereafter the family moved from Manhattan to
511:
Ruellan was represented by Maynard Walker Galleries, New York, from 1936 until 1941 when she switched to the
1616:
The painters handled by the Walker Galleries included Thomas Hart Benton, John Steuart Curry, and Grant Wood
1605:
Box ad: Walker; Representing: Thomas Hart Benton, Grant Wood, George Grosz, Doris Lee, ... Andrée Ruellan...
740:
516:
493:
1650:
1563:
639:
626:
which proved to be a useful tool in merging representational fragments into an overall abstract approach.
577:
474:
192:
814:
1944 The Art Institute of Chicago * The Fifty-fifth Annual American Exhibition: Water Colors and Drawings
752:
333:
She had been able to spend a month in Charleston because, despite the stock market crash and subsequent
2013:
1852:
Sources include askart.com and a list found in "An Interview with Andrée Ruellan" by Ernest W. Watson,
342:
they sought. The choice proved to be a good one as one of the paintings which resulted from that visit—
265:
2076:
2071:
717:
171:
734:
512:
450:
254:
160:
1958:
1906:
1875:
1596:
1471:
1018:
303:
elements. Her sympathy for her subjects and her ability to convey a warmth in them is similar to
76:
58:
1984:
1097:
2045:
1411:
1382:
1211:
1205:
655:
623:
519:
painters Although there were similarities in subject matter, Ruellan did not see herself as a
466:
384:
1407:
Tales from the Easel: American Narrative Paintings from Southeastern Museums, Circa 1800-1950
1405:
1376:
379:
inches, Telfair Museum of Art, Savannah, Georgia, Museum purchase, 1998.8 © Daniel B. Gelfand
1950:
1463:
1277:
Associated Press, Art News, Kinston, New York, August 7, 2006 reprinted by BlouinArtinfo.com
334:
548:
1674:
693:
687:
659:
573:
250:
1013:
1123:"The Negro In Art; a Pictorial Record of the Negro Artist and of the Negro Theme in Art"
1814:
683:
Ruellan's work has been widely collected in American museums. This is a selected list.
616:
292:
234:
226:
144:
136:
2065:
1305:
482:
338:
304:
246:
214:
148:
95:
1791:"Boulders" by Andrée Ruellan, undated and untitled colored monotype, 10 x 10 inches.
615:
In the mid-1950s, Ruellan's work began to brighten again. She did not return to the
1954:
478:
300:
238:
218:
30:
1885:
is rarely harmounious and luminous. Her subjects were found about Paris and Moret.
1173:
564:
Untitled painting ("boulders") by Andrée Ruellan, colored monotype, 10 x 10 inches
1925:
1337:
is held by the Georgia Museum of Art, University of Georgia; it is oil on canvas
829:
1973 Fourteen Women Printmakers of the 30s and 40s, Mount Holyoke, Massachusetts
525:
308:
206:
1541:
is currently located in the R. G. Stephens Federal Building in Athens, Georgia.
1378:
Renaissance in Charleston: Art and Life in the Carolina Low Country, 1900-1940
635:
584:
580:
celebrations which she experienced in New Orleans for the first time in 1948.
569:
357:
201:
188:
116:
1122:
805:
1936 39th Annual Exhibition: American Painting, City Art Museum of St. Louis
663:
520:
485:
attitude fostered by the government and widely accepted within the country.
296:
196:
152:
140:
221:. He arranged to include some of her watercolors and drawings in a show at
889:"Color, Pageantry Abound in Art of Shady Painter" by Richard S. Thibault,
608:
the viewer is led to share the artist's empathy with her subject while in
984:
597:
1977:"Documentary celebrates life and work of Andrée Ruellan - Online Athens"
1910:
1879:
802:
1934 Self Portraits by Living American Artists, Whitney Museum, New York
1842:(First ed.). New York, NY: Time Warner Book Group. pp. 72–73.
1475:
1306:"Between the Wars; Whitney Women Artists of the Studio Club and Museum"
811:
1940 Annual Exhibition, Associated American Artists Galleries, New York
1962:
1600:
337:, Ruellan and Taylor were able to support themselves through art. The
1941:
Brodsky, Judith K. (Autumn 1976). "Some Notes on Women Printmakers".
1564:"Detailed description of the Kraushaar Galleries records, 1885-2006"
1467:
600:
print. The composition of the print resembles that of her drawing,
559:
547:
492:
394:
356:
323:
264:
170:
156:
1488:
Her process is described in full in an article which appeared in
820:
1952 A Decade of American Printmaking, Philadelphia Museum of Art
583:
Ruellan's paintings from this period often contain children in
477:. Created during the early stages of the U.S. participation in
1725:
Children's Mardi Gras by Andrée Ruellan, oil on canvas, 1949,
981:
Resource Library, Georgia Museum of Art, University of Georgia
346:—was the first of hers to be collected by a major museum. The
135:(April 6, 1905 – July 15, 2006) was an American artist whose
1703:"1945, Thanksgiving Dinner, Andree Ruellan, Beer Alcohol AD"
245:
and in 1928 she was given her second one-woman show at the
1430:
Market Place by Andrée Ruellan, oil on canvas, 1939, 28 x
849:
1981 Sally Jacobs-Phoebe Towbin Award, Woodstock, New York
882:"An Interview with Andrée Ruellan" by Ernest W. Watson,
1504:
by Andrée Ruellan, oil on canvas, n.d., 20⅛ x 30 inches
159:
and eventually made her home near the artist colony in
1627:"Andrée Ruellan Side Show American Artists Group 1936"
1125:. Washington, D.C.: Associates in Negro Folk Education
1924:
Philadelphia Museum of Art; Kneeland McNulty (1952).
1014:"Andrée Ruellan, 101, a Painter of Her Century, Dies"
2006:"Award Winners—American Academy of Arts and Letters"
1410:. University of Georgia Press. 2004. pp. 42ff.
1154:
Watson, Ernest W. (October 1943). "Andrée Ruellan".
155:
of French descent, she spent her youth there and in
1753:
inches, held by the Columbus Museum, Columbus, Ohio
1655:
Smithsonian Institution Research Information System
1568:- Archives of American Art, Smithsonian Institution
826:
1965 Storm King Art Center, Mountainville, New York
817:
1952 Solo Exhibition, Kraushaar Galleries, New York
233:study at the Art Students League with the painter,
122:
112:
101:
91:
83:
65:
40:
21:
205:along with an editorial on religious hypocrisy by
143:overtones and commonly depicts everyday scenes in
929:"Color, Pageantry Abound in Art of Shady Painter"
291:In the 1930s Ruellan developed a style which was
1149:
1147:
1145:
1143:
1141:
1139:
1070:. Georgia Museum of Art, University of Georgia.
808:1937 Solo Exhibition, Walker Galleries, New York
709:Michele & Donald D'Amour Museum of Fine Arts
1454:Williams, Hermann Warner (June 1940). "Notes".
1083:
1081:
1066:Donald D. Keyes; Marlene Park (February 1993).
852:1994 Yasuo Kuniyoshi Award, Woodstock, New York
823:1965 Lehigh University, Bethlehem, Pennsylvania
699:Johnson Collection, Spartanburg, South Carolina
1299:
1297:
1210:. University of Georgia Press. pp. 303–.
1174:"April, illustration by Andrée Ruellan, age 8"
784:1914 St. Mark's Church in the Bowery, New York
630:of 1960 (15 x 24 inches) is an example of her
461:of the U.S. Treasury Department, one entitled
1897:"39th Annual Exhibition: American Painting".
1516:1941 Annual Exhibition of Artists Under Forty
899:by Andrew Ladis (Georgia Museum of Art, 2005)
434:A second painting from the trip to Savannah,
273:, an undated drawing, ink and wash on paper,
105:Largely self-taught, sometime student at the
8:
1899:Bulletin of the City Art Museum of St. Louis
1308:. Whitney Museum of American Art. p. 13
1239:
1237:
1235:
1233:
1231:
1229:
1227:
1207:Telfair Museum of Art: Collection Highlights
1116:
1114:
457:In 1941–42, Ruellan made two murals for the
441:A third painting from the trip to Savannah,
1651:"American Artists Group records, 1934-1965"
1381:. University of Georgia Press. p. 55.
1375:James M. Hutchisson; Harlan Greene (2003).
1819::: The Johnson Collection, Spartanburg, SC
1809:
1807:
875:"About Andrée Ruellan" by Harry Salpeter,
556:, sugar lift aquatint, 1951, 7 X 6⅛ inches
29:
18:
2032:
2030:
1267:
1265:
1199:
1197:
1195:
1193:
1007:
1005:
1003:
1001:
922:
920:
918:
916:
914:
912:
576:, and by her reaction to the extravagant
311:. See, for example, her undated drawing,
1400:
1398:
1204:Telfair Museum of Art (1 January 2005).
1061:
1059:
1057:
1055:
714:Michelson Museum of Art, Marshall, Texas
1764:"Andrée Ruellan, Children's Mardi Gras"
1549:
1547:
1514:Whitney Museum of American Art (1941).
1053:
1051:
1049:
1047:
1045:
1043:
1041:
1039:
1037:
1035:
970:
968:
966:
964:
962:
960:
958:
956:
954:
952:
908:
879:, vol. 5, December 1938, pp. 90–98
865:1941-2006 Kraushaar Galleries, New York
179:by Andrée Ruellan, age 8, appearing in
1244:Klacsmann, Karen Towers (2013-03-28).
793:1925 Galeria Sacre du Printemps, Paris
886:, vol. 7, October 1943, pp. 8–13
843:1945 American Academy of Arts Letters
7:
2102:20th-century American women painters
2097:People of the New Deal arts projects
1675:"American Artists Group Information"
1273:"Painter Andree Ruellan Dies at 101"
862:1936-1941 Walker Galleries, New York
759:University of Michigan Museum of Art
1456:Metropolitan Museum of Art Bulletin
927:Thibault, Richard S. (1952-02-21).
436:Savannah Landscape, The City Market
400:Savannah Landscape, The City Market
1529:subtlety, what I feel about life."
481:, they conformed, broadly, to the
402:by Andrée Ruellan, oil on canvas,
14:
2092:American people of French descent
1866:"Exhibits Held in Provincetown".
1856:, vol. 7, October 1943, pp. 8–13.
459:Section of Painting and Sculpture
2042:Butler Institute of American Art
1927:A Decade of American Printmaking
938:. Kingston, New York. p. 14
893:, February 21, 1952, p. 14
724:William Rockhill Nelson Gallery
365:, c. 1942, oil on canvas, 26 x
223:St. Mark's Church in-the-Bowery
107:Art Students League of New York
2087:20th-century American painters
1955:10.1080/00043249.1976.10793310
799:1931 Weyhe Galleries, New York
790:1925 Austin Dunham's Sea Chest
765:Whitney Museum of American Art
1:
1930:. Philadelphia Museum of Art.
787:1914 MacDowell Club, New York
449:in 1941 and purchased by the
383:In 1941, Ruellan traveled to
318:One of her best-known works,
2038:"Andree Ruellan (1905-2006)"
1246:"Andree Ruellan (1905-2006)"
1012:Fox, Margalit (2006-08-06).
977:"Andrée Ruellan, Ever Young"
796:1928 Weyhe Gallery, New York
711:, Springfield, Massachusetts
2107:American women centenarians
2082:Painters from New York City
1518:. New York: Whitney Museum.
243:Sacre du Printemps Gallerie
2123:
1121:Locke, Alain, ed. (1940).
1088:Dyer, Linda (2014-01-22).
897:Andrée Ruellan, Ever Young
846:1950 Guggenheim Fellowship
730:Philadelphia Museum of Art
703:Metropolitan Museum of Art
328:Charleston, South Carolina
1492:magazine in October 1943.
747:Springville Museum of Art
473:, for the post office in
28:
1679:americanartistsgroup.com
1304:Kiehl, David W. (1997).
1250:New Georgia Encyclopedia
469:, and the other, called
183:, v. 5, n. 7, April 1914
167:Early life and education
1094:Nashville Arts Magazine
936:Kingston Daily Freedman
891:Kingston Daily Freedman
743:, San Diego, California
741:San Diego Museum of Art
640:Abstract Expressionists
528:not present in theirs.
465:for the post office in
126:John W. ("Jack") Taylor
975:Ladis, Andrew (2009).
596:of 1951, a sugar lift
565:
557:
501:
475:Lawrenceville, Georgia
431:
380:
350:purchased it in 1940.
288:
209:. Her drawing, called
193:Washington Square Park
187:Ruellan was born in a
184:
1874:(40): 3. 1924-09-13.
761:, Ann Arbor, Michigan
753:Telfair Museum of Art
589:Children's Mardi Gras
563:
551:
496:
398:
360:
268:
174:
718:Morris Museum of Art
696:, Harvard University
646:Personal information
534:Pop! Goes the Weasel
1595:(7). October 1936.
755:, Savannah, Georgia
749:, Springville, Utah
735:Phillips Collection
690:, Columbus, Georgia
664:Baltimore, Maryland
544:Later life and work
538:Thanksgiving Dinner
513:Kraushaar Galleries
451:Phillips Collection
445:, was shown at the
348:Metropolitan Museum
161:Woodstock, New York
2010:artsandletters.org
1019:The New York Times
737:, Washington, D.C.
720:, Augusta, Georgia
566:
558:
502:
487:A Country Saw Mill
463:A Country Saw Mill
432:
430:inches, circa 1943
381:
289:
185:
87:Kingston, New York
77:Kingston, New York
59:New York, New York
1838:Ruellan, Andree.
1539:Spring in Georgia
1417:978-0-8203-2569-9
1388:978-0-8203-2518-7
1217:978-0-933075-04-7
838:Awards and honors
624:ink wash painting
505:Spring in Georgia
499:Spring In Georgia
471:Spring in Georgia
467:Emporia, Virginia
253:, a village near
175:Drawing entitled
130:
129:
2114:
2057:
2056:
2054:
2053:
2044:. Archived from
2034:
2025:
2024:
2022:
2021:
2012:. Archived from
2002:
1996:
1995:
1993:
1992:
1983:. Archived from
1981:onlineathens.com
1973:
1967:
1966:
1938:
1932:
1931:
1921:
1915:
1914:
1894:
1888:
1887:
1863:
1857:
1850:
1844:
1843:
1835:
1829:
1828:
1826:
1825:
1815:"Andrée Ruellan"
1811:
1802:
1798:
1792:
1789:
1783:
1782:
1780:
1779:
1770:. Archived from
1760:
1754:
1752:
1751:
1747:
1744:
1738:
1737:
1733:
1730:
1723:
1717:
1716:
1714:
1713:
1699:
1693:
1692:
1686:
1685:
1671:
1665:
1664:
1662:
1661:
1647:
1641:
1640:
1638:
1637:
1623:
1617:
1614:
1608:
1607:
1584:
1578:
1577:
1575:
1574:
1560:
1554:
1551:
1542:
1536:
1530:
1526:
1520:
1519:
1511:
1505:
1499:
1493:
1486:
1480:
1479:
1451:
1445:
1443:
1442:
1438:
1435:
1428:
1422:
1421:
1402:
1393:
1392:
1372:
1366:
1364:
1363:
1359:
1356:
1350:
1349:
1345:
1342:
1332:
1326:
1323:
1317:
1316:
1314:
1313:
1301:
1292:
1291:
1289:
1288:
1279:. Archived from
1269:
1260:
1259:
1257:
1256:
1241:
1222:
1221:
1201:
1188:
1187:
1185:
1184:
1170:
1164:
1163:
1151:
1134:
1133:
1131:
1130:
1118:
1109:
1108:
1106:
1105:
1096:. Archived from
1090:"Andrée Ruellan"
1085:
1076:
1075:
1063:
1030:
1029:
1027:
1026:
1009:
996:
995:
993:
992:
983:. Archived from
972:
947:
946:
944:
943:
933:
924:
552:Andrée Ruellan,
497:Andrée Ruellan,
429:
428:
424:
421:
415:
414:
410:
407:
378:
377:
373:
370:
361:Andrée Ruellan,
286:
285:
281:
278:
269:Andrée Ruellan,
237:, and sculptor,
72:
54:
52:
33:
19:
16:American painter
2122:
2121:
2117:
2116:
2115:
2113:
2112:
2111:
2062:
2061:
2060:
2051:
2049:
2036:
2035:
2028:
2019:
2017:
2004:
2003:
1999:
1990:
1988:
1975:
1974:
1970:
1940:
1939:
1935:
1923:
1922:
1918:
1905:(1): 28. 1936.
1896:
1895:
1891:
1865:
1864:
1860:
1854:American Artist
1851:
1847:
1837:
1836:
1832:
1823:
1821:
1813:
1812:
1805:
1799:
1795:
1790:
1786:
1777:
1775:
1768:Columbus Museum
1762:
1761:
1757:
1749:
1745:
1742:
1740:
1735:
1731:
1728:
1726:
1724:
1720:
1711:
1709:
1701:
1700:
1696:
1683:
1681:
1673:
1672:
1668:
1659:
1657:
1649:
1648:
1644:
1635:
1633:
1625:
1624:
1620:
1615:
1611:
1586:
1585:
1581:
1572:
1570:
1562:
1561:
1557:
1552:
1545:
1537:
1533:
1527:
1523:
1513:
1512:
1508:
1500:
1496:
1490:American Artist
1487:
1483:
1468:10.2307/3256948
1453:
1452:
1448:
1440:
1436:
1433:
1431:
1429:
1425:
1418:
1404:
1403:
1396:
1389:
1374:
1373:
1369:
1361:
1357:
1354:
1352:
1347:
1343:
1340:
1338:
1333:
1329:
1324:
1320:
1311:
1309:
1303:
1302:
1295:
1286:
1284:
1271:
1270:
1263:
1254:
1252:
1243:
1242:
1225:
1218:
1203:
1202:
1191:
1182:
1180:
1172:
1171:
1167:
1156:American Artist
1153:
1152:
1137:
1128:
1126:
1120:
1119:
1112:
1103:
1101:
1087:
1086:
1079:
1065:
1064:
1033:
1024:
1022:
1011:
1010:
999:
990:
988:
974:
973:
950:
941:
939:
931:
926:
925:
910:
906:
884:American Artist
872:
870:Further reading
859:
840:
774:
694:Fogg Art Museum
688:Columbus Museum
681:
672:
660:Shady, New York
648:
574:Yasuo Kuniyoshi
546:
426:
422:
419:
417:
412:
408:
405:
403:
375:
371:
368:
366:
305:Edward Hopper's
283:
279:
276:
274:
263:
169:
79:
74:
73:(aged 101)
70:
61:
56:
50:
48:
47:
46:
36:
24:
17:
12:
11:
5:
2120:
2118:
2110:
2109:
2104:
2099:
2094:
2089:
2084:
2079:
2074:
2064:
2063:
2059:
2058:
2026:
1997:
1968:
1949:(4): 374–377.
1933:
1916:
1889:
1858:
1845:
1830:
1803:
1793:
1784:
1755:
1718:
1694:
1666:
1642:
1618:
1609:
1579:
1555:
1543:
1531:
1521:
1506:
1494:
1481:
1462:(6): 134–135.
1446:
1423:
1416:
1394:
1387:
1367:
1327:
1318:
1293:
1261:
1223:
1216:
1189:
1165:
1135:
1110:
1077:
1068:Andrée Ruellan
1031:
997:
948:
907:
905:
902:
901:
900:
894:
887:
880:
871:
868:
867:
866:
863:
858:
855:
854:
853:
850:
847:
844:
839:
836:
835:
834:
830:
827:
824:
821:
818:
815:
812:
809:
806:
803:
800:
797:
794:
791:
788:
785:
773:
770:
769:
768:
762:
756:
750:
744:
738:
732:
727:
726:, Kansas City,
721:
715:
712:
706:
700:
697:
691:
680:
677:
671:
668:
647:
644:
617:social realism
545:
542:
517:American Scene
447:Whitney Museum
293:social-realist
262:
259:
235:Maurice Sterne
227:George Bellows
168:
165:
145:American South
133:Andrée Ruellan
128:
127:
124:
120:
119:
114:
113:Known for
110:
109:
103:
99:
98:
93:
89:
88:
85:
81:
80:
75:
67:
63:
62:
57:
45:Andrée Ruellan
44:
42:
38:
37:
35:Andrée Ruellan
34:
26:
25:
23:Andrée Ruellan
22:
15:
13:
10:
9:
6:
4:
3:
2:
2119:
2108:
2105:
2103:
2100:
2098:
2095:
2093:
2090:
2088:
2085:
2083:
2080:
2078:
2075:
2073:
2070:
2069:
2067:
2048:on 2014-07-15
2047:
2043:
2039:
2033:
2031:
2027:
2016:on 2014-04-13
2015:
2011:
2007:
2001:
1998:
1987:on 2014-07-15
1986:
1982:
1978:
1972:
1969:
1964:
1960:
1956:
1952:
1948:
1944:
1937:
1934:
1929:
1928:
1920:
1917:
1912:
1908:
1904:
1900:
1893:
1890:
1886:
1881:
1877:
1873:
1869:
1862:
1859:
1855:
1849:
1846:
1841:
1834:
1831:
1820:
1816:
1810:
1808:
1804:
1797:
1794:
1788:
1785:
1774:on 2014-07-15
1773:
1769:
1765:
1759:
1756:
1722:
1719:
1708:
1704:
1698:
1695:
1691:
1680:
1676:
1670:
1667:
1656:
1652:
1646:
1643:
1632:
1628:
1622:
1619:
1613:
1610:
1606:
1602:
1598:
1594:
1590:
1583:
1580:
1569:
1565:
1559:
1556:
1550:
1548:
1544:
1540:
1535:
1532:
1525:
1522:
1517:
1510:
1507:
1503:
1498:
1495:
1491:
1485:
1482:
1477:
1473:
1469:
1465:
1461:
1457:
1450:
1447:
1427:
1424:
1419:
1413:
1409:
1408:
1401:
1399:
1395:
1390:
1384:
1380:
1379:
1371:
1368:
1336:
1331:
1328:
1322:
1319:
1307:
1300:
1298:
1294:
1283:on 2015-09-23
1282:
1278:
1274:
1268:
1266:
1262:
1251:
1247:
1240:
1238:
1236:
1234:
1232:
1230:
1228:
1224:
1219:
1213:
1209:
1208:
1200:
1198:
1196:
1194:
1190:
1179:
1175:
1169:
1166:
1161:
1157:
1150:
1148:
1146:
1144:
1142:
1140:
1136:
1124:
1117:
1115:
1111:
1100:on 2016-03-03
1099:
1095:
1091:
1084:
1082:
1078:
1074:
1069:
1062:
1060:
1058:
1056:
1054:
1052:
1050:
1048:
1046:
1044:
1042:
1040:
1038:
1036:
1032:
1021:
1020:
1015:
1008:
1006:
1004:
1002:
998:
987:on 2016-03-04
986:
982:
978:
971:
969:
967:
965:
963:
961:
959:
957:
955:
953:
949:
937:
930:
923:
921:
919:
917:
915:
913:
909:
903:
898:
895:
892:
888:
885:
881:
878:
874:
873:
869:
864:
861:
860:
856:
851:
848:
845:
842:
841:
837:
831:
828:
825:
822:
819:
816:
813:
810:
807:
804:
801:
798:
795:
792:
789:
786:
783:
782:
781:
779:
771:
766:
763:
760:
757:
754:
751:
748:
745:
742:
739:
736:
733:
731:
728:
725:
722:
719:
716:
713:
710:
707:
704:
701:
698:
695:
692:
689:
686:
685:
684:
678:
676:
669:
667:
665:
661:
657:
652:
645:
643:
641:
637:
633:
629:
625:
622:
618:
613:
611:
607:
606:Coal Delivery
603:
602:Coal Delivery
599:
595:
590:
586:
581:
579:
575:
571:
562:
555:
550:
543:
541:
539:
535:
529:
527:
522:
521:genre painter
518:
514:
509:
506:
500:
495:
491:
488:
484:
480:
476:
472:
468:
464:
460:
455:
452:
448:
444:
439:
437:
401:
397:
393:
390:
386:
364:
359:
355:
351:
349:
345:
340:
339:Weyhe Gallery
336:
331:
329:
325:
321:
316:
314:
313:Coal Delivery
310:
309:Howard Cook's
306:
302:
298:
294:
272:
271:Coal Delivery
267:
260:
258:
256:
252:
248:
247:Weyhe Gallery
244:
240:
236:
230:
229:also showed.
228:
225:where he and
224:
220:
216:
215:Ashcan School
212:
208:
204:
203:
198:
194:
190:
182:
178:
173:
166:
164:
162:
158:
154:
150:
149:New York City
146:
142:
138:
134:
125:
121:
118:
115:
111:
108:
104:
100:
97:
94:
90:
86:
84:Resting place
82:
78:
69:July 15, 2006
68:
64:
60:
55:April 6, 1905
43:
39:
32:
27:
20:
2050:. Retrieved
2046:the original
2041:
2018:. Retrieved
2014:the original
2009:
2000:
1989:. Retrieved
1985:the original
1980:
1971:
1946:
1942:
1936:
1926:
1919:
1902:
1898:
1892:
1883:
1871:
1867:
1861:
1853:
1848:
1839:
1833:
1822:. Retrieved
1818:
1796:
1787:
1776:. Retrieved
1772:the original
1767:
1758:
1721:
1710:. Retrieved
1706:
1697:
1688:
1682:. Retrieved
1678:
1669:
1658:. Retrieved
1654:
1645:
1634:. Retrieved
1630:
1621:
1612:
1604:
1592:
1588:
1582:
1571:. Retrieved
1567:
1558:
1538:
1534:
1524:
1515:
1509:
1501:
1497:
1489:
1484:
1459:
1455:
1449:
1426:
1406:
1377:
1370:
1334:
1330:
1325:name="keyes"
1321:
1310:. Retrieved
1285:. Retrieved
1281:the original
1276:
1253:. Retrieved
1249:
1206:
1181:. Retrieved
1177:
1168:
1159:
1155:
1127:. Retrieved
1102:. Retrieved
1098:the original
1093:
1071:
1067:
1023:. Retrieved
1017:
989:. Retrieved
985:the original
980:
940:. Retrieved
935:
896:
890:
883:
876:
777:
775:
682:
673:
653:
649:
631:
627:
620:
614:
609:
605:
601:
593:
588:
582:
570:surrealistic
567:
553:
537:
533:
530:
510:
504:
503:
498:
486:
483:we-can-do-it
479:World War II
470:
462:
456:
442:
440:
435:
433:
399:
388:
382:
362:
352:
344:Market Place
343:
332:
319:
317:
312:
290:
270:
261:Mature style
257:, New York.
242:
239:Leo Lentelli
231:
219:Robert Henri
210:
200:
186:
180:
176:
132:
131:
71:(2006-07-15)
2077:2006 deaths
2072:1905 births
1943:Art Journal
1502:The Wind-Up
772:Exhibitions
679:Collections
526:avant-garde
443:The Wind-Up
207:Max Eastman
92:Nationality
2066:Categories
2052:2014-07-09
2020:2014-07-09
1991:2014-07-09
1840:Wise Women
1824:2014-07-09
1778:2014-07-08
1712:2014-07-09
1690:standards.
1684:2014-07-09
1660:2014-07-09
1636:2014-07-09
1587:"Walker".
1573:2014-07-04
1312:2014-07-10
1287:2014-07-01
1255:2014-07-04
1183:2014-07-04
1162:(8): 8–13.
1129:2014-07-05
1104:2014-07-09
1025:2014-06-29
991:2014-07-06
942:2014-07-04
904:References
780:magazine.
767:, New York
705:, New York
675:New York.
628:Seed Dates
585:Mardi Gras
578:Mardi Gras
335:depression
287:x 5 inches
202:The Masses
197:socialists
189:brownstone
181:The Masses
151:. Born in
117:Modern art
51:1905-04-06
1589:Parnassus
1335:Crap Game
857:Galleries
778:Parnassus
670:Longevity
320:Crap Game
297:modernist
255:Woodstock
153:Manhattan
141:modernist
139:work has
102:Education
1911:40714723
1880:25591445
1868:Art News
636:monotype
598:aquatint
389:Savannah
385:Savannah
363:Savannah
301:abstract
217:painter
96:American
1748:⁄
1734:⁄
1707:ebay.ca
1631:ebay.ca
1476:3256948
1439:⁄
1365:inches.
1360:⁄
1346:⁄
877:Coronet
656:Mineola
610:Masques
594:Masques
554:Masques
425:⁄
411:⁄
374:⁄
282:⁄
137:realist
1963:776231
1961:
1909:
1878:
1601:771266
1599:
1474:
1444:inches
1414:
1385:
1214:
123:Spouse
1959:JSTOR
1907:JSTOR
1876:JSTOR
1597:JSTOR
1472:JSTOR
932:(PDF)
833:film.
324:craps
295:with
251:Shady
211:April
191:near
177:April
157:Paris
1412:ISBN
1383:ISBN
1212:ISBN
1073:1993
632:sumi
621:sumi
299:and
147:and
66:Died
41:Born
1951:doi
1464:doi
307:or
2068::
2040:.
2029:^
2008:.
1979:.
1957:.
1947:35
1945:.
1903:31
1901:.
1882:.
1872:22
1870:.
1817:.
1806:^
1766:.
1741:34
1739:x
1727:29
1705:.
1687:.
1677:.
1653:.
1629:.
1603:.
1591:.
1566:.
1546:^
1470:.
1460:35
1458:.
1432:42
1397:^
1353:28
1351:x
1339:22
1296:^
1275:.
1264:^
1248:.
1226:^
1192:^
1176:.
1158:.
1138:^
1113:^
1092:.
1080:^
1034:^
1016:.
1000:^
979:.
951:^
934:.
911:^
418:40
416:x
404:26
367:36
2055:.
2023:.
1994:.
1965:.
1953::
1913:.
1827:.
1781:.
1750:2
1746:1
1743:+
1736:2
1732:1
1729:+
1715:.
1663:.
1639:.
1593:8
1576:.
1478:.
1466::
1441:4
1437:1
1434:+
1420:.
1391:.
1362:4
1358:3
1355:+
1348:8
1344:5
1341:+
1315:.
1290:.
1258:.
1220:.
1186:.
1160:7
1132:.
1107:.
1028:.
994:.
945:.
427:4
423:1
420:+
413:4
409:1
406:+
376:2
372:1
369:+
284:4
280:3
277:+
275:6
53:)
49:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
