451:, 1986–9) were reconsiderations of the site from a subtly critical, post-industrial vantage point that weighed utopian promises against a present haunted by the decline of American manufacturing. His images both celebrate structures such as smokestacks and factories and serve as elegies for the industrial past; unlike the pristine Precisionist images, they show wear—peeling paint, smudged windows, aging metal, neglected brick walls, spaces absent machinery—and a concern for integrating the sites into their social fabric.
332:, 1996), he has highlighted the composite nature of his images, placing scrims of flowers, fencing or other foreground objects in front of panoramic views; these works often consider the plausibility of natural and urban worlds sharing space, juxtaposing the fragility and contingency of the former with seemingly permanent, "natural" and picturesque industrial structures.
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and social history. Despite the work's realism, critics have described it as almost surreal and subtly critical, due to its carefully orchestrated, sometimes disorienting rearrangements of views and angles, its evocation of time's passage, and play of contrasts such as industrial and natural, urban and residential, and permanent and timeworn.
401:(1989–93) was pregnant with anxiety deriving from an accumulation of unsettling details: an unattended baby carriage, homes backed against a factory complex, darkening skies and children peering into neighboring windows. In his later exhibition, "Here and There" (2021), Moore presented cityscapes that
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in its social concern, painterly handling and composite compositions, which distill direct observation, sketches, memories and photographs of multiple sites and views into re-imagined but believable scenes. Curator John
Stomberg wrote of these constructed worlds: "The image he creates is only real in
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He soon dispensed with the architectural framing, producing images that ranged from nearly abstract, flattened, largely generic views of San
Francisco (in the early 1980s) to sprawling panoramas and neighborhoods convincingly distilled from scenes of Boston, Philadelphia, Barcelona and Tel Aviv. The
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Moore's cityscapes scrutinize and celebrate the complexity of urban life—its piecemeal development, sense of mobility and visual diversity—while evoking a prosaic world of work, daily routine and history. His cityscapes evolved out of his interiors, when he eliminated the distance between viewer and
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artists—as well as on the
Midwest working-class culture of his upbringing. Moore places a contemporary concern for surface design in tension with traditional approaches to representation and spatial recession in order to explore vision and perception, the cultural effects of architecture, geography
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painter. His art has focused on studio interiors, still lifes, and in his best-known work, cityscapes and the
American post-industrial landscape of dilapidated mill towns and factories. He emerged in the early 1970s amid a resurgence of representational work, appearing in many surveys and critical
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wrote "marry the sharp angles and hard materials of bridges, factories, water towers and buoys with the lush beauty of a Maine bay’s sky at dusk." These works were described as darker than usual, with a mix of surrealism, loss and beauty in decay and an unresolved outlook, possibly reflecting the
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and sought to "draw feeling out of geometry." Offering greater studio control than other subjects, still lifes enabled him to pursue his true interests: the formal investigation of light, transparency and reflection, color, volume and perspective. Critics described his still lifes, variously, as
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critic Robert
Berlind wrote that Moore's later "workmanlike" paintings transformed industrial remains "into paradigms of a formal, Apollonian order" organized by foreground portals and architectural grids of glass brick and window mullions that acted "as foils to diverse optical surprises and
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In the late 1970s, Moore began extending his still lifes out to rooms that frequently included window views onto urban scenes. He continued to focus on color, light, shape (often variations on squares) and mood, while developing new interests in relationships between the observed and formal,
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described Moore's approach as impartial, curious and never dull, writing, "His are not generous subjects. Nor do they ever have a hint of paradise regained. His cities have grown up every which way, in a more or less amiable architectural anarchy, and his small towns fight dereliction to a
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Moore has painted industrial sites—in
Pennsylvania, Boston, St. Louis and Maine—for nearly four decades. Critics have characterized his industrial images as existing "in an unfixed present" encompassing several places, times and moods at once. In the 1980s, he first visited
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Reviewers suggested that some of his neighborhood images combining urban and suburban scenes from different cities conveyed the "palpable isolation of modern architecture" with a feeling "both lonely and comforting." Edward
Sozanski wrote that "deceiving ordinariness" of
343:(2003), as an intricate work achieving "a kind of understated formality, a realism tuned by artifice" as it moved from heavy mullions to slender flights of utility wires and past a construction crane to distant smokestacks evoking a "visual fusillade of eight notes."
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328:(1989), he narrowed on two massive loft windows surrounded by radiators, conduits and fluorescent lights, creating a head-on pictorial grid that framed and captured the subtleties of artificial light meeting a city's night-time ambiance. In many works (e.g.,
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Moore's mature art has centered on three overlapping, recurring subjects: interior and studio views, cityscapes, and post-industrial landscapes. For inspiration, he draws fully on art history—from post-medieval and
489:; its composition of skylights, windows and sky utilized multiple views and reflective surfaces to upend perceptions of up or down and perspective. Moore's depictions of the building's cavernous interiors, such as
462:(2012), Moore relocated a rusted gate from a Coatesville mill to the front of the Bangor Waterworks Building, creating an interplay of decrepit and pristine, near and far, light and dark, entrance and barrier.
497:(2021), recalled works by Vermeer and abstract expressionist color-field artists with large, rectangular panels of vivid and dark color set off by various patterns and distant city views. Other works, such as
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the painting, yet all the parts do have their origins in the observable world. Therein lies the eerie potency of Moore's vision—its plausibility. He is more of a spectacular fabulist than a realist."
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John J. Moore was born in 1941 in St. Louis, Missouri, the oldest of four children of John Dewey Moore, a letter carrier, and
Catherine Hurley Moore, a secretary. He studied mechanical drafting at
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501:(2012), have been noted for their sections of glass block windows that "liquefied light, making for small, luminous abstractions or transformed descriptions of what is beyond them."
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In his 2003 show, "Near and Far", Moore made such pictorial strategies explicit in his title and in several complex urban compositions set off by grids of window sash and sill.
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242:(1974), among others. In subsequent decades, Moore has had solo exhibitions at Locks Gallery (Philadelphia, 1979–2021), Hirschl & Adler Modern (New York, 1983–2019),
889:, Rachel Rosenfield Lafo, Nicholas J. Capasso and Jennifer Uhrhane, Lincoln, MA: University of Massachusetts Press/DeCordova Museum, 2002. Retrieved January 24, 2023.
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examinations that helped define new modes of
American realism. While the highly detailed nature of his work evokes that movement, it diverges from approaches such as
321:(1980), for example, he portrayed a mysteriously still, sparsely furnished loft in hushed light, centered by two symmetrical windows overlooking a city panorama.
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368:(1979), he abutted a foregrounded, cropped café tabletop against barely visible window frames containing a view of city rooftops and warehouses, while
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He has been recognized with awards from the
American Academy of Arts and Letters (1973, 1988, 1996), National Endowment for the Arts (1982, 1992) and
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223:. In 1999 he was appointed chair of the Department of Fine Arts at the University of Pennsylvania, a position he held until retiring in 2009.
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In a subsequent series of works that combined his interior and industrial motifs, Moore turned to the Globe Dye Works—a restored
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521:, Metropolitan Museum of Art, Museum of Fine Arts, Boston, Pennsylvania Academy of the Fine Arts, Philadelphia Museum of Art,
278:"minimal realism verging on the metaphysical," "intellectual lyricism" and uncanny in their dead-on, unassuming presentation.
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544:(1966). In 2007, he was elected to the National Academy of Design and was given an Honorary Doctorate of Fine Arts by the
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cityscapes alternated between vertiginous scenes whose high horizon lines and deep space recalled old-master landscapes (
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234:(New York, 1973–1980) and Alpha Gallery (Boston, 1974). He was also included in realist surveys organized by the
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1242:, New York: New York Graphic Society, Pennsylvania Academy of the Fine Arts, 1981. Retrieved January 24, 2023.
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Stomberg, John. "From Downtown to Doughnuts: Realism and the Role of the Image in Boston Area Painting," in
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159:. His work belongs to the public collections of those four museums, among others. He lives and works in
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1415:, Lincoln, MA: University of Massachusetts Press/DeCordova Museum, 2002. Retrieved January 24, 2023.
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1103:"Ten-year survey exhibition of artist John Moore opens at the Center for Maine Contemporary Art,"
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372:(1979) sandwiched a geometric cityscape between monochromatic bands of wall and window frame.
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Moore's early work centered on spare still lifes of ordinary objects on tables that built off
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perceived versus depicted size, and inside versus outside. In the early, frontal composition
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951:, Philadelphia: Pennsylvania Academy of the Fine Arts, 1982. Retrieved January 24, 2023.
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1350:, Rockland, ME: Center for Maine Contemporary Art, 2018. Retrieved January 20, 2023.
1222:, San Antonio, TX: San Antonio Museum Association, San Antonio Museum of Art, 1981.
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1272:, Zwolle, Netherlands: WBooks/Drents Museum, 2017. Retrieved January 24, 2023.
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936:, Philadelphia: Philadelphia Museum of Art, 1976. Retrieved January 24, 2023.
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Real, Really Real, Super Real: Directions in Contemporary American Realism
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709:, New York: American Federation of Arts, 1972. Retrieved January 24, 2023.
254:(2018). He appeared in surveys including "Real, Really Real, Super Real" (
219:, where he served until 1988, when he became head of graduate painting at
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704:
689:"Artist John Moore found beauty in aging infrastructure. Will America?"
211:, earning an MFA in 1968. Shortly after, he was hired to teach at the
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Newhall, Edith. "A pair of exhibitions that transcend their themes,"
902:
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Nemser, Cindy. "Representational Painting in 1971: A New Synthesis,"
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Moore began exhibiting his art in 1969, with early solo shows at the
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with his wife Sandra, and is Professor Emeritus of Fine Arts of the
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Rosenfield Lafo, Rachel and Nicholas J. Capasso, Jennifer Uhrhane.
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Moore would return to the interior motif throughout his career. In
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in St Louis in 1960. He turned to art full-time in 1962, attending
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Donohoe, Victoria. "Temple's John Moore Adds Variety to Realism,"
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1084:, New York: Hudson Hills Press, 1996. Retrieved January 24, 2023.
727:, Flushing, NY: Queens Museum, 1974. Retrieved January 24, 2023.
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section of Philadelphia where his longtime studio was located.
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work through modernism, most specifically, early 20th-century
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summer program. In 1966, he enrolled at Yale and studied with
262:, 1982), "American Realism & Figurative Art: 1952–1990" (
1601:"Yale Celebrates Its Artists and Its Collectors Since 1950,"
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Schjeldahl, Peter. "Realism—A Retreat to the Fundamentals?"
258:, 1981), "Contemporary American Realism Since 1960" (PAFA,
945:
Davidson, Jalane and Richard Davidson, Frank H. Goodyear.
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and was hired as a draftsman and technical illustrator at
1291:, September 22, 1973, p. 27. Retrieved January 24, 2023.
1184:, November 10, 1985, p. A2. Retrieved January 24, 2023.
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Weitzman School of Design, University of Pennsylvania.
1257:, Japan: Sendai-shi, 1991. Retrieved January 24, 2023.
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Moore's work belongs to the public collections of the
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period of COVID during which they were painted (e.g.,
1363:, New York: Metropolitan Museum of Art, 1984, p. 100.
435:, the location of the steel mills that Precisionists
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43:
28:
21:
542:National Foundation on the Arts and the Humanities
1662:Sam Fox School of Design & Visual Arts alumni
1269:The American Dream: Amerikaans Realisme 1945–2017
1198:Mannheimer, Marc. "John Moore: Uncommon Vistas,"
839:Sozanski, Edward J. "John Moore, Locks Gallery,"
815:Miller, Nancy Bea. "Three to Watch: John Moore,"
648:, Toronto: Clarke, Irwin and Company, Ltd., 1975.
1472:McManus, Otile. "Portraits of the city's soul,"
1254:American Realism & Figurative Art: 1952–1990
795:, Greenwich, CT: New York Graphic Society, 1972.
380:, 1992–3) and tighter, street-level depictions (
1300:Perreault, John. "Light rays caught and bent,"
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694:, December 7, 2021. Retrieved January 20, 2023.
1144:
1142:
1140:
1081:Inventing Reality: The Paintings of John Moore
1040:"John Moore, Professor Emeritus of Fine Arts,"
626:Medoff, Eve. "John Moore—Realism Reinvented,"
443:had portrayed. Moore's Coatesville paintings (
1514:, New York: Hirschl & Adler Modern, 2016,
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1116:"'Direct Representation,' Fischbach Gallery,"
970:, Art Collection. Retrieved January 20, 2023.
948:Perspectives on Contemporary American Realism
933:Philadelphia, Three Centuries of American Art
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743:, New York: Metropolitan Museum of Art, 1983.
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1606:, June 27, 1993. Retrieved January 24, 2023.
1463:, February 1986. Retrieved January 20, 2023.
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724:New Images: Figuration in American Painting
590:, June 9, 2018. Retrieved January 20, 2023.
1545:, Collections. Retrieved January 24, 2023.
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481:(2014–15), as a "vertigo-inducing" mix of
266:, Japan, 1991), and "The American Dream" (
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1590:, Collection. Retrieved January 24, 2023.
1574:, Collection. Retrieved January 24, 2023.
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989:, Collection. Retrieved January 24, 2023.
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1239:Contemporary American Realism Since 1960
458:momentarily disorienting pleasures." In
122:(born 1941) is an American contemporary
1570:Pennsylvania Academy of the Fine Arts.
1105:News, 2018. Retrieved January 20, 2023.
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16:American artist and painter (born 1941)
1583:Rhode Island School of Design Museum.
1561:, Objects. Retrieved January 24, 2023.
1530:, Objects. Retrieved January 24, 2023.
1380:. "John Moore," April 14, 2003, p. 16.
1161:Henry, Gerrit. "A realist twin bill,"
1024:, Objects. Retrieved January 24, 2023.
1005:, Artists. Retrieved January 20, 2023.
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901:American Academy of Arts and Letters.
756:, December 1971–January 1972, p. 41–6.
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921:, People. Retrieved January 24, 2023.
364:window in several vertical works; in
228:Pennsylvania Academy of the Fine Arts
7:
819:, December 1989/January 1990, p. 39.
585:"John Moore’s Fabricated Realities,"
527:Rhode Island School of Design Museum
137:American Academy of Arts and Letters
92:American Academy of Arts and Letters
1042:People. Retrieved January 20, 2023.
646:Super Realism: A Critical Anthology
1687:20th-century American male artists
1667:University of Pennsylvania faculty
1488:. "John Moore," November 30, 1998.
1320:Newhall, Edith. "Moore at Locks,"
531:San Francisco Museum of Modern Art
477:described one of these paintings,
294:, oil on canvas, 92" x 141", 1980.
238:("The Realist Revival," 1973) and
185:Washington University in St. Louis
52:Washington University in St. Louis
14:
1523:Addison Gallery of American Art.
1424:Naves, Mario. "Painted Flowers,"
1286:"Worthy Variety of Local Debuts,"
765:Henry, Gerrit. "The Real Thing,"
445:Near Lincoln Highway, Coatesville
354:, oil on canvas, 72" x 62", 1996.
252:Center for Maine Contemporary Art
135:Moore has been recognized by the
115:, oil on canvas, 70" x 68", 2012.
1359:The Metropolitan Museum of Art.
1218:San Antonio Museum Association.
963:The Metropolitan Museum of Art.
739:The Metropolitan Museum of Art.
426:, oil on linen, 54" x 72", 2021.
1148:Perreault, John. "John Moore,"
511:Addison Gallery of American Art
248:Greenville County Museum of Art
100:National Endowment for the Arts
1361:Notable Acquisitions 1983–1984
1:
1677:20th-century American artists
1440:Newhall, Edith. "Galleries,"
1412:Painting in Boston: 1950-2000
1017:Museum of Fine Arts, Boston.
905:. Retrieved January 24, 2023.
886:Painting in Boston: 1950-2000
665:. "John Moore," May 16, 1994.
630:, March 1978, p. 35–41, 71–2.
339:described one such painting,
1633:, Hirschl & Adler Modern
1620:John Moore, a Painter's Life
1396:Naves, Mario. "Inside/Out,"
1344:Crosman, Christopher et al.
1020:Pink Flower Glass Series, #9
982:Philadelphia Museum of Art.
930:Philadelphia Museum of Art.
917:National Academy of Design.
606:Worth, Alexi. "John Moore,"
513:, Art Institute of Chicago,
260:Virginia Museum of Fine Arts
1527:Dutch Pink and Italian Blue
1134:, November 16, 1973, p. 2E.
535:Yale University Art Gallery
505:Collections and recognition
378:Dutch Pink and Italian Blue
236:American Federation of Arts
157:Museum of Fine Arts, Boston
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1001:Art Institute of Chicago.
414:Post-industrial landscapes
165:University of Pennsylvania
149:Philadelphia Museum of Art
145:Metropolitan Museum of Art
141:National Academy of Design
96:National Academy of Design
1682:20th-century male artists
1499:The Philadelphia Inquirer
1442:The Philadelphia Inquirer
1322:The Philadelphia Inquirer
1132:The Philadelphia Inquirer
841:The Philadelphia Inquirer
610:, September 1997, p. 132.
546:Lyme Academy of Fine Arts
433:Coatesville, Pennsylvania
312:Interior and studio views
256:San Antonio Museum of Art
143:and has exhibited at the
1251:Bijutsukan, SogĹŤ et al.
382:Waiting at St. Cecilia's
177:Ranken Technical College
153:Art Institute of Chicago
48:Ranken Technical College
1692:Painters from St. Louis
1539:Farnsworth Art Museum.
1512:John Moore: Twelve Days
1114:Pincus-Witten, Robert.
1672:Yale University alumni
1657:American male painters
523:Portland Museum of Art
427:
355:
295:
270:, Netherlands, 2017).
246:Museum of Art (1995),
189:Chautauqua Institution
116:
1428:, May 16, 2005, p.20.
1426:The New York Observer
1398:The New York Observer
1347:John Moore: Resonance
869:"John Moore Portals,"
692:Philadelphia Inquirer
515:Farnsworth Art Museum
421:
349:
289:
171:Early life and career
110:
1266:Tupan, H. R. et al.
1200:Fine Art Connoisseur
782:, December 24, 1972.
469:-era factory in the
264:Miyagi Museum of Art
1476:, October 20, 1989.
1324:, November 2, 2014.
1304:, October 12, 1972.
1236:Goodyear, Frank H.
741:Aspects of the City
706:The Realist Revival
644:Battcock, Gregory.
213:Tyler School of Art
1604:The New York Times
1554:McNay Art Museum.
1289:The New York Times
1182:The New York Times
1152:, October 4, 1973.
843:, October 7, 1994.
780:The New York Times
428:
356:
296:
282:Work and reception
117:
1599:Zimmer, William.
1501:, March 21, 2010.
1444:, April 11, 2003.
1400:, April 14, 2003.
1302:The Village Voice
1150:The Village Voice
872:The Brooklyn Rail
867:Berlind, Robert.
767:Art International
687:Rosenberg Amy S.
499:Frankford Station
232:Fischbach Gallery
221:Boston University
217:Temple University
187:(BFA, 1966), the
181:McDonnell Douglas
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197:Lennart Anderson
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193:Yale University
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83:Sandra Moore
1647:1941 births
1510:Yau, John.
793:New Realism
493:(2014) and
449:Coatesville
410:, 2020–1).
384:, 1991–2).
1641:Categories
1631:John Moore
1625:John Moore
1572:John Moore
1557:Two Lemons
919:John Moore
552:References
359:Cityscapes
301:old master
191:, and the
120:John Moore
23:John Moore
1542:Weehawken
1099:Art Daily
548:in 2010.
495:Departure
491:Fire Door
471:Frankford
467:Civil War
460:Turnstile
424:Departure
275:modernism
113:Turnstile
44:Education
36:St. Louis
1461:Artforum
1119:Artforum
966:Thursday
483:Magritte
475:John Yau
447:, 1988;
319:Thursday
292:Thursday
1163:ARTnews
608:ARTnews
408:Vespers
388:critic
124:realist
74:Realism
903:Awards
533:, and
155:, and
88:Awards
80:Spouse
399:Pause
370:South
366:Lunch
70:Style
985:View
485:and
439:and
207:and
139:and
32:1941
29:Born
341:Tie
215:of
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