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888:. Matthew Biagell once wrote that "subject matter of an important group of paintingsas well as statements that he made, suggest strongly that his interests lay in a liberalism of one sort or another." His opinions of military involvement in Europe were believed to be in step with the majority of Americans at this time. "Isolationism may have been most pronounced in the landlocked Midwest, but Americans of both sexes, of all ages, religions, and political persuasions, from all ethnic groups and all religions, shared in the postwar years a feeling of apathy toward Europe, not to mention the rest of the wretchedly quarrelsome world, that bordered on disgust." Curry was frustrated by the possibility of war. He saw the war only as a setback in the progress the nation had made since that last world war, and thus ending the progress made in the world of art. Curry warned that the entrance into another world war would kill the renaissance that he had seen reborn after the WWI: "After the First World War there began a splendid resurgence in Art in America, and we are in the midst of this movement now--but war will kill it before it can reach its flowering." Curry had shown his dread of the coming war through his painting
922:'s new sponsorship: "Perhaps you can do a heroic figure of a soldier guarding over or fighting for the preservation of all those benefits and advantages we enjoy in our democracy; or perhaps, could be fighting for the preservation of our peaceful, fertile farmlands, can be effectively portrayed in the background; or, perhaps, shadows of out former hero soldiers can drift into the distance behind this forceful foreground figure.... Then again, you might do a nurse-or a flyer-or a marine-or a sailor-in some symbolic composition." But Curry had other ideas when he responded with: "...it seems very doubtful whether it is strategic or desirable to use fear as the motive in picturing to them the needs of the war program. Our people are patriotic. Thousands of our young men are volunteering before they are drafted. Bond sales are at a high level. Our people expect to win the war and are prepared to pay any price that may be necessary. They do not need to be threatened by some fear complex in order to do their best. They are responding to incentives that are on a much higher plane and more effective than fear." Instead, Curry fell into step with his typical subject matter and painted an agricultural subject.
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ahead, but it does not indicate any intention to depart from his land or his family for the war overseas. Typical of a Curry work, the weather alludes to the underlying stress of the war. As the family stands in the field, a gust of wind rips through the scene trying to uproot the children and disrupt the crops-just as the war threatens the farmer's land and family. When the work was published as a war bond poster the caption "Our Good Earth...Keep It Ours" was added, inspiring the onlooker to do their part by buying war bonds to "Make Every Market Day, Bond Day." Later, the work was used as the cover for a war bond pamphlet. In addition to the "Keep It Ours" caption, "Long May It Wave" was placed at the bottom of the pamphlet, referencing the "amber waves of grain" of the song "America the beautiful" and the second stanza of the "Star
Spangled Banner".
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and minds. Quite simply, the posters were meant to inform, influence and guide
Americans’ behavior toward a certain political ideology. Because these posters were to be a part of the urban environment, they could be placed anywhere. Moreover, artists were told to use objects that could stand for a whole, like a flag signifying a nation or a bomb meaning war, so that they would not require any text on the poster. No poster text was deemed a more effective and efficient technique of advertising. Specifically, posters were to “tell the truth” because they engaged all Americans and fostered a social movement among Americans. Sympathetic and realistic representations of the common soldier encouraged American nationalism, such that the common lives of persons were made to be heroic during the war. Two different schools of art did work during this time:
943:, Curry received an official request from the Office of War Information to make another poster. He was asked to have the poster completed by November 5 of that year. Based upon The Writers’ War Board’s directive, Curry was to convey that if America lost the war to the Nazis, then the farmers of the nation would become enslaved. Curry, however, argued that the idea to be expressed was a correct assumption of how life was in rural America. He is quoted in a letter to his dealer, Reeves Lewenthal, as saying, “Farmers are exerting all-out effort and working 70 and 80 hours a week. There is no problem as we see it out here in getting farmers to work as hard as they can, for they are doing exactly this.” Curry then requested that the board consider developing a more positive rural theme and offered to help think of one, too.
958:. He is holding a pitchfork and is standing before two soldiers. He is visually connecting the activities of the farmer to those on the war front. In the background, Curry was shown a tractor and tank, both mobile, and therefore representative of the war and their respective missions. Because he wanted to keep his work as authentic as possible, Curry rejected any ideas that might go against the realities of the farmers’ work. For example, one idea that was suggested by Lewenthal was that the pitchfork be held in the same advancing motion as the soldiers’ guns. Curry objected and said that farming is a skilled profession. Having the pitchfork in such a way would seem strange and wrong.
418:), was considered by some to be a traitor and a murderer. Curry tried to explain that while the blood on Brown's hands was not literal, his acts caused bloodshed, and that the tornado was a symbol of the abolitionist's passion. However, the people of Kansas saw its inclusion as a negative statement about bad weather. In his presentation to the people, Curry expressed that he wanted to get into his pictures the irony that is the Kansas people; not a soft, soppy presentation. When rejected, Curry in anger left the finished murals unsigned at his death in 1946. Since Curry's death, his murals have come to be regarded as on par with similar works done by his contemporary
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eventual security, an 1889 pioneer mother, sunbonnet intact, is of greatest importance to the far left foreground of Curry's westward-moving mural. Perched on a broken-down wagon, she clutches her small son while waving and calling out to her certificate-holding husband, who, astride their rearing horse, is to ride on to claim a new farm site. His hellbent competition includes a cyclist riding a high, "ordinary"
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demonstrations in the “Nazi
Village,” and strafing. While at the camp, Curry produced nearly a hundred sketches covering virtually all training exercises, a crayon portrait of Lieut. Col. Edward A. Zimmerman, and even a large oil portrait of Brig. Gen. Roy C. Heflebower, the commanding general of the medical replacement training center.
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1926 when he took a hiatus from illustration, writing “Came to NY to be an illustrator. Was not a brilliant success. Went to Paris and learned something from M. Schoukhareff of the
Russian Academy. Learned something, also, from the Louvre and have been trying since to carry out my ideas of how an American should paint."
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John Brown, in front of a crowd of people and a tornado. In particular, the committee objected to the blood on John Brown's hands, the prairie fires, and tornadoes. These inclusions were thought by some to show the state in a negative light because Brown, who was executed in 1859 for treason (leading
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were to be painted. The legislative committee refused to move them from the wall to make way for Curry's mural. However, behind the refusal were two real issues with Curry's paintings, the first being that Curry's factual details were incorrect. For instance, "they criticized the tails of his animals
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A list begins each section talking about the works contained within that medium or genre and are sorted by date. Following each list is a discussion of the context in which that work was produced. Currently the list is incomplete and does not include images of the individual pieces of artwork because
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organization and the War
Department established art committee. Unfortunately a little over six months into the program Congress cut the funds for the art project and the military artists were reassigned to other duties. Some however, continued to produce art through their military career. Additional
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shows a farmer standing in his field of wheat, flanked on either side by children as wind gusts through the scene. The state of the man, his children, and the bountiful crop register the plenty that the farm is experiencing despite the war overseas. The farmer's face shows his concern for the times
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which depicted onlookers gazing at a coming storm. It wasn't until after the attack on Pearl Harbor, December 7, 1941, which caused the shift in
American opinion, that inspired a change in Curry's support of the war. Curry was faced with the dilemma on how to make his work matter. He had the desire
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with the soldiers. Curry spent most of his time sketching training battalion units during bivouac problems, as well as following teams through their levels of field medical evacuation. He also commonly sketched the soldiers as they maneuvered their way through obstacle and infiltration courses and
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The government used posters to advertise as technique during the First World War. The posters bridged a gap between the government and the people by using direct and simple messages. The government’s plan of advertising via posters was to stir the nation into action by engaging its people’s hearts
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who Curry said was “making the illustrators of today." In 1920, Curry met Dunn, and while he did not become one of Dunn’s students the established artist became a mentor, helping Curry further his illustration education and career. Curry began publishing illustrations in 1921 and continued through
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depicts the
Westward Migration in the representation of that famous day—twelve o'clock noon on April 22, 1889—when the Oklahoma Territory was opened to homestead settlement and over twenty thousand prospective settlers rushed into the new land to stake their claims. Anxious but looking forward to
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while his father drives them into the ground. An older sister drives the wagon full of spikes while she also cares for the youngest child. Each member of the family is actively working and contributing its energies to the productive whole. Near the bottom left of the mural, roosters, chicks, and
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was originally written as just a short story by Mary O’Hara while she was living on a ranch in
Wyoming. It was later requested by the Lippincott Publishing Company of New York that she make it into a novel. It was published in 1941 and John Steuart Curry contributed fifteen drawings for the
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which would include scenes of modern Kansas. Curry wanted to be free to express his own ideas regarding the murals: "I have my own ideas about telling the story of pioneers coming into Kansas. I want to paint this war with nature and I want to paint the things I feel as a native Kansan."
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relief, refugees, stranded farm animals, praying
African Americans and a Mississippi riverboat. John Steuart Curry's work often supported the mentalities of the African American population that were common during the first half of the twentieth century.
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from the 1880s and an overweight, overdressed lady in a rocking chair. She rolls back in an open wagon driven frantically by her balding husband, and, if nothing else, lends comic relief to balance the anxious sincerity of the mother on the ground.
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helped produce seven different combat art projects. One such project Abbott supported in collaboration with the
Surgeon General’s Office, and focused on producing medical related art. For this they commissioned well-known artists such as
31:. During Curry's lifetime he was prolific in a number of mediums, including painting, mural work, and illustrations. The page captures the most notable works, alongside many of his other works and describes their publication context.
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commission was solely for the reproduction rights to the painting. Since the magazine never intended to purchase Curry's painting there has been little success finding documentation regarding the financial aspects of the commission.
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to reach a broader audience of people, and for the first time in Curry's career, he expressed a desire to utilize his talents in support of American troops. In 1942, he finished his first work in support of a war. Sponsored by
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repeated an important theme of the time: history told through the actions of common people. By emphasizing the rush of figures across the land, Curry shared his concern with capturing the energy and vigor of American pioneers.
875:. Both groups of art had vastly different views, but they did share the common idea of the championing the common man. Therefore, if either group was to make art to persuade people it needed to be done in this manner.
384:. In June 1937, newspaper editors raised money to commission John Steuart Curry (who was the most famous artist in Kansas) to paint murals in the statehouse. Curry's design was divided into three themes: first the
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882:'s political opinions are not known explicitly. His opinions were a mystery even to his wife. In an interview when asked what Curry's political views were, she told the interviewer that her husband read
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much of it is still under copyright. The references on each citation for works links to websites for the organization holding the collection, or, if not available, links to website depicting the image.
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This mural is nine foot by 19 feet eight inch. It represents a homestead with the typical features that make up its ideal of blessed peace, happiness, and potential prosperity of ensuring rural life.
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calling them not natural-like." In Curry's opinion, those problems could be easily fixed. However, with the next issue the committee had an even stronger objection; and that was the image of Kansan
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is a painting and war poster by Curry that highlights the symbolic importance of the heartland to the American war effort. When commissioned to do war art, Reeves Lewenthal, director of
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In 1940 John Curry returned to making illustrations for books and other media, and he contributed to this field until his death in 1946. His last illustrations can be found in
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Political controversy stalled the completion of the murals. Expensive Italian marble slabs covered the spot in the rotunda where the eight panels depicting scenes from
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Just two inches taller than its partner painting, this nine feet two inch by 19 feet eight inch mural represents another historical event from the time period.
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illustrations. They were rendered in mostly ink with some pencil and conte crayon. He did one picture with watercolor for the title page of the book.
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Curry, John Steuart. "Box 1, Folder 41, Object 11 from John Steuart Curry papers and Curry family papers from Archives of American Art at Smithsonian".
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efforts to document World War II came from private companies with a history in supporting both military and civilian artists. From 1942 to 1945,
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references several of Curry's previous artworks. His use of a centrally positioned African American male figure appears in other works including
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2299:"Box 1, Folder 41, Object 5 from John Steuart Curry papers and Curry family papers from Archives of American Art at Smithsonian Institution"
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before his presidential election in 1928. Curry's painting demonstrates many of the major scenes and events that were associated during the
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2265:"Box 1, Folder 41, Object 4 of John Steuart Curry Papers and Curry family papers from Archives of American Art at Smithsonian Institution"
2396:"Box 1, Folder 41, Object 10 in John Steuart Curry Papers and Curry family papers in Archives of American Art at Smithsonian Institution"
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to produce government sanctioned war propaganda, Curry finished his first work in support of any war effort. He submitted an oil titled
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chickens peck and feed near the foreground garden as bountiful reminders of their capacity to provide this frontier family with eggs.
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2235:"Box 1, Folder 41, Object 3 of John Steuart Curry and Curry family papers from Archives of American Art at Smithsonian Institution"
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ad campaign that spanned from 1942 to 1944. This campaign associated Luckies with the down-home, folksy look of regional art. The
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In doing so, Curry came up with an idea from a sketch he had used in a previous mural idea for the Wisconsin State Fair called,
715:"Grading a Pile of Tobacco After Curing"- The first Lucky Strike ad features a woman wearing a headscarf sorting tobacco leaves.
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255:. They were painted in oil and tempera on canvas between 1937 and 1939. The two murals depict events of the time period, the
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There are four original primary sketches of ideas and the layouts for these Lucky Strike ads in the archives located at the
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in 1917, Curry wrote home to his parents about his decision to study illustration. He noted his interest in studying with
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1332:"Mural: The Oklahoma Land Rush, April 22, 1889, by John Steuart Curry at the Department of Interior, Washington, D.C."
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1003:. During his stay there, he committed himself to becoming one of the soldiers. He wore a uniform, ate, and went on
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features a mother and her daughter paring potatoes near a small garden for the family meal. A young son holds the
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Renegade Regionalists: The Modern Independence of Grant Wood, Thomas Hart Benton, and John Steuart Curry
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Renegade Regionalists: The Modern Independence of Grant Wood, Thomas Hart Benton, and John Steuart Curry
718:"Grading the Lighter Leaf"- This ad depicts a farmer sorting and examining tobacco leaves inside a barn.
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McNaughton, Marian R. (1979). "The Army Art Program". In John E. Jessup Jr; Robert W. Coakley (eds.).
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Fogel, Jared A.; Robert L. Stevens (2001). "The canvas mirror: Painting as politics in the new deal".
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Art of the American Soldier Documenting Military History Through Artists' Eyes and in Their Own Words
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1941:. New York: Hudson Hills Press, in association with the Elvehjem Museum of Art. pp. 138–141.
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painting is an oil on panel and measures 37½ by 63 inches. The painting is currently located at
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LIFE, by John Steuart Curry. This editorial was the sixth of eight commissioned installments for
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American History Series that featured modern American history paintings. John Steuart Curry's
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to create a painting about tobacco for an illustration in the American agricultural magazine,
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John Brown’s Body: A Poem by Stephen Vincent Benét, published by Limited Editions Club in 1948
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Links are external links to the Beach Museum's Catelog. The images are still under copyright.
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did not capitalize on the war or use military themes when advertising for their cigarettes.
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Benton, Pollock, and the Politics of Modernism: From Regionalism to Abstract Expressionism
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Along with other regional artists, Curry was commissioned to create advertisements for a
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was created to celebrate the humanitarian and relief efforts of Secretary of Commerce
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2507:), Uploaded on June 12, 2010. Published by the Texas State Historical Association.
191:, 1941, oil and tempera on canvas, Madison Museum of Contemporary Art, Madison, WI
1364:"Kansas State Capitol - Online tour - Tragic Prelude - Kansas Historical Society"
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Baigell, Matthew (1970). "The Relevancy of Curry's Paintings of Black Freedom".
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Battlefield of Memory: The First World War and American Remembrance, 1919-1941
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Rethinking Regionalism: John Steuart Curry and the Kansas Mural Controversy
263:. Early sketches of figures and ideas are held by archives located at the
1406:"Udall Department of the Interior Building: Curry Murals – Washington DC"
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175:, oil on canvas, 1936–37, Smithsonian American Art Museum, Washington, DC
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Important illustrations that are now held by art institutions include:
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Freedom from Fear: The American People in Depression and War, 1929-1945
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161:, 1934, oil and tempera on panel, collection of Sidney Howard, New York
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1830:. Google Books: University of Chicago Press. pp. 232–233, 237.
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Waller, Bret (1970). "An Interview with Mrs. John Steuart Curry".
1913:. Chapel Hill, NC: University of North Carolina Press. p. 79.
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Although he openly opposed the possibility of a Second World War,
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1871:"Hoover and the Flood: A Painting for LIFE by John Steuart Curry"
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KSHS "Curry's Statehouse Studies" Kansas State Historical Society
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commission, Camp Barkeley, TX, US Army medical training, ca. 1945
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In 1942 the United States Army Corps of Engineers established a
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Westward Movement: Justice of the Plains and Law Versus Mob Rule
135:, 1931, oil on canvas, collection of William Benton, Chicago, IL
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1385:"The 8 Wonders of Kansas - A Kansas Sampler Foundation Project"
230:, 1937–42, oil and tempera on canvas, Kansas Statehouse, Topeka
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John Steuart Curry and Grant Wood: A Portrait of Rural America
1483:"Marianna Kistler Beach Museum of Art Collection Catelogue"
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By Popular Demand: The Hero in American Art, c. 1929-1945
1614:. Madison, Wisconsin: The University of Wisconsin Press.
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http://lcweb2.loc.gov/service/pnp/highsm/24700/24741v.jpg
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http://www.tshaonline.org/handbook/online/articles/qbc02
954:, he depicts a gigantic farmer who resembles the one in
2274:. Archives of American Art at Smithsonian Institution.
2158:. Tuscaloosa: University of Alabama Press. p. 211.
1791:"John Steuart Curry (1897–1946) "Hoover and the Flood""
1669:. Washington, D.C.: Smithsonian Institution Press, 1986
1245:"The Metropolitan Museum of Art - Wisconsin Landscape"
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of 1927 such as flood waters, National Guardsmen, the
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2338:. Archives of American Art at Smithsonian Institution
2308:. Archives of American Art at Smithsonian Institution
2244:. Archives of American Art at Smithsonian Institution
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Curry Family papers, S1-AAA, Series 3, correspondence
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Stewart Lee Udall Department of the Interior Building
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Still life paintings from the Netherlands, 1550-1720
2558:. Cedar Rapids, Iowa: Cedar Rapids Art Association.
2519:"Camp Barkeley Trainees Are Models For Artist Curry"
1082:"Whitney Museum of American Art: John Steuart Curry"
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1769:. New York: Hudson Hills Press. pp. 212–239.
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837:, 1943, World War II war bond poster, original at
2143:. New York: Oxford University Press. p. 386.
1685:. Wisconsin: University of Wisconsin Press, 1998.
1510:. New York: Hudson Hills Press, Inc. p. 64.
1132:"Storm Over Lake Otsego | MFA for Educators"
2479:A Guide to the Study and Use of Military History
1016:The following is a list of sketches held by the
918:gallery, tried suggesting possible subjects for
2012:. United Kingdom: Thames & Hudson. p.
2533:In John Steurt Curry and Curry Family Papers,
1444:. US Department of Interior. February 23, 2011
995:Curry started his commission in early 1944 at
711:Curry only made two Lucky Strike tobacco ads:
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2575:John Steuart Curry: Inventing the Middle West
2483:United States Army Center of Military History
2464:United States Army Center of Military History
2359:"By popular demand": The hero in American art
1939:John Steuart Curry: Inventing the Middle West
1911:Hoover and the Flood: Painting Modern History
1767:John Steuart Curry: Inventing the Middle West
1535:. American Artist's Group, Inc. p. 308.
1508:John Steuart Curry: Inventing the Middle West
570:. New York: Illustrated Modern Library, 1944.
167:, 1935, oil on canvas, Wichita Art Museum, KS
95:, 1929, oil on canvas, F.M. Hall Collection,
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416:abolitionist raid on Harpers Ferry, Virginia
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939:In October 1942, shortly after he finished
3625:100 great paintings from Duccio to Picasso
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2379:: CS1 maint: location missing publisher (
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2041:War Posters: Weapons of Mass Communication
2009:War Posters: Weapons of Mass Communication
214:, and The Homestead, 1938, oil on canvas,
2764:Galleria Nazionale di Capodimonte, Naples
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1174:"The Flying Codonas - John Steuart Curry"
1109:. Cincinnatiartmuseum.org. Archived from
372:One of Curry's most famous works are the
2799:National Gallery of Art, Washington D.C.
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1465:
1463:
1461:
1459:
1012:Sketches held by the Beach Museum of Art
525:. New York: Limited Editions Club, 1940.
2045:. United Kingdom: Thames & Hudson.
1641:. Watson-Guptill Publications. p.
1585:John Steuart Curry's Pageant of America
1533:John Steuart Curry's Pageant of America
1195:"Kansas Cornfield - John Steuart Curry"
1073:
862:American propaganda during World War II
2438:
2427:
2372:
2211:
1316:: CS1 maint: archived copy as title (
1309:
1020:from Curry's time as a Combat artist.
948:Wisconsin Agriculture Leads to Victory
537:Lincoln, Abraham, and Carl Van Doren.
489:School of the Art Institute of Chicago
315:The Oklahoma Land Rush, April 22, 1889
212:The Oklahoma Land Rush, April 22, 1889
1216:"Ajax (1936-37) - John Steuart Curry"
749:Hoover and the Flood: A painting for
468:, Kansas State University, Manhattan
448:, Kansas State University, Manhattan
7:
2577:. New York: Hudson Hills Press, Inc.
2535:Smithsonian Archives of American Art
1869:Eldredge, Charles C. (May 6, 1940).
1587:. New York: American Artists Group.
1487:Marianna Kistler Beach Museum of Art
724:Marianna Kistler Beach Museum of Art
667:, Kansas State University, Manhattan
653:, Kansas State University, Manhattan
478:, Kansas State University, Manhattan
476:Marianna Kistler Beach Museum of Art
466:Marianna Kistler Beach Museum of Art
446:Marianna Kistler Beach Museum of Art
265:Marianna Kistler Beach Museum of Art
251:— were commissioned by the Treasury
847:, ca. 1945, conté crayon on paper,
3632:120 Paintings from the Rijksmuseum
2399:(Letter from Lewenthal to Curry n)
2278:from the original on 19 April 2014
1583:Schmeckebier, Laurence E. (1943).
1531:Schmeckebier, Laurence E. (1943).
588:Curry created illustrations for:
406:the Life of the Kansas Homesteader
151:, 1932, oil and tempera on panel,
14:
3539:Erotic works by Thomas Rowlandson
2550:Czestochowski, Joseph S. (1981).
579:. New York: Heritage Press, 1948.
567:The Essays of Ralph Waldo Emerson
561:. New York: Heritage Press, 1944.
552:. Philadelphia: Lippincott, 1943.
543:. New York: Heritage Press, 1942.
540:Literary Works of Abraham Lincoln
534:. Philadelphia: Lippincott, 1941.
253:Section of Painting and Sculpture
235:Department of the Interior murals
83:The Old Folks (Mother and Father)
2809:Los Angeles County Museum of Art
2517:Dendurent, Sergt. H. O. (1944).
2332:(Letter from Lewenthal to Curry)
2302:(Letter from Curry to Lewenthal)
2268:(Letter from Curry to Lewenthal)
2238:(letter from Lewenthal to Curry)
3585:On United States postage stamps
1226:from the original on 2015-03-07
1220:Smithsonian American Art Museum
1153:"Muskegon Museum of Art |"
1134:. Educators.mfa.org. 1955-05-12
1088:from the original on 2014-12-12
952:The Farm Is a Battleground, Too
934:The Farm Is a Battleground, Too
97:University of Nebraska, Lincoln
24:This page explores the notable
2794:Museum of Modern Art, New York
2403:Personal letter from Lewenthal
2336:Personal letter from Lewenthal
392:and the Plainsmen; second the
153:Whitney Museum of American Art
77:Whitney Museum of American Art
1:
3215:Jean-Auguste-Dominique Ingres
1909:Eldredge, Charles C. (2007).
2829:Web Gallery of Art, Internet
2769:Hampton Court Palace, London
2503:, Handbook of Texas Online (
1937:Junker, Patricia A. (1998).
1506:Junker, Patricia A. (1998).
901:to be used in publications.
665:Marianna Beach Museum of Art
657:Our Good Earth, Keep It Ours
651:Marianna Beach Museum of Art
3565:National Treasures of Japan
2537:. Box 1, Folder 30 item 12.
1038:Army Medical Unit to Rescue
972:Associated American Artists
916:Associated American Artists
835:Farm is a Battleground, Too
684:Associated American Artists
342:Kansas State Capital murals
106:Museum of Fine Arts, Boston
3682:
3175:Bartholomeus van der Helst
2814:Palatine Gallery, Florence
2779:Indianapolis Museum of Art
2774:Museum of Fine Arts, Ghent
2759:Frick Collection, New York
2754:Frans Hals Museum, Haarlem
2739:Accademia Carrara, Bergamo
2487:Government Printing Office
2306:Personal Letter from Curry
2139:Kennedy, David M. (1999).
999:eleven miles southwest of
859:
831:, University of Wisconsin
827:, 1942, oil on hardboard,
649:, 1941-1947, Originals at
345:
216:Department of the Interior
183:Metropolitan Museum of Art
181:, 1938–39, oil on canvas,
17:
2860:Sophie Gengembre Anderson
2573:Junker, Patricia (1998).
2357:Kuykendall, Lara (2011).
2196:Kuykendall, Lara (2011).
1824:Doss, Erika (June 1995).
1765:Junker, Patricia (1998).
1608:Dennis, James M. (1998).
1033:Training Army Corp. Texas
645:print advertisements for
615:The Saturday Evening Post
576:John Brown’s Body: A Poem
3590:Pre-Raphaelite paintings
3580:On Soviet postage stamps
3190:Hans Holbein the Younger
2965:Pieter Bruegel the Elder
2804:National Gallery, London
2744:Art Institute of Chicago
2361:. University of Kansas.
2200:. University of Kansas.
1063:Operating Room Scene(II)
761:The Morris Museum of Art
706:American Tobacco Company
682:was commissioned by the
647:American Tobacco Company
635:commission, Original at
573:Benet, Stephen Vincent.
558:The Red Badge of Courage
519:Cooper, James Fenimore.
3514:John William Waterhouse
2845:Pieter Coecke van Aelst
2749:El Greco Museum, Toledo
1155:. Muskegonartmuseum.org
1058:Operating Room Scene(I)
728:Kansas State University
269:Kansas State University
204:, 1935, oil on canvas,
141:, 1931, oil on canvas,
125:, oil on canvas, 1929,
115:, 1929, oil on canvas,
104:, 1929, oil on canvas,
85:, 1929, oil on canvas,
75:, 1928, oil on canvas,
3434:Charles Marion Russell
3419:Dante Gabriel Rossetti
3364:Robert Antoine Pinchon
3180:Catharina van Hemessen
3110:Caspar David Friedrich
2819:Rijksmuseum, Amsterdam
2154:Trout, Steven (2010).
2080:10.1093/maghis/16.1.17
2037:Aulich, James (2007).
2006:Aulich, James (2007).
1989:www.figgeartmuseum.org
1985:"Figge Art Museum - C"
1965:. Chazen Museum of Art
1797:. Morris Museum of Art
1635:Heller, Nancy (1976).
890:The Light of the World
628:, 1940, oil on panel,
584:Magazine illustrations
564:Emerson, Ralph Waldo.
487:While studying at the
369:
322:The Oklahoma Land Rush
317:
305:The Oklahoma Land Rush
288:
249:The Oklahoma Land Rush
239:Curry's murals at the
117:Muskegon Museum of Art
102:Storm Over Lake Otsego
66:
53:
3661:Lists of works of art
3529:Rogier van der Weyden
3404:Pierre-Auguste Renoir
3130:Artemisia Gentileschi
3105:Jean-Honoré Fragonard
3055:Edward Thomas Daniell
3020:Frederic Edwin Church
3010:William Merritt Chase
2665:Freeing of the Slaves
2456:Klish, Renée (2010).
2297:Curry, John Steuart.
2263:Curry, John Steuart.
1795:Permentant Collection
798:Freeing of the Slaves
689:The Country Gentleman
673:The Country Gentleman
661:WWII war bond posters
608:The Country Gentleman
601:St. Nicholas Magazine
394:Life of a Homesteader
388:, which depicted the
355:
348:Man at the Crossroads
333:John Steuart Curry's
313:
284:
243:in Washington D.C. —
206:Department of Justice
87:Cincinnati Art Museum
59:
46:
3555:Gold-glass portraits
3374:Giambattista Pittoni
3320:John Everett Millais
3245:Peder Severin Krøyer
3205:Edward Robert Hughes
2950:Valentin de Boulogne
2905:Gian Lorenzo Bernini
2885:Jean-Michel Basquiat
2865:Sofonisba Anguissola
2784:Louvre Museum, Paris
2523:The Kansas City Star
2481:. Washington, D.C.:
1736:Figge Museum Catalog
1711:Figge Museum Catalog
1442:"Online Murals Tour"
1266:"John Steuart Curry"
829:Chazen Museum of Art
816:Important pieces of
794:Hoover and the Flood
777:Hoover and the Flood
757:Hoover and the Flood
735:Hoover and the Flood
637:Morris Museum of Art
626:Hoover and the Flood
474:, 1945, lithograph,
464:, 1939, lithograph,
454:, 1936, lithograph,
444:, 1935, lithograph,
434:, 1934, lithograph,
386:Settlement of Kansas
378:Kansas State Capitol
367:Kansas State Capitol
93:The Roadworkers Camp
3617:100 Great Paintings
3600:Stone Age paintings
3454:De Es Schwertberger
3444:John Singer Sargent
3060:Jacques-Louis David
2980:Gustave Caillebotte
2900:Frank Weston Benson
2641:Tornado over Kansas
2394:Lewenthal, Reeves.
2327:Lewenthal, Reeves.
2233:Lewenthal, Reeves.
2068:Magazine of History
1859:Life Magazine,1942.
1411:The Living New Deal
1387:. Kansassampler.org
1197:. WikiPaintings.org
1176:. WikiPaintings.org
1018:Beach Museum of Art
977:Abbott Laboratories
895:Abbott Laboratories
398:Pastoral Prosperity
179:Wisconsin Landscape
112:Tornado over Kansas
49:Tornado over Kansas
3519:Michaelina Wautier
3429:Jacob van Ruisdael
3125:Orazio Gentileschi
3045:John Steuart Curry
2970:Edward Burne-Jones
2855:Albrecht Altdorfer
2724:Lists of paintings
2613:John Steuart Curry
1738:. Figge Art Museum
1713:. Figge Art Museum
1431:Czestochowski 126.
990:John Steuart Curry
920:John Steuart Curry
880:John Steuart Curry
680:John Steuart Curry
514:Book illustrations
420:Thomas Hart Benton
370:
363:John Steuart Curry
335:Oklahoma Land Rush
318:
289:
149:The Flying Cadonas
127:Huntington Library
67:
54:
28:John Steuart Curry
20:John Steuart Curry
3648:
3647:
3620:(1980 BBC series)
3560:Haunted paintings
3479:August Strindberg
3449:Thérèse Schwartze
3260:Leonardo da Vinci
3230:Wassily Kandinsky
3145:Hugo van der Goes
2935:Sandro Botticelli
2824:Ukrainian Museums
2691:
2690:
2683:Regionalism (art)
2633:Baptism in Kansas
2437:Missing or empty
2052:978-0-500-25141-6
2023:978-0-500-25141-6
1681:Dennis, James M.
1665:Kendall, M. Sue.
1564:Czestochowski 39.
1555:Czestochowski 38.
1053:Army Medical Unit
804:(1924-1936), and
785:Mississippi Flood
376:designed for the
259:and the Oklahoma
189:Madison Landscape
143:Joslyn Art Museum
72:Baptism in Kansas
3673:
3595:Stolen paintings
3534:Eugenio Zampighi
3504:Johannes Vermeer
3369:Camille Pissarro
3354:Mikhail Nesterov
3349:Elizabeth Murray
3295:Victor Meirelles
3250:Philip de László
3150:Vincent van Gogh
3115:Fujishima Takeji
3085:Anthony van Dyck
3015:Gaetano Chierici
2955:Ford Madox Brown
2940:François Boucher
2930:Hieronymus Bosch
2925:Giovanni Boldini
2915:Joseph Blackburn
2910:Albert Bierstadt
2895:Giovanni Bellini
2890:Frédéric Bazille
2718:
2711:
2704:
2695:
2606:
2599:
2592:
2583:
2578:
2569:
2557:
2538:
2532:
2530:
2529:
2514:
2508:
2499:James M. Myers,
2497:
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2474:
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2175:
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2166:
2160:
2159:
2151:
2145:
2144:
2136:
2130:
2129:
2122:Kansas Quarterly
2117:
2111:
2110:
2103:Kansas Quarterly
2098:
2092:
2091:
2063:
2057:
2056:
2044:
2034:
2028:
2027:
2003:
1997:
1996:
1991:. Archived from
1981:
1975:
1974:
1972:
1970:
1963:"Our Good Earth"
1959:
1953:
1952:
1934:
1915:
1914:
1906:
1895:
1894:
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1866:
1860:
1857:
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1719:
1718:
1703:
1697:
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1686:
1679:
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1663:
1657:
1656:
1638:The Regionalists
1632:
1626:
1625:
1605:
1599:
1598:
1580:
1574:
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1343:
1342:
1340:
1339:
1328:
1322:
1321:
1315:
1307:
1305:
1304:
1298:
1292:. Archived from
1291:
1283:
1277:
1276:
1274:
1273:
1262:
1256:
1255:
1253:
1252:
1241:
1235:
1234:
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1139:
1128:
1122:
1121:
1119:
1118:
1103:
1097:
1096:
1094:
1093:
1078:
1043:Medical Training
839:Figge Art Museum
806:Mississippi Noah
740:On May 6, 1940,
696:Lucky Strike ads
555:Crane, Stephen.
531:My Friend Flicka
507:My Friend Flicka
458:, Davenport, IA
456:Figge Art Museum
436:Figge Art Museum
261:Land Run of 1889
218:, Washington, DC
208:, Washington, DC
165:Kansas Cornfield
133:The Medicine Man
129:, San Marino, CA
89:, Cincinnati, OH
79:, New York City
3681:
3680:
3676:
3675:
3674:
3672:
3671:
3670:
3651:
3650:
3649:
3644:
3604:
3543:
3499:Diego Velázquez
3494:Suzanne Valadon
3489:J. M. W. Turner
3384:Nicolas Poussin
3195:Pieter de Hooch
3185:William Hogarth
2833:
2731:
2725:
2722:
2692:
2687:
2671:
2627:List of artwork
2615:
2610:
2572:
2566:
2549:
2546:
2541:
2527:
2525:
2516:
2515:
2511:
2498:
2494:
2476:
2475:
2471:
2455:
2454:
2450:
2436:
2426:
2423:
2422:
2418:
2408:
2406:
2398:
2393:
2392:
2388:
2371:
2356:
2355:
2351:
2341:
2339:
2331:
2326:
2325:
2321:
2311:
2309:
2301:
2296:
2295:
2291:
2281:
2279:
2272:Personal Letter
2267:
2262:
2261:
2257:
2247:
2245:
2242:Personal Letter
2237:
2232:
2231:
2227:
2210:
2195:
2194:
2190:
2185:
2181:
2176:
2172:
2167:
2163:
2153:
2152:
2148:
2138:
2137:
2133:
2119:
2118:
2114:
2100:
2099:
2095:
2065:
2064:
2060:
2053:
2036:
2035:
2031:
2024:
2005:
2004:
2000:
1983:
1982:
1978:
1968:
1966:
1961:
1960:
1956:
1949:
1936:
1935:
1918:
1908:
1907:
1898:
1889:
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1693:
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1680:
1673:
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1607:
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1595:
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1357:
1350:
1346:
1337:
1335:
1330:
1329:
1325:
1308:
1302:
1300:
1296:
1289:
1287:"Archived copy"
1285:
1284:
1280:
1271:
1269:
1264:
1263:
1259:
1250:
1248:
1247:. Metmuseum.org
1243:
1242:
1238:
1229:
1227:
1214:
1213:
1209:
1200:
1198:
1193:
1192:
1188:
1179:
1177:
1172:
1171:
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1158:
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1137:
1135:
1130:
1129:
1125:
1116:
1114:
1105:
1104:
1100:
1091:
1089:
1084:. Whitney.org.
1080:
1079:
1075:
1071:
964:
937:
909:
885:The Progressive
864:
858:
841:, Davenport, IA
814:
753:LIFE Magazine's
738:
698:
676:
663:, Originals at
586:
516:
485:
438:, Davenport, IA
428:
350:
344:
308:
279:
237:
198:
185:, New York City
155:, New York City
41:
22:
12:
11:
5:
3679:
3677:
3669:
3668:
3663:
3653:
3652:
3646:
3645:
3643:
3642:
3635:
3628:
3621:
3612:
3610:
3606:
3605:
3603:
3602:
3597:
3592:
3587:
3582:
3577:
3575:Most expensive
3572:
3567:
3562:
3557:
3551:
3549:
3545:
3544:
3542:
3541:
3536:
3531:
3526:
3521:
3516:
3511:
3509:George Vincent
3506:
3501:
3496:
3491:
3486:
3481:
3476:
3471:
3466:
3461:
3459:Georges Seurat
3456:
3451:
3446:
3441:
3436:
3431:
3426:
3421:
3416:
3414:Suze Robertson
3411:
3406:
3401:
3396:
3391:
3386:
3381:
3376:
3371:
3366:
3361:
3356:
3351:
3346:
3341:
3339:Alphonse Mucha
3336:
3335:
3334:
3322:
3317:
3315:Pierre Mignard
3312:
3310:John Middleton
3307:
3302:
3300:Jean Metzinger
3297:
3292:
3287:
3282:
3277:
3272:
3267:
3265:Judith Leyster
3262:
3257:
3255:Georges Lebacq
3252:
3247:
3242:
3237:
3232:
3227:
3222:
3220:Johan Jongkind
3217:
3212:
3207:
3202:
3197:
3192:
3187:
3182:
3177:
3172:
3167:
3162:
3157:
3155:Francisco Goya
3152:
3147:
3142:
3140:Albert Gleizes
3137:
3132:
3127:
3122:
3117:
3112:
3107:
3102:
3097:
3092:
3087:
3082:
3080:Albrecht DĂĽrer
3077:
3072:
3070:Marcel Duchamp
3067:
3062:
3057:
3052:
3047:
3042:
3037:
3035:Adriaen Coorte
3032:
3030:John Constable
3027:
3022:
3017:
3012:
3007:
3002:
2997:
2992:
2987:
2982:
2977:
2975:Guido Cagnacci
2972:
2967:
2962:
2957:
2952:
2947:
2942:
2937:
2932:
2927:
2922:
2920:Arnold Böcklin
2917:
2912:
2907:
2902:
2897:
2892:
2887:
2882:
2877:
2872:
2867:
2862:
2857:
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2821:
2816:
2811:
2806:
2801:
2796:
2791:
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2776:
2771:
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2741:
2735:
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2727:
2726:
2723:
2721:
2720:
2713:
2706:
2698:
2689:
2688:
2686:
2685:
2679:
2677:
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2669:
2661:
2657:Tragic Prelude
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2565:978-0826203366
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2416:
2386:
2349:
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2289:
2255:
2225:
2188:
2179:
2177:Junker 236-237
2170:
2161:
2146:
2131:
2112:
2093:
2058:
2051:
2029:
2022:
1998:
1995:on 2014-04-19.
1976:
1954:
1947:
1916:
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1782:
1775:
1748:
1723:
1698:
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1652:978-0823045167
1651:
1627:
1621:978-0299155841
1620:
1600:
1594:978-0404153687
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1542:978-0404153687
1541:
1523:
1517:978-1555951399
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1014:
1013:
1001:Abilene, Texas
963:
960:
956:Our Good Earth
941:Our Good Earth
936:
931:
926:Our Good Earth
912:Our Good Earth
908:
906:Our Good Earth
903:
899:Our Good Earth
873:Social Realist
860:Main article:
857:
854:
853:
852:
849:War Department
842:
832:
825:Our Good Earth
813:
810:
781:Herbert Hoover
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675:
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640:
619:
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571:
562:
553:
546:O’Hara, Mary.
544:
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528:O’Hara, Mary.
526:
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512:
484:
481:
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469:
459:
449:
439:
427:
424:
382:Topeka, Kansas
358:Tragic Prelude
343:
340:
327:safety bicycle
307:
302:
278:
273:
257:Homestead Acts
236:
233:
232:
231:
228:Kansas Pasture
223:Tragic Prelude
219:
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159:The Line Storm
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40:
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18:Main article:
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3570:May paintings
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3524:J. Alden Weir
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3500:
3497:
3495:
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3477:
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3474:Matthias Stom
3472:
3470:
3469:Alfred Sisley
3467:
3465:
3462:
3460:
3457:
3455:
3452:
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3447:
3445:
3442:
3440:
3439:Rachel Ruysch
3437:
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3424:François Rude
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3405:
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3359:Clara Peeters
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3328:
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3290:Henri Matisse
3288:
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3280:Édouard Manet
3278:
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3275:René Magritte
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3200:Edward Hopper
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3135:Luca Giordano
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3090:Thomas Eakins
3088:
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3075:Carolus-Duran
3073:
3071:
3068:
3066:
3063:
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3058:
3056:
3053:
3051:
3050:Salvador DalĂ
3048:
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3043:
3041:
3040:Terence Cuneo
3038:
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3026:
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2945:Eugène Boudin
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2875:Giacomo Balla
2873:
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2870:Francis Bacon
2868:
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2858:
2856:
2853:
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2850:Ivan Albright
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2789:Musée d'Orsay
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2501:CAMP BARKELEY
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2019:
2015:
2011:
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1948:1-55595-139-2
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1884:9780807830871
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1875:LIFE Magazine
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1417:September 13,
1413:
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1377:
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1324:
1319:
1313:
1299:on 2015-09-24
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1166:
1154:
1148:
1145:
1133:
1127:
1124:
1113:on 2014-04-17
1112:
1108:
1107:"Collections"
1102:
1099:
1087:
1083:
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1074:
1068:
1064:
1061:
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1023:
1019:
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998:
997:Camp Barkeley
993:
991:
987:
986:Joseph Hirsch
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826:
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811:
809:
807:
803:
799:
795:
790:
786:
782:
778:
773:
770:
769:LIFE Magazine
766:
762:
758:
754:
750:
746:
744:
736:
733:
731:
729:
725:
717:
714:
713:
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703:
695:
693:
691:
690:
685:
681:
674:
671:
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662:
658:
655:
652:
648:
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641:
639:, August, GA
638:
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627:
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527:
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523:
518:
517:
513:
511:
508:
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502:
497:
494:
490:
483:Illustrations
482:
477:
473:
472:The Plainsman
470:
467:
463:
460:
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453:
450:
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443:
440:
437:
433:
430:
429:
425:
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421:
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390:conquistadors
387:
383:
379:
375:
368:
364:
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359:
354:
349:
341:
339:
336:
331:
328:
323:
316:
312:
306:
303:
301:
298:
294:
293:The Homestead
287:
286:The Homestead
283:
277:
276:The Homestead
274:
272:
270:
266:
262:
258:
254:
250:
246:
245:The Homestead
242:
234:
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225:
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220:
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210:
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69:
68:
64:
63:
58:
51:
50:
45:
38:
36:
32:
30:
29:
21:
16:
3666:American art
3637:
3630:
3623:
3615:
3409:Diego Rivera
3344:Edvard Munch
3331:Water Lilies
3330:
3325:Claude Monet
3305:Michelangelo
3270:August Macke
3240:Gustav Klimt
3210:John Ingleby
3120:Paul Gauguin
3100:Jan van Eyck
3044:
3005:Marc Chagall
3000:Paul CĂ©zanne
2995:Mary Cassatt
2663:
2655:
2647:
2639:
2631:
2626:
2574:
2553:
2526:. Retrieved
2522:
2512:
2500:
2495:
2478:
2472:
2458:
2451:
2419:
2407:. Retrieved
2402:
2389:
2358:
2352:
2340:. Retrieved
2335:
2322:
2310:. Retrieved
2305:
2292:
2280:. Retrieved
2271:
2258:
2246:. Retrieved
2241:
2228:
2197:
2191:
2182:
2173:
2164:
2155:
2149:
2140:
2134:
2125:
2121:
2115:
2106:
2102:
2096:
2071:
2067:
2061:
2040:
2032:
2008:
2001:
1993:the original
1988:
1979:
1967:. Retrieved
1957:
1938:
1910:
1888:. Retrieved
1874:
1864:
1841:. Retrieved
1826:
1819:
1810:
1799:. Retrieved
1794:
1785:
1766:
1740:. Retrieved
1735:
1726:
1715:. Retrieved
1710:
1701:
1690:
1682:
1666:
1661:
1637:
1630:
1610:
1603:
1584:
1578:
1569:
1560:
1551:
1532:
1526:
1507:
1501:
1490:. Retrieved
1446:. Retrieved
1436:
1427:
1415:. Retrieved
1409:
1400:
1389:. Retrieved
1379:
1368:. Retrieved
1358:
1347:
1336:. Retrieved
1326:
1301:. Retrieved
1294:the original
1281:
1270:. Retrieved
1260:
1249:. Retrieved
1239:
1228:. Retrieved
1210:
1199:. Retrieved
1189:
1178:. Retrieved
1168:
1157:. Retrieved
1147:
1136:. Retrieved
1126:
1115:. Retrieved
1111:the original
1101:
1090:. Retrieved
1076:
1021:
1015:
994:
968:War Art Unit
965:
955:
951:
947:
945:
940:
938:
933:
925:
924:
911:
910:
905:
898:
889:
883:
877:
869:Regionalists
865:
844:
834:
824:
815:
805:
802:The Fugitive
801:
797:
793:
776:
774:
768:
756:
752:
748:
742:
739:
734:
721:
710:
702:Lucky Strike
699:
687:
677:
672:
659:, 1942, for
656:
643:Lucky Strike
630:
625:
620:
613:
606:
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592:
587:
574:
565:
556:
547:
538:
529:
520:
506:
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486:
471:
461:
451:
442:The Fugitive
441:
431:
411:abolitionist
405:
403:
397:
393:
385:
371:
356:
334:
332:
321:
319:
314:
304:
292:
290:
285:
275:
248:
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201:
188:
178:
170:
164:
158:
148:
138:
132:
122:
110:
101:
92:
82:
70:
60:
47:
33:
25:
23:
15:
3225:Frida Kahlo
3095:James Ensor
3065:Edgar Degas
3025:Thomas Cole
2730:By gallery/
2660:(1937–1942)
2652:(1936–1937)
2544:Works cited
1048:The Surgeon
982:Peter Blume
845:The Surgeon
765:Augusta, GA
549:Thunderhead
522:The Prairie
493:Harvey Dunn
361:, mural by
297:fence posts
145:, Omaha, NE
139:The Manhunt
26:artwork by
3655:Categories
3399:Guido Reni
3379:Frans Post
3170:Frans Hals
2990:Caravaggio
2732:collection
2528:2014-04-17
2439:|url=
2186:Junker 237
2168:Junker 236
1890:2014-03-06
1843:2014-04-17
1837:0226159426
1801:2014-04-17
1742:2014-04-17
1732:"C page 5"
1717:2014-04-17
1707:"C page 7"
1492:2014-04-17
1391:2014-04-17
1370:2014-04-17
1366:. Kshs.org
1338:2014-04-17
1303:2014-04-17
1272:2014-04-17
1251:2014-04-17
1230:2014-04-17
1201:2014-04-17
1180:2014-04-17
1159:2014-04-17
1138:2014-04-17
1117:2014-04-17
1092:2014-04-17
1069:References
962:Combat art
856:Background
767:. Curry's
594:Boys' Life
462:John Brown
346:See also:
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3394:Rembrandt
3235:Paul Klee
3165:Hans Gude
2985:Canaletto
2838:By artist
2620:Paintings
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820:include:
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747:released
678:In 1941,
452:Elephants
365:, in the
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3285:Masaccio
3160:El Greco
2960:Bronzino
2485:via the
2430:cite web
2409:10 April
2363:ProQuest
2342:10 April
2312:10 April
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2276:Archived
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775:Curry's
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3609:Related
3548:By type
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1268:. MMoCA
818:war art
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2668:(1942)
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