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industrial features such as bridges, smoke stacks, and skyscrapers. Demuth's "Aucassin and
Nicolette," which can be viewed below, is an exemplary work of Precisionist art. Notable features include the highly structured scene lacking figures, depiction of an industrial setting, and sharp linearity created by geometric figures with no hint of abstraction. Demuth's works of this nature have been perceived as
370:. Painted during a period of recovery from illness, these paintings portray their respective painters and writers and performers through referential objects and language, as opposed to literal depictions. These works proved to be a challenge for critics. One reviewer described the works as having been made in “a code for which we have not the key.”
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322:, a painting whose title and medallion-like arrangement of angled forms were both inspired by a verse the poet wrote after watching a fire engine streak past him on a rainy Manhattan street while waiting for Marsden Hartley, whose studio he was visiting, to answer his door." Describing its importance,
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Charles Demuth was born on 8 November 1883 in
Lancaster, Pennsylvania. In 1889, when Demuth was 6 years old, his family moved to an 18th-century house at 120 East King Street. In the colonial period, the house had been a tavern. Demuth's Tobacco Shop, owned and run by his family since 1770, was next
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Throughout his career, Demuth remained deeply attached to
Lancaster. The city's modest commercial and civic architecture was the subject of hundreds of his watercolors and paintings. His depictions of warehouses, factories and row houses imbue these ordinary structures (sometimes ironically) with a
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wrote: "It's the best work in a genre Demuth created, the 'poster portrait'. It's a witty homage to his close friend, the poet
William Carlos Williams, and a transliteration into paint of his poem, 'The Great Figure'. It's a decidedly American work made at a time when U.S. artists were just moving
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art movement, which began to evolve in
America around 1915. Demuth's works often depicted a specific range of forms in a quasi-Cubist, sharply defined manner, a characteristic of Precisionism. Frequently occurring scenes within Demuth's works are urban and rural landscapes, often consisting of
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Demuth spent most of his life in frail health. By 1920, the effects of diabetes had begun to severely drain Demuth of artistic energy. He died at his residence in
Lancaster County, Pennsylvania at the age 51 of complications from diabetes. He is buried at the Lancaster Cemetery.
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as a treatment. Demuth pronounced his surname with emphasis upon the first syllable, earning him the nickname "Deem" among close friends. From 1909 onward, Demuth maintained a romantic relationship with Robert Evans Locher, an Art Deco interior decorator and stage designer.
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213:(1927), invites the viewer to compare the massive volumetric forms to pharaonic monuments like the pyramids. In 1907 he painted his first self-portrait in oil. Demuth attended Franklin and Marshall College and later pursued graduate study in art in Philadelphia.
417:. According to the exhibit notes from the Amon Carter show, Demuth's will left many of his paintings to Georgia O'Keeffe. Her strategic decisions regarding which museums received these works cemented his reputation as a major painter of the Precisionist school.
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Robinson, Ryan (July 30, 2001). "Demote group honors couple for restoration of artist's fame, home: Gerald and
Margaret Lestz were presented with a bronze plaque for their work with the Demuth Foundation Sunday". No. B 1–2. Lancaster PA New
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by walking up to a table of
American artists and asking if he could join them. He had a great sense of humor, rich in double entendres, and they asked him to be a regular member of their group. Through Hartley, he met
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beyond
European influences. It's a reference to the intertwined relationships among the arts in the 1920s, a moment of cross-pollination that led to American Modernism. And it anticipates pop art."
774:, written by the U.S. National Gallery of Art (with an emphasis towards the 291's role in painting rather than photography, see bottom of page for Demuth and Anderson and Intimate galleries)
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Demuth began a series of paintings in 1919, inspired by the architecture of
Lancaster. In creating these works, Demuth opted not to use watercolors, instead created the works in oil and
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Demuth, a gay artist, was a regular patron at the Lafayette Baths. His sexual exploits there are the subject of watercolors, including his 1918 homoerotic self-portrait set in a
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The work is one of 10 poster portraits Demuth intended to create to honor his creative friends. The six completed ones were in homage to Williams plus
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door. Demuth lived at the King Street house with his mother, Augusta for the rest of his life. He maintained a small studio on the second floor.
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art scene. The Parisian artistic community was accepting of Demuth's homosexuality. After his return to America, Demuth retained aspects of
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144:, "and you will discover few watercolors more beautiful than those of Charles Demuth. Combining exacting botanical observation and loosely
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grandeur and glamor normally associated with cathedrals, palaces and temples. For example, his image of two Lancaster grain silos, titled
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Demuth either suffered an injury when he was four years old, or may have had polio or tuberculosis of the hip, leaving him with a marked
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abstraction, his watercolors of flowers, fruit and vegetables have a magical liveliness and an almost shocking sensuousness."
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and requiring him to use a cane. He later developed diabetes and was one of the first people in the United States to receive
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Speaking for vice : homosexuality in the art of Charles Demuth, Marsden Hartley, and the first American avant-garde
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Speaking for vice: homosexuality in the art of Charles Demuth, Marsden Hartley, and the first American avante-garde
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The Wall Street Journal, Judith H. Dobrzynski, "Where Paint and Poetry Meet" retrieved July 10, 2010
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styles and ideas, most notably Cubism, the influence of which is reflected in many of his works.
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during trips to Europe between 1907 and 1921. On frequent trips to New York City, he encountered
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at his boarding house. The two were fast friends and remained close for the rest of their lives.
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Emily Farnham papers relating to Charles Demuth, 1955–1958 (0.42 linear feet) are housed at the
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393:. Additionally, these works are larger than many of his others. They possess a balance between
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881:. Demuth, Charles, 1883-1935., Hartley, Marsden, 1877-1943. New Haven: Yale University Press.
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Demuth, along with Georgia O'Keeffe and Charles Sheeler, was a major contributor to the
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and became a member of the Stieglitz group. In 1926, he had a one-man show at the
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Charles Demuth papers, circa 1890–1936 (98 items on microfilm) are housed at the
121:(November 8, 1883 – October 23, 1935) was an American painter who specialized in
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lancasteronline.com/...charles/article_59a09ca2-83e3-11e5-bdc2-7f46f68fcc1c.html
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depicting factory buildings in his hometown. He finished the last of the seven,
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Ferdinand Howald papers, 1918–1973 (86 items on microfilm) are housed at the
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Herberholz, Barbara (March 2002). "The home and studio of Charles Demuth".
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Chimneys and towers: Charles Demuth's late paintings of Lancaster
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Out of the Past, Gay and Lesbian history from 1869 to the present
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Chimneys and Towers: Charles Demuth’s Late Paintings of Lancaster
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665:"A Watercolorist Who Turned His Hand to Oils of Heroic Vision"
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established to preserve and promote the art of Charles Demuth
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late in his career, developing a style of painting known as
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and abstraction. In 1927, Demuth started a series of seven
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Parfitt, Oliver. Brigstocke, Hugh (ed.). "Precisionism".
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Demuth: out of the chateau: works from the Demuth Museum
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Charles Demuth, Andrew Carnduff Ritchie, Charles Demuth
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Letters of Charles Demuth, American artist, 1883–1935
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retrospective of his work, displayed in 2008 at the
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405:in 1933. Six of the paintings were highlighted in
88:Lancaster Cemetery, Lancaster, Pennsylvania, U.S.
992:Pennsylvania modern: Charles Demuth of Lancaster
967:By Museum of Modern Art (New York, N.Y.), 1950,
155:. The home he shared with his mother is now the
800:ART VIEW; Precisionism and a Few of Its Friends
1106:Demuth.org: "About the Artist: Charles Demuth"
159:, which showcases his work. He graduated from
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866:. Oxford Art Online. Oxford University Press.
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909:: CS1 maint: multiple names: authors list (
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136:"Search the history of American art," wrote
1029:. New York: Whitney Museum of American Art.
994:. Philadelphia: Philadelphia Museum of Art.
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603:Study for Poster Portrait, Marsden Hartley
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1335:Deaths from diabetes in the United States
1015:. New Haven: Yale University Art Gallery.
813:"Enigmatic portraits by Charles Demuth".
1036:. Philadelphia, Temple University Press.
987:. New York: Watson-Guptill Publications.
636:, 1928, Museo Thyssen-Bornemisza, Madrid
186:in Paris, where he became a part of the
1008:. Norman: University of Oklahoma Press.
847:Costanzo, Dennis. "Industrial scenes".
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1006:Charles Demuth; behind a laughing mask
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1001:. Fort Worth, TX: Amon Carter Museum.
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1340:Artists from Lancaster, Pennsylvania
1050:. New Haven: Yale University Press.
862:Fahlman, Betsy. "Demuth, Charles".
834:The Oxford Companion to Western Art
798:The New York Times, Roberta Smith,
1355:20th-century American male artists
1330:History of Lancaster, Pennsylvania
1325:Culture of Lancaster, Pennsylvania
877:Weinberg, Jonathan, 1957- (1993).
663:Johnson, Ken (February 27, 2008).
386:in light of their subject matter.
286:In Vaudeville (Dancer with Chorus)
151:Demuth was a lifelong resident of
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1365:19th-century American LGBT people
1360:20th-century American LGBT people
1310:American Figurative Expressionism
169:Pennsylvania Academy of Fine Arts
1022:. Westport, CT: Greenwood Press.
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498:Turkish Bath with Self Portrait
161:Franklin & Marshall Academy
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415:Whitney Museum of American Art
354:. The others were planned for
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320:I Saw the Figure Five in Gold
253:While he was in Paris he met
119:Charles Henry Buckius Demuth
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1192:Bermuda No. 2, The Schooner
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467:Bermuda No. 2, The Schooner
302:was inspired by his friend
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1173:I Saw the Figure 5 in Gold
1018:Harnsberger, R.S. (1992).
851:. Oxford University Press.
836:. Oxford University Press.
802:retrieved October 26, 2008
298:I Saw the Figure 5 in Gold
295:His most famous painting,
290:Philadelphia Museum of Art
244:Metropolitan Museum of Art
239:I Saw the Figure 5 in Gold
1315:Académie Colarossi alumni
1062:Sterling Memorial Library
1032:Kellner, B., ed. (2000).
242:1928, collection of the
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1275:American modern painters
821:(630): 10. January 1995.
1265:American watercolorists
1157:Mountain with Red House
1080:Archive of American Art
1073:Smithsonian Institution
1069:Archive of American Art
969:Andrew Carnduff Ritchie
558:Incense of a New Church
483:Trees and Barns Bermuda
328:The Wall Street Journal
304:William Carlos Williams
173:William Carlos Williams
153:Lancaster, Pennsylvania
77:Lancaster, Pennsylvania
58:Lancaster, Pennsylvania
1350:American male painters
1320:Académie Julian alumni
983:Eiseman, A.L. (1982).
618:Sail: In Two Movements
588:Aucassin and Nicolette
427:Victorian Turkish bath
314:described the work in
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167:and at Philadelphia's
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928:Miller, Neil (1995).
706:Arts & Activities
605:(1921) (c. 1923–1924)
421:Later years and death
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1295:American gay artists
1039:Lampe, A.M. (2007).
1025:Haskell, B. (1987).
1011:Frank, R.J. (1994).
1004:Farnham, E. (1971).
997:Fahlman, B. (2007).
990:Fahlman, B. (1983).
936:. Vintage. pp.
324:Judith H. Dobrzynski
178:He later studied at
1064:at Yale University.
163:before studying at
770:2015-12-22 at the
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1285:1883 births
712:(2): 48–50.
384:pessimistic
340:Arthur Dove
276:avant-garde
188:avant garde
138:Ken Johnson
123:watercolors
1249:Categories
888:0300053614
642:References
352:Bert Savoy
348:John Marin
198:Early life
97:Watercolor
50:1883-11-08
1200:Machinery
1149:Paintings
905:cite book
750:16 August
409:, a 2007
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306:'s poem "
272:modernism
1184:Drawings
1165:My Egypt
897:27684835
768:Archived
210:My Egypt
107:Movement
101:Painting
1227:Related
1211:Museums
1097:website
1071:of the
729:30 July
395:realism
391:tempera
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380:ironic
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192:Cubism
146:Cubist
79:, U.S.
60:, U.S.
38:, 1907
942:ISBN
915:link
911:link
893:OCLC
883:ISBN
752:2022
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