550:, actress Julia Marlowe, and producer David Belasco. They were able to introduce him to a social elite in Manhattan that included interior designer Elsie de Wolfe and architect Stanford White. As a result, "Shinn did a number of murals for houses built by Stanford White and for many houses and apartments decorated by Elsie de Wolfe." His clients were usually interested in a Louis XVI style called "rococo revivalism." The ceilings and pianos in Clyde Fitch's apartments were also decorated by Shinn, and Fitch was happy to recommend his services to other wealthy acquaintances. It was a lucrative arrangement and a somewhat incongruous one for a man who also painted dock workers and brawling barflies. Shinn's most lasting contribution in this area, recently restored, are the murals he painted for Belasco's Stuyvesant Theatre (today the Belasco Theatre), which opened in 1907 and is still a prominent Broadway playhouse. About this space, one theater historian has written: "The rich walnut paneling, ornamental Tiffany lamps, and eighteen murals by Everett Shinn created a warm, comfortable setting for Belasco's standard mix of dazzling scenic effects and melodramatic hokum."
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588:"Except for one exhibition at Knoedler's in 1920," his biographer writes, "Everett Shinn does not seem to have exhibited paintings between 1910 and 1937." (In 1937, Shinn was included in the Whitney Museum's "New York Realists" show, which was, in essence, a reunion of the major Ashcan painters now that their day had passed.) The 1940s saw his work included in more museum exhibitions, though, and just prior to his death he was taken on by the prestigious James Graham Gallery in New York. In his best years, Shinn was well-paid and owned large houses in Connecticut and Upstate New York, but he went through a vast amount of money (along with four wives and numerous mistresses) and was financially straitened in his final days.
909:, 1906 (oil pastel on canvas). This painting is representative of Shinn's work depicting theater scenes, his favorite subject, and an intricate set design, another of Shinn's hobbies. The artist portrays of a group of dancers, clad in mostly white, onstage with a detailed backdrop of picturesque hills and a garden. The brushstrokes are broad and wide, giving the painting has a vivid sense of immediacy; the figures within the painting almost seem to be moving. The painting has a faintly dream-like quality, making it seem more impressionist than realist in style. Stagestruck from youth, Shinn never tired of depicting the theater as a place of energy, skill, and satisfying illusion.
875:, a group of men stand on the right side of the drawing, watching a fistfight outside a bar. Both black and white men are represented in the drawing, an unusual feature for period, which added to its controversial nature. The bold, sketchy quality of the brushstrokes makes the subjects appear appropriately uneasy and off-balance. The bulk of the drawing is heavily on the right side with much more open urban space depicted on the left. Though Shinn is often associated with portrayals of more elegant settings (notably, theater interiors), this drawing is typical of his equally pronounced interest in working-class subjects and is a classic example of Ashcan realism.
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360:, another artist from New Jersey; in 1912 they divorced, and in 1913 he married Corinne Baldwin, going on to have two children, Janet and David. By 1933 Shinn had divorced two more wives and was the subject of many tabloid rumors. Though he exhibited less frequently later in his life, Shinn had a well-established career by the 1920s but suffered serious financial losses during the Depression and sold very few paintings during that time. Between 1937 and his death in 1953, Shinn received several awards for his innovative paintings and participated in a number of exhibitions; he would always be associated, however, with the achievements of the
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social and intellectual, is often thought of a point of origin for what became known as the Ashcan school of
American art. To his friends and fellow artists, Henri (the elder statesman of the group) urged the study of Whitman, Emerson, Zola, and Ibsen and the need for painters to forge a new style of art that spoke more to their time and experience. He believed that younger artists should look to the modern city for their subject matter and paint in a freer, less academic style than art lovers of the time were accustomed to. It was an outlook with which Shinn readily agreed.
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to
Chicago, occasioned considerable comment in the press about appropriate styles and content in art and gave the Ashcan painters more national publicity than they had previously enjoyed. The exhibiting artists, known as The Eight, included five realists (Shinn, Henri, Sloan, Glackens, and Luks) and three other artists (Arthur B. Davies, Ernest Lawson, Maurice Prendergast) who painted in a less realistic, more impressionistic style. Among the paintings Shinn chose to exhibit with The Eight was
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deftly-made drawings in the spirit of a latter-day
Watteau or Boucher. This resistance to the changing era he was living in accounts, in part, for his declining place in art history after his death. His style, in the view of many observers, also took on a more facile, commercial quality, and some of his later works, like the murals painted for the bar of the Plaza Hotel, have an essentially nostalgic aim, reimagining in the 1940s the world of hansom cabs and city streets lighted by gas-lamps.
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Letters. Shinn's commitment to the high life and to interior decoration rubbed a
Socialist and true urban realist like Sloan the wrong way. Yet Shinn had never claimed for himself a political stance in his art or intended to narrow his interests in service to a movement or school of art. His best works effectively capture a slice of American urban life in the first years of the twentieth century, in both a realist and a romantic spirit, and his most ambitious paintings (
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February 1908, Shinn exhibited in a legendary exhibition at the Macbeth Galleries in New York that was intended as a protest against the conservative tastes and restrictive exhibition practices of the powerful National Academy of Design. The show, which also traveled to several cities from Newark
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as an informal alternative art school. The group, which included Henri, Sloan, Shinn, and fellow illustrators and would-be painters like
William Glackens and George Luks, reached a peak membership of thirty-eight and sketched nudes and critiqued of each other's work. The club, which was both ribaldly
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Shinn left no record or notes of any kind about his time in Europe, but it is generally assumed that he saw the work of
Daumier, Degas, and Lautrec while in France and Walter Sickert while in England. Echoes of the style of all four artists can be found in Shinn's work, especially in the affinity he
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or in his renderings of election rallies and matinee crowds. Shinn had a particular interest in scenes of drama (accidents, buildings on fire) and street violence. His preferred medium at this time when not drawing for the newspaper was pastel, the medium least associated with the grittiness of his
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as the new art form that eventually replaced drawing as the principal source of visuals in all
American newspapers.) Shinn moved from paper to paper for the rest of his illustrating career, receiving a larger salary with each move. The ability to convey animated movement and the attention to detail
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Shinn's relations with other members of The Eight, most of whom remained friendly into their later years, were never strong. "He was an accidental member of The Eight," John Sloan remarked in the late 1940s when he cast a vote against Shinn's nomination for membership in the
Institute of Arts and
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Shinn also started displaying his paintings and pastels publicly in 1899 to mixed reactions. In 1900, he and
Flossie traveled to Europe to allow him an opportunity to study other painters and to prepare to produce enough work for another exhibition. The trip influenced his art in years to come; he
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of modern art and, in fact, became over the years a confirmed anti-Modernist, expressing nothing but disdain for Picasso and Matisse. He remained a representational artist all his life with no interest in stylistic experimentation, and throughout the 1910s and 1920s he cultivated a market for
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Shinn was the youngest member of The Eight. Though his work is varied and resistant to easy categorization, it is considered most commonly in art histories in the context of The Eight and the Ashcan school, designations that do not quite fit the range of his individual vision.
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at that time.) He was joined shortly after by his wife, Flossie, and by other members of the Charcoal Club. Shinn enjoyed living in the city and observing the hustle and bustle of Manhattan. His fascination with the intensity of urban life is evident in paintings like
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See Leo G. Mazow, "Everett Shinn's Time Warp" and, on the spectacular renovation of the Belasco and Shinn's murals in 2012, Adam Feldman, "Broadway Theaters are Beautiful, but the Newly Refurbished Belasco Shines the Brightest"
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the true beginning of his art career. He was entering the field of newspaper illustration in its heyday, and he was a draughtsman of great facility. (In later years, Shinn would express his dismay over the development of
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Shinn started as a newspaper illustrator in Philadelphia, demonstrating a rare facility for depicting animated movement, a skill that would, however, soon be eclipsed by photography. Here he worked with
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necessary for his newspaper illustrations is reflected in Shinn's paintings and pastels, especially those treating urban themes. In 1899, he quit the newspaper business and began working for
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shares with Degas in depictions of stages marked by unusual croppings and compositions. Some of these paintings, like
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Shinn became friendly with a number of major theater professionals in New York, including playwright
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went to school, a school now lamentably extinct…a school that trained memory and quick perception."
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was especially taken with Impressionism and European art that focused on depictions of the theater.
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in Philadelphia, where he studied mechanical drawing. The following year he took classes at the
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Mazow, Leo G. "Everett Shinn's Time Warp" (pp. 129–137) in Elizabeth Kennedy (ed.),
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subject matter. He is the only Ashcan artist to produce a large body of work in pastel.
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290:(November 6, 1876 – May 1, 1953) was an American painter and member of the urban realist
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Unlike the other members of The Eight, Shinn did not exhibit in the famous 1913
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The references used may be made clearer with a different or consistent style of
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Most art historians, as well as Shinn himself, consider his employment by the
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Biographical information for this entry is taken from Edith DeShazo,
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In 1897, Shinn was offered a higher paying job as an illustrator for
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Life's Pleasures: The Ashcan Artists' Brush with Leisure, 1895–1925
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1900, February 26–April 4: Boussod, Valadon & Co., New York
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Metropolitan Lives: The Ashcan Artists and Their New York
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American Painting from the Armory Show to the Depression.
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1946, November 19–December 7: American British Art Center
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Everett Shinn biography at artfact.com (auction website)
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It was during Shinn's time in Philadelphia that artists
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The Orchestra Pit: Old Proctor's Fifth Avenue Theater
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The Orchestra Pit: Old Proctor's Fifth Avenue Theater
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The Orchestra Pit: Old Proctor's Fifth Avenue Theater
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1937, February 9–March 5: "New York Realists at the
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1160:1952, November: James Graham & Sons, New York
1457:Everett Shinn biography (Illustration-house.com)
214:Self-portrait done in 1901 in his charcoal style
1392:Everett Shinn, 1876–1953: A Figure in His Time.
1191:Everett Shinn, 1876–1953: A Figure in His Time.
1135:1920, June–August: Knoedler & Co., New York
1126:exhibition at the Macbeth Galleries, New York
1090:1903, March 9–21: Knoedler & Co. New York
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1387:Princeton: Princeton University Press, 1955.
1421:Chicago: University of Chicago Press, 1009.
1310:Broadway Theatres: History and Architecture
53:Learn how and when to remove these messages
1321:John Loughery, "An Event at Macbeth's" in
1129:1910, April: American Watercolor Society,
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1000:(1905): Fine Arts Museum of San Francisco
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490:Artists, circa 1896. L-R: Everett Shinn,
186:Learn how and when to remove this message
168:Learn how and when to remove this message
106:Learn how and when to remove this message
1452:National Portrait Gallery artist profile
438:Shinn has said of his experience at the
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131:This article includes a list of general
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1439:Everett Shinn: The Spectacle of Life
877:Spoiling for a Fight, New York Docks
1473:Everett Shinn collection, 1877-1958
1394:New York: Clarkson N. Potter, 1974.
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1019:(1906): Yale University Art Gallery
1557:20th-century American male artists
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1419:The Eight and American Modernisms.
1228:DeShazo, p. 145 and Hunter, p. 33.
137:it lacks sufficient corresponding
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1412:John Sloan: Painter and Rebel.
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385:"the dandy of the realists."
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158:December 2019
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1148:, Pittsburgh
1144:1944, Fall:
1123:
1070:Dayton, Ohio
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533:Curtain Call
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492:Robert Henri
464:Robert Henri
461:
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437:
431:
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422:Vanity Fair,
421:
418:
414:
404:
402:
397:
378:The "Genius"
376:
351:
333:
316:The "Genius"
312:Robert Henri
296:
287:
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247:(1953-05-01)
182:
164:
155:
136:
102:
93:
74:
50:
43:
37:
36:Please help
33:
1512:1953 deaths
1507:1876 births
797:, June 1916
795:Vanity Fair
582:Armory Show
548:Clyde Fitch
468:Joseph Laub
452:George Luks
410:photography
375:1915 novel
304:George Luks
245:May 1, 1953
150:introducing
1501:Categories
1177:References
1108:Pittsburgh
830:improve it
562:Later life
531:(1903) or
456:John Sloan
383:Sam Hunter
322:Early life
308:John Sloan
266:set design
226:1876-11-06
133:references
88:footnoting
39:improve it
1299:3/26/13).
1124:The Eight
1044:Tennessee
873:The Fight
869:The Fight
846:July 2022
834:verifying
748:, 1910 –
419:Harper's,
276:Modernism
45:talk page
1246:Wong, p.
1165:See also
1131:New York
1064:(1924):
1038:(1910):
1025:(1910):
1006:(1906):
965:(1902):
952:(1901):
939:(1900):
930:(1900):
921:(1906):
897:Eviction
895:(1903),
891:(1901),
887:(1899),
883:(1899),
879:(1899),
686:Eviction
272:Movement
262:Painting
84:citation
1490:at the
1378:Sources
993:Chicago
971:Chicago
828:Please
703:, 1906
628:1889 –
612:Gallery
280:realism
146:improve
781:, 1912
766:, 1912
733:, 1910
718:, 1909
688:, 1904
673:, 1903
646:, 1903
592:Legacy
432:Judge.
389:Career
236:, U.S.
135:, but
644:Revue
520:Fight
511:World
428:Look,
425:Life,
1267:194.
518:and
430:and
306:and
242:Died
220:Born
86:and
1481:at
982:at
832:by
505:'s
1503::
1116:,
1106:,
1068:,
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366:c.
318:.
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51:(
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