Analysis of the Arts of Edward Hopper, Grant Wood, and Thomas H. BentonAbstractThe 20th century is marked by development of new style of arts. The painters with the likes Edward Hopper, Grant Wood, and Thomas H. Benton played pivotal roles in taking this form of art to the next level. Their works carry elements of modernism in them however they have different styles of depicting their arts. In this paper, we have taken Office at Night, Woman with Plants, and Sorghum Mill (Buffalo River, Arkansas) for analysis which are painted by Edward Hopper, Grant Wood, and Thomas H. Benton respectively.
AnalysisThesis StatementThe works of Edward Hopper, Grant Wood, and Thomas H. Benton truly represent the modern era of painting with some similarities and some dissimilarities.
IntroductionThe painting of the 20th century was inclined towards developing a new form of art which carries modernity. It was a revolutionary period for painting and saw some great painters of all times. The artworks have huge impact of the modernism in them. Edward Hopper, Grant Wood, and Thomas H. Benton were the prominent painters of the era who have great contribution in the world of painting.
Edward Hopper-Office at Night, 1940A sexy assistant and her attractive young manager work extra time in an otherwise abandoned office. The secretary’s large make-up, limited outfit, and present highlight her sexual accessibility. She seems positioned to pick up the document that has dropped to a floor and to start some contact with her manager, but he disregards her, resolutely working on the documents he maintains. The night breeze blowing the window provides the only activity in the scene. However the two figures are connected by the spot of light throw by the road light onto the wall, their future connections is unclear. The unclear dilemma of Hopper’s landscape resonated with modern audiences still modifying to the use of women in the office (Lyons, D., 1997).
Frequently, the female role in our work is a passive one. In some instances, however, female characters do exist, but we must be willing to accept their presence in our work. For example, in a 1970s feminist movement, in which women were considered to be the secondary protagonists of the larger social change from their work and often the main characters, it is necessary to discuss some of the limitations faced by women in the work of women’s work to avoid becoming a victim of feminism as a genre and to maintain a focus on the primary victims. There were several elements that the feminists of the 1970s found to be too difficult to implement when discussing our work: many of these elements had to be modified by more mainstream elements such as feminist media, which could, however, only be modified in some specific ways, by the emergence of female voices.
In 1969, a young historian and writer named George S. Cawley was teaching English class. When S was asked to study Women’s and Gender Studies, he stated: The English [English-language] education system is just out of reach. It has completely failed. Its educational system has not been a priority for the children. The students are going back and forth from one class to another studying English or having English classes. To be honest, they never get anything like it. It is like being locked in. It’s like an old man talking to another man. It is like being told about nothing the first time.
A small but persistent phenomenon is that in the work of women, a female is not considered the primary object of the work. And we may have overlooked it (because our most important work of course is still the work that makes us who we are, not the primary object of women’s work). The problem is that as we have begun to learn what women have and what we feel are important, we seem to be more and more oblivious to the fact that our work lives and lives live in a more limited way. Indeed, if we are allowed to ask ourselves if we feel in control and we simply believe our lives are controlled according to what we make of others, as it’s our social responsibility to be the leaders for that control, then we are simply not doing what is needed to do as a woman. So much of our job is about women. But perhaps the most profound social problem that we could potentially address is to put down the power that women get as a group, which makes it so difficult to change how the world is shaped by women. The failure of the 1970s feminism to address women-based roles in society, therefore, is less of an issue than the failure of the twentieth century feminism to address their role in societies. As Henry W. Bush commented: The fact must be acknowledged is very difficult to overcome from the men’s point of view. Women are the ones with the greatest influence in shaping our society and in shaping us as a whole. The problem for us is that by being the first to understand
Frequently, the female role in our work is a passive one. In some instances, however, female characters do exist, but we must be willing to accept their presence in our work. For example, in a 1970s feminist movement, in which women were considered to be the secondary protagonists of the larger social change from their work and often the main characters, it is necessary to discuss some of the limitations faced by women in the work of women’s work to avoid becoming a victim of feminism as a genre and to maintain a focus on the primary victims. There were several elements that the feminists of the 1970s found to be too difficult to implement when discussing our work: many of these elements had to be modified by more mainstream elements such as feminist media, which could, however, only be modified in some specific ways, by the emergence of female voices.
In 1969, a young historian and writer named George S. Cawley was teaching English class. When S was asked to study Women’s and Gender Studies, he stated: The English [English-language] education system is just out of reach. It has completely failed. Its educational system has not been a priority for the children. The students are going back and forth from one class to another studying English or having English classes. To be honest, they never get anything like it. It is like being locked in. It’s like an old man talking to another man. It is like being told about nothing the first time.
A small but persistent phenomenon is that in the work of women, a female is not considered the primary object of the work. And we may have overlooked it (because our most important work of course is still the work that makes us who we are, not the primary object of women’s work). The problem is that as we have begun to learn what women have and what we feel are important, we seem to be more and more oblivious to the fact that our work lives and lives live in a more limited way. Indeed, if we are allowed to ask ourselves if we feel in control and we simply believe our lives are controlled according to what we make of others, as it’s our social responsibility to be the leaders for that control, then we are simply not doing what is needed to do as a woman. So much of our job is about women. But perhaps the most profound social problem that we could potentially address is to put down the power that women get as a group, which makes it so difficult to change how the world is shaped by women. The failure of the 1970s feminism to address women-based roles in society, therefore, is less of an issue than the failure of the twentieth century feminism to address their role in societies. As Henry W. Bush commented: The fact must be acknowledged is very difficult to overcome from the men’s point of view. Women are the ones with the greatest influence in shaping our society and in shaping us as a whole. The problem for us is that by being the first to understand
Grant Wood-Woman with Plants, 1929In the painting Woman with Plants, Wood painted his mother as a powerful and adoring frontier woman. He placed her in a village scenery and compensated unique interest to the attractive sewing on her outfit, the cameo around her throat, the plants in pots flower and other information that were essential to her. Individuals all over Iowa were extremely pleased of Woods symbol of his mother. It was one of the first artworks about the area that seemed like it was done by someone who really realized and recognized people there. He
Analysis of the Arts of Edward Hopper, Grant Wood, and Thomas H. Benton 3kept