Everett Shinn
Woman Pulling on a Slip
c. 1910

Name: Woman Pulling on a Slip
Brand: Everett Shinn
Price: 15000 USD
Availability: InStock

About the Item

Woman Pulling on a Slip Conte on paper, c. 1910 Signed lower right: "E. Shinn" (see photo of legs, signature on right) Provenance: Estate of the Artist (see label) Graham Gallery, New York (see label) Everett Shinn (1876-1953) In 1897, Shinn moved to New York City to work as an illustrator at the New York World. He became fascinated by the drama of the city. While visiting Europe in 1900, Shinn took interest in the work of the Impressionists, particularly those of Degas. Degas’ influence can be read in Shinn’s depictions of American theater. From his acquaintances in the theater world, Shinn began to paint decorative “rococo revivalist” murals in the homes of the wealthy elite. He also worked extensively in pastel, portraying the rough life of the city. In 1908, Shinn exhibited alongside his Charcoal Club associates, with the addition of Arthur B. Davies, Ernest Lawson, and Maurice Prendergast, at the famous Macbeth Galleries in protest of National Academy of Design. The group became known as The Eight. Courtesy Ashley John Gallery “A prominent New York-based artist in the early 20th century, Everett Shinn was a Social Realist painter who focused on lower-class urban themes. Although his ongoing reputation seems to be for Social-Realist subjects, his real interest was in the theatre and in creating images celebrating the spectacle. From 1917 to 1923, he worked as art director for Metro Goldwyn Mayer and other studios and wrote, produced and created scene designs for plays held at his own 55 seat theatre in his New York City home. He was also a cartoonist and illustrator including work for twenty-eight books and ninety-four magazine stories. "A brash and often flamboyant character, he went through a series of marriages and divorces." (Falk) Shinn was born in Woodstown, New Jersey, and studied industrial design and basic engineering at Spring Gardens Institute in Philadelphia. From 1893 to 1897, while working for a gas fixtures company in Philadelphia, he attended the Pennsylvania Academy of the Fine Arts as a student of Thomas Anshutz. He then worked as a staff artist for the Philadelphia Press with George Luks, William Glackens, and John Sloan, and this group, part of the future "Eight," centered around Robert Henri's Philadelphia studio. In 1897, Shinn began working for the New York Herald and shortly after started a series of murals including panels for the Stuyvesant Theater and industrial depictions for the Trenton, New Jersey City Hall. Based in New York, he traveled extensively and also did theater and film work. In 1949, he was elected an academician of the National Academy.” Source: Askart

Creator:

Everett Shinn (1876-1953, American)

Creation Year:

c. 1910

Dimensions:

Height: 16.38 in (41.61 cm)Width: 14.13 in (35.9 cm)

Medium:

Conté

Movement & Style:

Ashcan School

Period:

1910-1919

Condition:

Gallery Location:

Fairlawn, OH

Reference Number:

Seller: FA66431stDibs: LU14013696092

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Everett Shinn

Everett Shinn, a future member of the Eight and remarkable, rather theatrical personality was born at Woodstown, New Jersey in 1873. Even more recent sources give 1876 as the year of Everett Shinn's birth (Zurier, Snyder, and Mecklenburg, 1995, p. 224) but the artist usually lied about his age to appear younger than he actually was. Edith DeShazo (1974, errata sheet) claimed that information from family members established the date of November 6, 1876 as Shinn's birthday. But if this is true, he would have enrolled at the Spring Garden Institute in Philadelphia to study industrial art at the age of twelve. Born to a Quaker named Isaiah Conklin Shinn and Josephine Ransley Shinn, Everett was their third child. He enjoyed a happy childhood as an undisciplined boy fond of sweets, acrobatics, and the circus (DeShazo, 1974, pp. 15-17). Shinn opted for the Pennsylvania Academy of the Fine Arts for instruction in the fall of 1893, and began as a staff artist for the Philadelphia Press. At that time William Glackens was working there as well, while John Sloan was at the Inquirer. A year later, Glackens was at the Press, and also, in 1894, George Luks joined the staff there. As DeShazo explained (1974, p. 29), "the Press art department became a meeting place for men both on the staff and off with similar artistic and literary interests." Members of the same group also met at Robert Henri's studio. By 1897, Shinn was in New York, working for the New York World where Luks had been for about a year. The rest of the "Philadelphia Four" (artist-reporters) would follow them before long. Shinn spent much of 1898 hounding the offices of Harper's until finally, the editor and publisher, Colonel George Harvey saw his portfolio, then commissioned a view of the Old Metropolitan Opera House in a snowstorm. The pastel appeared about a year later in the February 17th issue of Harper's Weekly, in 1900. Meanwhile, Shinn kept busy with decorative work (murals, screens, and door panels) at private residences and even in Trenton, New Jersey's City Hall. In 1899, the Boussod-Valadon Galleries gave Shinn his first one-man show. He continued to carry out commissions for illustrations (see Bullard, 1968). Shinn began exhibiting at the Pennsylvania Academy (1899-1908) and at the Art Institute of Chicago (1903-43).