This slide show is a record of a mid-semester assignment: all students were asked to prepare multiple comparisons between an Ashcan and a Camden Town Group painting to share with the class.


Ashcan_Camden Town List of Works

ArtistTitleDateSizeMediumCollectionMuseum Accession No.Chosen ByNotes
HenriCoal Breaker1902o/cBCMASydney
GlackensItalo-American Celebration, Washington Sq.191265.4x81.28cmo/cMFA BostonSabrina
ShinnSpanish Music Hall190235x45cmo/cMMAEmily
LuksSubway189728x35cmpastelJohnson Museum, Cornell UniversityElisha
LuksKnitting for the Soldiers1918767x918mmo/cTerra Foundation1999.87Holly
LuksNoontime, St Botolphs St, Boston1923MFA BostonHarrison
LuksMadison Sq. Garden Prize Fight61 x 81 cmo/cRingling Museum, SarasotaRamiro
SickertGirl at a Looking-Glass, Little Rachel1907511x410mmo/cFitzwilliam Museum, CambridgeSabrinasimilar one at the Tate
SickertThe Milkman1907 - 191485.2 x 54.6 cmo/cUniversity of AberdeenABDUA 30198Ramiro
SickertEaster Monday-Hélène Daurmont1906Unframed: 50.8 x 40.7 cm (20 x 16 in.)O/cCleveland Museum of Art Elisha
SickertSuspense1916H 76.5 x W 59 cmo/cUlster Museum, Belfast, IrelandBELUM.U490Hollysee also: drawing prep --
SickertThe Laundry Shop 188538.7 x 24.7 cmoil on woodLeeds Art Gallery LEEAG.PA.1937.0017Sydney
BellowsReturn of the Uselss1918149.9 × 167.6 cmo/cCrystal Bridges Museum of American Art2009.6Sabrina
BellowsBlue Morning190934 x 44 ino/cNational Gallery of Art, Washington, D.C.1963.10.82Hollysee -- p. 114-116 of Wolner reading
Bellows Shower Bath, First State 1917Image: 16 x 23 3/4 in. (40.6 x 60.3 cm)Lithograph, PrintMET 1971.514.9
BellowsPennsylvania Excavation 190733 7/8 x 44 ino/cSmith College Museum of ArtSC 2010.11Sydney
BellowsThe Murder of Edith Cavell191847x63 cmLithograph3 prints at Colby alone119.2013Emily
BellowsLove of Winter191486.1x101.6cmo/cArt Institute of Chicago1914.1018Ramiro
SloanA Window on the Street191226 x 32 ino/cBCMA1961.5Holly
SloanBlonde Nude191720 1/4 x 24 1/6 ino/cBCMA1961.53Elisha
SloanArch Conspirators 19174 5/16 x 6 inetching on paperBCMA1961.69.30Sydney
GinnerSpring Day at Boscastle1943H 83.8 x W 53.3 cmo/cArts Council Collection, Southbank Centre, LondonAC 139Hollysee preparatory study --
GilmanEdwardian Interior190753.3. x 54 cmo/cTate T00096Sydney
GoreInez and Taki1910405 x 510 mmo/cTate UK N05859Elisha
GinnerFrom a Hampstead Window1923443 x 314 mmInk, watercolour and graphite on paperTate N03873 Sabrina
SloanShine, Washington Square19238 3/8 in. x 9 5/8 in. (21.2 cm. x 24.5 cm.)lithograph on paperBCMA1961.69.2 Sabrina
GinnerThe Filling Factory1916304.8 x 365.8 x 3.8 cmo/cNational Gallery of Canada8173Sabrina
GinnerRottingdean191464.8 x W 81.2 cmo/cWorthing Museum and Art Gallery1937Ramiro
GinnerLondon Bridge: Adelaide House and Fresh Wharf191376.2 x W 48.4 cmo/cMuseum of London64.48Ramiro
GoreTennis at Hertingfordbury191040.5 x 50.8 cmo/cYale Center for British ArtB1980.32Ramiro
BellowsTennis at Newport1919101.6 × 109.9 cmo/cThe MET67.187.121Ramiro
SloanSignals191650.8 cm x 61.28 cmo/cBCMA1961.56Ramiro
GoreFrom a Canal Bridge, Chalk Farm Road1913H 43.3 x W 68.6 cmo/cYork Art GalleryYORAG : 1035Holly
GlackensAt Mouquin’s1905122.4 x 92.1 cmo/cArt Institute of Chicago1925.295Holly
SloanThree A. M.190932 x 26 ino/cPhiladelphia Museum of Art1946-10-01 00:00:00Holly
SickertA Marengo1903-04-01 00:00:00H 38.1 x W 45.7 cmo/cTateN03621Holly
SloanTheir Appointed Rounds19385 1/2 in. x 7 in. (14 cm. x 17.8 cm.)etching and mezzotint on paperBCMA1961.69.98Sabrina
GoreNorth London Girl1911-12-01 00:00:00762 × 610 mmoil on canvasTateT00027Sabrina
BellowsPaddy Flanagan 190876.8 cm (30.2 in); Width: 63.5 cm (25 in)oil on canvasprivate collectionSabrina
GilmanBlack Gardener 1905144 cm x 92cmoil on canvasGarden Museum, UKSabrina
BellowsMen of the Docks1912114.3 × 161.3 cmoil on canvasNational Gallery, UKNG6649 Sabrina
DrummondIn the Park (St James’s Park)1911725mm x 900mmoil on canvasSouthampton City Art Gallery SOTAG : 1427Sabrina
  1. “Rectilinear Structure” and the Life of the Railroad in Bellows and Sickert. Comparison written by Holly Lyne.  Both George Bellows and Walter Sickert capture the technological possibility of the modern city’s railroads in their respective paintings Blue Morning (Fig. 1) (1909) and Queen’s Road Station, Bayswater (Fig. 2) (1916). Though initially subtle, the visual parallels between the compositions of the two paintings prove quite stunning. However, the two paintings differ in their temporality and mood. Blue Morning shows the first strikes into a ground rife with possibility during the excavation of New York’s Pennsylvania Station, whereas Queen’s Road Station, Bayswater depicts one of London’s older tube stations in a muted, somber color palette and references the city’s ongoing involvement in World War I.

Figure 1. George Bellows, Blue Morning, 1909, oil on canvas, 34 x 44 in. National Gallery of Art, Washington, D.C., Chester Dale Collection. Image courtesy of National Gallery of Art, Washington.

Figure 2. Walter Sickert, Queens Road Station, Bayswater, 1916, oil on canvas, 24.5 x 28.7 in. The Courtauld, London, Roger Eliot Fry Collection. Image courtesy of Art UK.


2. “Merging Technologies” written by Sydney Reaper. In The Thames at Battersea and Pennsylvania Excavation (produced in the same year) we are brought to spaces of the city that open up to a landscape–either a preexisting waterway or constructed tunnel–in a wide frame that displays the wide range of technologies that propel the city. In Harold Gilman’s water scene, there are distinct visual pairings: the smokestacks of the steamship mirror the factory on the water’s edge; the white sail and wooden hull of the sailboat mirror the white shirts and boat of a rowing team. In George Bellow’s capturing of the construction of Pennsylvania Station, the artist sets up similar parallels. The train in the middle-ground reflects the colors and structure of other industrial forms such as a bridge and cityscape in the background, whereas a pair of workers in the foreground nearly blend into the exposed rock. In both works we see combinations of manpower and industrial machines, either working together or presented in juxtaposition to one another, as if technological advances of the city have not yet taken over as the most efficient means of production.

Figure 1. Harold Gilman, The Thames at Battersea, 1907, oil on canvas, 60 x 90.5 cm, Kirkcaldy Galleries.

Figure 2. George Bellows, Pennsylvania Excavation, 1907, oil on canvas, 33 7/8 x 44 in, Smith College Museum of Art.