Editing Charles Demuth (section)

==Career==
[[File:NY Met demuth figure 5 gold.JPG|thumb|''[[I Saw the Figure 5 in Gold]]'' 1928,  collection of the [[Metropolitan Museum of Art]], [[New York City]] ]]
While he was in Paris he met [[Marsden Hartley]] 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 [[Alfred Stieglitz]] and became a member of the Stieglitz group. In 1926, he had a one-man show at the [[Anderson Galleries]] and another at [[Alfred Stieglitz#The Intimate Gallery and An American Place (1925–1937)|Intimate Gallery]], the New York gallery run by Stieglitz.<ref>[http://www.nga.gov/exhibitions/modart_2.shtm History of 291] {{Webarchive|url=https://web.archive.org/web/20151222210146/http://www.nga.gov/content/ngaweb/exhibitions/2001/stieglitz_modern.html |date=2015-12-22 }}, 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)</ref> Demuth was introduced to [[modernism]] during trips to Europe between 1907 and 1921. On frequent trips to New York City, he encountered [[avant-garde]] styles and ideas, most notably Cubism, the influence of which is reflected in many of his works.

[[File:Charles Demuth, American - In Vaudeville (Dancer with Chorus) - Google Art Project.jpg|thumb|''In Vaudeville (Dancer with Chorus)'', 1918, in the [[Philadelphia Museum of Art]]]]
His most famous painting, ''[[I Saw the Figure 5 in Gold]],'' was inspired by his friend [[William Carlos Williams]]'s poem "[[s:The Great Figure|The Great Figure]]".<ref name=WSJ /> [[Roberta Smith]] described the work in ''The New York Times'': "Demuth's famous visionary accounting of Williams, ''I Saw the Figure Five in Gold'', [is] 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."<ref>[https://query.nytimes.com/gst/fullpage.html?res=9C04EED81439F932A25751C1A962958260&fta=y The New York Times, Roberta Smith, ''ART VIEW; Precisionism and a Few of Its Friends'' retrieved October 26, 2008]</ref> Describing its importance, [[Judith H. Dobrzynski]] in ''The Wall Street Journal'' 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 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."<ref name=WSJ>[https://www.wsj.com/articles/SB10001424052748704002104575291183951560378?mod=WSJ_LifeStyle_Lifestyle_11_1 The Wall Street Journal, Judith H. Dobrzynski, "Where Paint and Poetry Meet" retrieved July 10, 2010]</ref>

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 [[Georgia O'Keeffe]], [[Arthur Dove]], [[Charles Duncan (artist)|Charles Duncan]], [[John Marin]] and [[Bert Savoy]]. The others were planned for [[Marsden Hartley]], [[Gertrude Stein]], [[Eugene O'Neill]] and [[Wallace Stevens]]. 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.”<ref>{{cite journal|title=Enigmatic portraits by Charles Demuth|journal=American Artist|date=January 1995|volume=59|issue=630|page=10}}</ref>

Demuth, along with Georgia O'Keeffe and Charles Sheeler, was a major contributor to the [[precisionism|Precisionist]] 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 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.<ref>{{cite journal|last1=Parfitt|first1=Oliver|editor1-last=Brigstocke|editor1-first=Hugh|title=Precisionism|journal=The Oxford Companion to Western Art|publisher=Oxford University Press}}</ref> Demuth's works of this nature have been perceived as [[irony|ironic]] and [[pessimism|pessimistic]] in light of their subject matter.<ref>{{cite journal|last1=Costanzo|first1=Dennis|title=Industrial scenes|journal=Oxford Art Online|publisher=Oxford University Press}}</ref>

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 [[tempera]]. Additionally, these works are larger than many of his others. They possess a balance between [[realism (arts)|realism]] and abstraction. In 1927, Demuth started a series of seven [[panel painting]]s depicting factory buildings in his hometown. He finished the last of the seven, ''After All'' in 1933.<ref name="Demuth, Charles">{{cite journal|last1=Fahlman|first1=Betsy|title=Demuth, Charles|journal=Grove Art Online|series=Oxford Art Online|publisher=Oxford University Press}}</ref> Six of the paintings were highlighted in ''Chimneys and Towers: Charles Demuth’s Late Paintings of Lancaster'', a 2007 [[Amon Carter Museum]] retrospective of his work, displayed in 2008 at the [[Whitney Museum of American Art]]. 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.