American Scene painting began to take root in the early twentieth century and remained active until 1950. American type area realistic art, is also referred to as regionalism. Post World War I (1914-1919), the American art scene has seen change and drift into a naturalistic form, by modernism. Since most of the naturalistic style of painting, American Scene Painting course includes also expressed in the urban and rural life in general. Often regarded as two styles – “American regionalism” and “social realism” (in urban areas, themes). It is usually seen as a protest against the impact of abstraction and European styles of contemporary art, which begins at the end of the nineteenth century.
Wood “American Gothic” is dated 1930, is considered his finest creation. Context of the work was inspired by the Gothic style of a small house, the tree came Eldon. Two human figures in traditional roles of men and women, “….. what kind of people I believed to live in that house, “a painter of words. Benton, an “enemy of modernism,” self-proclaimed created the magnum opus of the “people Chilmark (Figure Composition)” in 1930, describing rural life in a small but prosperous city Chilmark.
“Prelude tragic,” the masterpiece of 1938-40 by John Curry, had a different background to American painting scene. The issue revolves around the “gore” revolution against slavery in Kansas (1854-1858), forerunner of the Civil War. The framework captures the opponents and proponents of slavery, weapons against each other and lead the abolitionist John Brown as the central figure. This overlap of regional work with the philosophy of social realism in the United States. The agency works in the social realism of America was primarily artistic policy documentation of urban society in North America. Pencil drawing 1922 “Morgan, Mellon and Rockefeller” by Robert Minor (1884-1952), and watercolors by Ben Shahn (from 1898 to 1969), based on the Relocation Act (RA), namely. “Lest We Forget” and “years of dust are some examples of others in social realism.
Despite publicly call his philosophy, American Scene treated as a misguided attempt and avoided as regressive evocative.