West Side Ramp (1938) to obraz, z którego najbardziej znany jest Daniel Koerner; znajduje się on w Smithsonian American Art Museum, Waszyngton. Nasz katalog obejmuje 2 dzieł autorstwa Daniel Koerner. Oto 2 najsłynniejszych z nich, wraz z rokiem powstania, informacją o muzeum oraz historią każdego płótna.
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2 muzeów, w których znajduje się najwięcej obrazów z tej strony.
| Muzea | Miasto | Dzieła artysty Daniel Koerner | Obrazy z tej listy |
|---|---|---|---|
| Waszyngton | 1 | West Side Ramp | |
| Nowy Jork | 1 | Farm in Moonlight |
Płótna Daniel Koerner z tego okresu, datowane na 1938, znajdują się tutaj, zestawione w kolejności według sławy.
West Side Ramp (1938)
Daniel Koerner, urodzony/a w 1909, miał/a 29 lat: West Side Ramp pochodzi z 1938.
W naszym katalogu znajduje się 2 dzieł autorstwa Daniel Koerner.
Większość znajduje się w Smithsonian American Art Museum (Waszyngton) i Metropolitan Museum of Art (Nowy Jork); powyższa lista wymienia każde muzeum oraz jego płótna.
W 1938, który obejmuje 2 z 2 dzieł na tej stronie, wśród nich znajduje się West Side Ramp.
Daniel Koerner lived a life defined by the intersection of visual expression and social advocacy. Born in 1909, he moved through the mid-century American art scene not merely as a painter, but as a cartoonist and an active participant in the labor movements of his time. His work was often inseparable from the political climate of the era, reflecting the tensions and the organized efforts of artists seeking stability and recognition during the Great Depression.
His involvement in the Federal Arts Project was a defining chapter. Through his correspondence and manuscripts, we see a man deeply engaged with the mechanics of artistic survival. He was part of the complex discussions surrounding the Woodrum relief bill and the support for the Federal Arts Bill, navigating the precarious waters of government-sponsored art and the rights of the creators themselves.
Koerner’s output was diverse, spanning the delicate precision of illustration to the broader strokes of painting. As a cartoonist, he possessed a keen ability to distill complex social realities into singular, impactful images. This skill made him a natural fit for the burgeoning movements of artist unions and international organizations that sought to unify the creative community.
His legacy is found as much in his advocacy as in his aesthetics. He was a figure in the Artists' Union and the Artists League of America, contributing to the discourse on how artists should exist within a modern society. His papers reveal a man who understood that the brush and the pen were tools for both personal expression and collective action.