West Side Ramp (1938) este pictura pentru care Daniel Koerner este cel mai cunoscut; aceasta face parte din colecția Smithsonian American Art Museum, Washington, D.C.. Catalogul nostru cuprinde 2 lucrări ale lui Daniel Koerner. Iată cele 2 cele mai faimate, însoțite de anul realizării, muzeul și povestea fiecărei pânze.
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Cele 2 muzee care dețin cele mai multe dintre picturile de pe această pagină.
| Muzee | Oraș | Lucrări lui Daniel Koerner | Picturi din această listă |
|---|---|---|---|
| Washington, D.C. | 1 | West Side Ramp | |
| New York | 1 | Farm in Moonlight |
Piesele datate ale lui Daniel Koerner de pe această pagină aparțin tuturor anului 1938: iată-le, în ordinea celebrității lor.
West Side Ramp (1938)
Daniel Koerner, născut în 1909, avea 29 de ani: West Side Ramp datează din 1938.
În catalogul nostru se află 2 lucrări ale lui Daniel Koerner.
În principal în Smithsonian American Art Museum (Washington, D.C.) și Metropolitan Museum of Art (New York); lista de mai sus enumeră fiecare muzeu și picturile sale.
În 1938, care a inclus 2 dintre cele 2 lucrări de pe această pagină, West Side Ramp printre acestea.
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.