George Bellows
1882-1925 Growing prestige as a painter brought changes in his life and work. Though he continued his earlier themes, Bellows also began to receive portrait commissions, as well as social invitations, from New York's wealthy elite. Additionally, he followed Henri's lead and began to summer in Maine, painting seascapes on Monhegan and Matinicus islands. At the same time, the always socially conscious Bellows also associated with a group of radical artists and activists called "the Lyrical Left", who tended towards anarchism in their extreme advocacy of individual rights. He taught at the first Modern School in New York City (as did his mentor, Henri), and served on the editorial board of the socialist journal, The Masses, to which he contributed many drawings and prints beginning in 1911. However, he was often at odds with the other contributors because of his belief that artistic freedom should trump any ideological editorial policy. Bellows also notably dissented from this circle in his very public support of U.S. intervention in World War I. In 1918, he created a series of lithographs and paintings that graphically depicted the atrocities committed by Germany during its invasion of Belgium. Notable among these was The Germans Arrive, which was based on an actual account and gruesomely illustrated a German soldier restraining a Belgian teen whose hands had just been severed. However, his work was also highly critical of the domestic censorship and persecution of anti-war dissenters conducted by the U.S. government under the Espionage Act.
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George Bellows River Rats oil painting


River Rats
mk151 1906
Painting ID::  39784 		George Bellows
River Rats
mk151 1906
   
   
     
George Bellows Kids oil painting


Kids
mk151 1906
Painting ID::  39785 		George Bellows
Kids
mk151 1906
   
   
     
George Bellows Set-to oil painting


Set-to
mk212 1909 Oil on canvas 92.1x122.6cm
Painting ID::  50486 		George Bellows
Set-to
mk212 1909 Oil on canvas 92.1x122.6cm
   
   
     
George Bellows pennsylvania station excavation oil painting


pennsylvania station excavation
mk247 1907 to 08,oil on canvas,31.125x38.25 in,79x97 cm,brooklyn museum of art,brooklyn,ny,usa
Painting ID::  56394 		George Bellows
pennsylvania station excavation
mk247 1907 to 08,oil on canvas,31.125x38.25 in,79x97 cm,brooklyn museum of art,brooklyn,ny,usa
   
   
     
George Bellows Builders of Ships oil painting


Builders of Ships
"Builders of Ships," oil on canvas, by the American artist George Bellows. 30 in. x 44 in. Courtesy of the Yale University Art Gallery, Yale University, New Haven, Conn. cjr
Painting ID::  72884 		George Bellows
Builders of Ships
"Builders of Ships," oil on canvas, by the American artist George Bellows. 30 in. x 44 in. Courtesy of the Yale University Art Gallery, Yale University, New Haven, Conn. cjr
   
   
     
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     George Bellows
     1882-1925 Growing prestige as a painter brought changes in his life and work. Though he continued his earlier themes, Bellows also began to receive portrait commissions, as well as social invitations, from New York's wealthy elite. Additionally, he followed Henri's lead and began to summer in Maine, painting seascapes on Monhegan and Matinicus islands. At the same time, the always socially conscious Bellows also associated with a group of radical artists and activists called "the Lyrical Left", who tended towards anarchism in their extreme advocacy of individual rights. He taught at the first Modern School in New York City (as did his mentor, Henri), and served on the editorial board of the socialist journal, The Masses, to which he contributed many drawings and prints beginning in 1911. However, he was often at odds with the other contributors because of his belief that artistic freedom should trump any ideological editorial policy. Bellows also notably dissented from this circle in his very public support of U.S. intervention in World War I. In 1918, he created a series of lithographs and paintings that graphically depicted the atrocities committed by Germany during its invasion of Belgium. Notable among these was The Germans Arrive, which was based on an actual account and gruesomely illustrated a German soldier restraining a Belgian teen whose hands had just been severed. However, his work was also highly critical of the domestic censorship and persecution of anti-war dissenters conducted by the U.S. government under the Espionage Act.

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