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 Lady Jean oil painting


Lady Jean
oil on canvas, by the American artist George Wesley Bellows. 72 in. x 36 in. The portrait of 'Lady Jean' is that of Bellows' daughter Jean. Bequest of Stephen Carlton Clark, B.A. 1903. Courtesy of the Yale University Art Gallery, Yale University, New Haven, Conn. Date 1924(1924) cyf
Painting ID::  73972 		George Bellows
Lady Jean
oil on canvas, by the American artist George Wesley Bellows. 72 in. x 36 in. The portrait of 'Lady Jean' is that of Bellows' daughter Jean. Bequest of Stephen Carlton Clark, B.A. 1903. Courtesy of the Yale University Art Gallery, Yale University, New Haven, Conn. Date 1924(1924) cyf
   
   
     
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. cyf
Painting ID::  74683 		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. cyf
   
   
     
George Bellows The Barricade oil painting


The Barricade
Date English: 1918 Medium oil on canvas Dimensions 48.125 x 83.5 in (122.2 x 212.1 cm) TTD
Painting ID::  94680 		George Bellows
The Barricade
Date English: 1918 Medium oil on canvas Dimensions 48.125 x 83.5 in (122.2 x 212.1 cm) TTD
   
   
     
George Bellows The Lone Tenement oil painting


The Lone Tenement
1909(1909) Medium oil on canvas cyf
Painting ID::  96982 		George Bellows
The Lone Tenement
1909(1909) Medium oil on canvas cyf
   
   
     
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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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