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Precisionism

Precisionism is an early 20th-century American art movement characterized by depictions of industrial and urban landscapes rendered in sharp, geometric forms with clean lines, minimal detail, and a smooth, machined aesthetic that blends realism and abstraction.^[1] Emerging in the United States around 1915 and flourishing through the 1920s and 1930s, it celebrated the nation's rapid industrialization and technological progress while conveying a sense of cool detachment from modern machinery and architecture.^[2] As America's first indigenous modernist style, Precisionism lacked a formal manifesto but reflected post-World War I optimism and isolationism, focusing on subjects like factories, skyscrapers, bridges, and grain elevators to symbolize national identity and progress.^[3] The movement's visual language drew from European influences such as Cubism, Purism, and Futurism, which introduced geometric fragmentation and dynamism, as well as American straight photography by artists like Paul Strand and Alfred Stieglitz, emphasizing crisp clarity and objective precision.^[1] Precisionist works typically feature simplified compositions with bold outlines, flattened perspectives, and a reduction of forms to essential shapes, often excluding human figures to highlight the impersonal scale of the Machine Age.^[3] This approach created a stylized realism that evoked both admiration for innovation and subtle unease about mechanization's dehumanizing effects, as seen in paintings that transform everyday industrial scenes into harmonious, almost utopian visions.^[2] Prominent Precisionists included Charles Sheeler, known for his precise renderings of factories and barns like Classic Landscape (1931); Charles Demuth, who abstracted industrial motifs in works such as My Egypt (1927); and Georgia O'Keeffe, whose early urban paintings like New York, Night (1929) incorporated Precisionist elements before shifting to natural forms.^[1] Other key figures were Joseph Stella, with his dynamic views of the Brooklyn Bridge; Preston Dickinson; Elsie Driggs; and Ralston Crawford, who extended the style into the 1940s with even more abstracted urban scenes.^[3] These artists, often based in New York, exhibited through galleries like Alfred Stieglitz's 291 and institutions such as the Museum of Modern Art, where curator Alfred H. Barr coined the term "Precisionism" in the 1920s.^[4] By the late 1930s, Precisionism waned amid the Great Depression and World War II, as societal anxieties about technology intensified, but its legacy endured in influencing Abstract Expressionism's formal rigor, Pop Art's celebration of consumer culture, and even commercial design.^[3] The movement's emphasis on American iconography and precise abstraction helped bridge European modernism with a distinctly national voice, underscoring the United States' transition into a modern industrial power.^[2]

History

Origins and Influences

Precisionism emerged in the United States in the aftermath of World War I, amid a period of rapid economic expansion and cultural transformation that positioned America as an industrial powerhouse. The 1913 Armory Show played a pivotal role in this context, introducing American audiences to European modernism—including avant-garde styles from Cubism and Futurism—for the first time on a large scale, challenging traditional artistic norms and inspiring a generation of artists to engage with abstraction and modernity.^[5]^[6] The movement drew significant inspiration from European art movements, adapting their formal innovations to American subjects. Cubism, pioneered by Pablo Picasso and Georges Braque, contributed geometric fragmentation and multi-perspective views that Precisionists reinterpreted for depictions of urban structures. Purism, advocated by Le Corbusier and Amédée Ozenfant, influenced the emphasis on clean, precise lines and harmonious proportions, emphasizing machine-like clarity. Futurism, led by artists like Umberto Boccioni, infused dynamism and a celebration of technological speed, particularly in rendering the motion of industrial machinery.^[3]^[7] Alfred Stieglitz's Gallery 291 in New York served as a crucial nexus for these ideas from 1905 to 1917, exhibiting works by European modernists such as Cézanne, Picasso, and Matisse, while fostering a community of American artists through mentorship and discourse. This gallery bridged transatlantic influences, encouraging early adopters to explore abstraction in response to America's burgeoning industrialization during the 1910s and 1920s, marked by the proliferation of skyscrapers, assembly lines, and factories symbolizing progress and urban expansion.^[8]^[3] Early precursors to Precisionism appeared in the works of artists like Morton Schamberg, whose machine-inspired paintings from 1916 to 1918—such as depictions of telephone parts and wire-stitching machines—blended Cubist abstraction with precise renderings of industrial forms, laying foundational groundwork for the movement's aesthetic.^[5]^[3]

Development and Peak

Precisionism gained momentum in the 1920s as an informal network of artists centered in New York, including figures like Charles Sheeler, Charles Demuth, and Georgia O'Keeffe, who coalesced around a shared emphasis on geometric precision and modern subjects without issuing a formal manifesto or organizing as an official group. The term "Precisionism" was first used in 1927 by Alfred H. Barr, founding director of the Museum of Modern Art, in a published review of the artists' works.^[1]^[9] This loose affiliation extended to galleries such as the Whitney Studio Club and Charles Daniel Gallery, where works were exhibited together, fostering visibility amid the burgeoning American modernist scene.^[9]^[3] Key exhibitions marked the movement's consolidation, including the 1922 Society of Independent Artists annual show in New York, which prominently featured Precisionist paintings depicting industrial and urban forms.^[3] Further momentum came from the 1927 Machine-Age Exposition in New York, organized by the Société Anonyme to celebrate technological progress, and the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris, where American Precisionist influences intersected with international design trends.^[1] These events highlighted the style's alignment with the era's fascination with machinery and efficiency, drawing attention from critics and patrons like Alfred Stieglitz and Gertrude Vanderbilt Whitney.^[1]^[3] The movement's evolution reflected the shifting economic and social landscape of the Roaring Twenties, with its booming industrialization inspiring optimistic, celebratory portrayals of factories and skyscrapers, contrasted by the introspective, streamlined compositions that emerged during the Great Depression's hardships in the 1930s.^[10] Artist interconnections underscored this period's dynamism, as seen in the 1920 collaboration between Sheeler and Paul Strand on the avant-garde film Manhatta, which blended photography and cinematic abstraction to capture New York's urban geometry, influencing subsequent Precisionist explorations of form across media.^[11]^[3] Precisionism reached its peak output between approximately 1925 and 1935, during which artists produced serial works delving into industrial motifs, such as Sheeler's 1927 commission yielding 32 photographs of Ford's River Rouge plant, methodically documenting its vast mechanical structures to emphasize rhythmic patterns and monumental scale.^[12]^[3] This intensive phase solidified the movement's focus on America's machine-age identity, with repeated studies of silos, bridges, and assembly lines exemplifying a contemplative engagement with technological transformation.^[1]

Decline and Evolution

The onset of the Great Depression in the late 1920s profoundly impacted Precisionism, as economic hardship redirected artistic attention toward social realism, which emphasized the struggles of everyday Americans amid widespread unemployment and poverty.^[3] This shift was exacerbated by World War II, which introduced new influences from European émigrés fleeing fascism, including Bauhaus and Constructivist principles that further marginalized Precisionism's machine-age optimism in favor of more socially engaged or abstract expressions.^[3] By the 1940s and 1950s, Precisionism was increasingly viewed as dated within the evolving American art scene, overshadowed by the rise of Abstract Expressionism, which prioritized emotional spontaneity over geometric precision.^[3] Artists associated with the movement, such as Georgia O'Keeffe, transitioned toward pure abstraction during this period, moving away from the urban industrial themes that had defined Precisionist works in the preceding decades.^[13] Precisionism evolved into hybrid forms during its waning years, blending with magic realism—as seen in the works of Peter Blume, who incorporated Precisionist clarity into surreal, dreamlike compositions—and regionalism, where artists like George Ault applied sharp geometric techniques to rural American subjects.^[3]^[14] In the post-war era, Precisionist aesthetics permeated commercialization without formal artistic acknowledgment, influencing industrial design and advertising through streamlined forms and clean geometries that echoed the movement's celebration of modernity.^[3] The last major groupings of Precisionist artists dissolved around 1940, though isolated works in the style persisted into the 1950s among practitioners who retained its core visual language.^[3]

Characteristics

Visual Style

Precisionism emphasizes sharp edges, geometric simplification, and crystalline forms, reducing subjects to essential planes and volumes that underscore underlying structures. Artists achieved this through clear outlines and minimal detail, creating compositions that prioritize form over narrative complexity.^[1]^[3] The style employs hard-edged painting techniques with smooth surfaces, minimal shading, and high contrast to convey precision and clarity. These elements produce a polished, almost machine-like quality, where transitions between shapes are abrupt and unmodulated.^[1]^[3] Light and shadow are rendered as flat, luminous planes rather than gradual modeled gradients, fostering a sense of stasis and timelessness. This approach enhances the geometric purity, making forms appear suspended in an eternal, unchanging light.^[1]^[3] Levels of abstraction vary within the movement, from near-photorealistic depictions to semi-abstract patterns, frequently incorporating symmetry and repetition for rhythmic emphasis. Such variations allow for a spectrum of interpretive depth while maintaining formal rigor.^[1]^[3] Technical execution often utilizes oil on canvas with fine brushwork, influenced by photography's crisp focus to attain heightened detail and verisimilitude. This method ensures surfaces remain untextured and impeccably finished, aligning with the movement's pursuit of objective exactitude.^[15]^[1]

Themes and Subjects

Precisionist works predominantly featured subjects drawn from the American landscape, emphasizing urban industrialization through depictions of factories, bridges, skyscrapers, steel mills, and coal mines, which symbolized the nation's rapid technological advancement.^[1] Rural scenes, including barns, silos, and agricultural machinery, also appeared frequently, highlighting regional traditions alongside modern mechanization and tying into broader themes of national progress.^[3]^[7] These subjects often appeared in depopulated compositions, where machines and structures took precedence over human figures, conveying a sense of awe at industrial scale while evoking subtle alienation in the machine age.^[16] The movement celebrated modernity as a utopian force, portraying technology's efficiency, speed, and cleanliness as triumphs of American ingenuity, particularly in the post-World War I economic boom.^[1]^[7] Yet, a dual undercurrent emerged, especially in Depression-era pieces from the 1930s, blending optimism about technological expansion with quiet critiques of dehumanization, worker displacement, and environmental pollution.^[3]^[16] American icons such as grain elevators and railroads served as emblems of national expansion and identity, integrating industrial motifs with symbols of manifest destiny and economic vitality.^[1]^[7] Figurative elements, when present, were rare and heavily abstracted, prioritizing structural forms over narrative details to maintain focus on the geometric essence of progress rather than individual stories.^[3]^[16]

Key Artists

Charles Sheeler and Charles Demuth

Charles Sheeler (1883–1965) was a pivotal figure in Precisionism, renowned for his dual expertise in photography and painting, which he developed after training at the School of Industrial Art in Philadelphia (1900–1903) and the Pennsylvania Academy of the Fine Arts (1903–1906).^[11] As a self-taught photographer, Sheeler documented local architecture and rural subjects with sharp clarity, later incorporating Cubist influences to abstract forms while maintaining photorealistic precision.^[11] His paintings often blended these elements, as seen in Upper Deck (1929), an oil on canvas derived from a photograph of the S.S. Majestic's deck, where Sheeler integrated structural abstraction into a realistic depiction, stating that "a picture could have incorporated in it the structural design implied in abstraction and be presented in a wholly realistic manner."^[11] Similarly, American Landscape (1930), also in oil on canvas, portrayed industrial silos and factories against a rural backdrop, exemplifying his fusion of geometric abstraction and precise rendering to celebrate American machinery.^[17] In 1920, Sheeler collaborated with photographer Paul Strand on the short film Manhatta (1921), a visual portrait of Manhattan's skyline that emphasized abstract urban geometries through dramatic viewpoints, marking an early multimedia exploration of Precisionist themes.^[11] Charles Demuth (1883–1935) contributed significantly to Precisionism through his mastery of watercolor and later oils, focusing on industrial subjects from his native Lancaster, Pennsylvania.^[18] Renowned for his precise, translucent watercolors of flowers and urban scenes, Demuth shifted to oils in the 1920s for larger-scale industrial depictions, incorporating Cubist fragmentation to distill architecture into geometric planes.^[1] His industrial series culminated in works like My Egypt (1927), an oil on composition board portraying a monumental grain elevator with intersecting lines and subtle floral motifs evoking ancient pyramids, thereby humanizing machinery through symbolic integration.^[19] Cubism's influence is evident in Buildings, Lancaster (1930), an oil and graphite on composition board that abstracts local facades into sharp, angular forms with spatial ambiguity in the lower corners, emphasizing clean lines over naturalistic detail.^[20]^[21] Sheeler and Demuth exerted mutual influence during the 1920s, sharing a commitment to geometric simplicity and American vernacular subjects that helped define Precisionism's core vocabulary of crisp outlines, minimal shading, and abstracted industrial forms.^[1] They exhibited together at the Daniel Gallery in New York City, a hub for the movement, alongside artists like Niles Spencer, which amplified their collective impact on portraying modernity's rational order.^[1] Sheeler extended his Precisionist approach into commercial work with his 1927 commission from an advertising agency to photograph Ford Motor Company's River Rouge plant, a sprawling 2,000-acre complex near Detroit that symbolized industrial scale.^[22] The resulting images of conveyors and furnaces, later inspiring paintings like River Rouge Plant (1932), applied photorealistic detail to geometric compositions, framing the factory as a "cathedral" of progress while eliding human labor.^[22] Demuth's productivity was curtailed by lifelong health issues, including a childhood hip injury causing a permanent limp and a 1921 diabetes diagnosis that necessitated experimental treatments like insulin and restrictive diets.^[23] These struggles led to frequent hospitalizations and reduced output in his later years, culminating in his death on October 23, 1935, at age 51 from diabetes complications.^[23] Despite this, his focused oeuvre of Precisionist oils and watercolors, preserved through efforts by contemporaries like Georgia O'Keeffe, cemented his legacy as a pioneer in blending personal symbolism with industrial abstraction.^[23]

Georgia O'Keeffe and Other Painters

Georgia O'Keeffe (1887–1986) contributed to Precisionism during her early phase in 1920s New York, where she depicted urban skyscrapers with sharp, geometric forms and luminous contrasts that echoed the movement's emphasis on modernity and structure.^[1] Her painting New York, Night (1928–1929), featuring the illuminated Radiator Building against a dark sky, exemplifies this style through its reduced forms and nocturnal glow, capturing the city's machine-like energy.^[24] This period was shaped by her mentorship under Alfred Stieglitz, her husband and a key promoter of modernist art, who exhibited her work at his Gallery 291 and encouraged explorations of American industrial subjects influenced by photography.^[3] By the 1930s, O'Keeffe shifted away from strict Precisionism toward organic abstraction, increasingly drawing inspiration from the Southwest after her first visits to New Mexico in 1929.^[25] Her focus turned to natural forms like bleached bones and vast desert landscapes, as seen in works such as Cow's Skull: Red, White, and Blue (1931), marking a divergence from urban geometries to more fluid, personal expressions of the American terrain.^[26] Among other painters, Elsie Driggs (1898–1992) stood out for her industrial scenes, particularly Pittsburgh (1927), which portrays glowing steel mills with angular silhouettes and vibrant lights, highlighting the movement's fascination with heavy industry.^[27] As one of the few women in Precisionism, Driggs's contributions underscored the underrepresentation of female artists in the group, where male figures dominated exhibitions and critical attention.^[28] Louis Lozowick (1892–1973) advanced the style through his 1920s lithographs, such as New York (1926), rendering urban machinery and skyscrapers in stark, monochromatic lines that emphasized mechanical precision and rhythm.^[29] Ralston Crawford (1906–1978) brought a second-generation intensity to Precisionism in the 1930s with his stark depictions of ports and infrastructure, like Coal Elevators (1938), which abstracts industrial forms into bold, planar compositions evoking the scale of American commerce.^[30] Niles Spencer (1893–1952) introduced regional variations, focusing on Midwestern industrial and rural structures in paintings such as Porch of the Barn (c. 1930s), where geometric barns and sheds convey a quieter, more intimate take on everyday American architecture.^[31] These artists, including underrepresented women like Driggs and O'Keeffe, participated in loose group dynamics centered around shared galleries and influences, though regional focuses—from urban Northeast to Midwestern heartland—added diversity to the movement's scope.^[1] Precisionist painters gained indirect visibility through broader exhibitions celebrating American themes, such as the 1931 American Folk Art show at the Museum of Modern Art, which revived interest in vernacular motifs and paralleled the movement's celebration of national identity and craftsmanship.^[1]

Photographers and Peripheral Contributors

Paul Strand (1890–1976), a pioneer of straight photography, significantly influenced Precisionist painters through his precise, unmanipulated depictions of urban and industrial subjects that emphasized geometric forms and stark clarity.^[32] His 1915 photograph Wall Street, a platinum palladium print capturing the abstracted movement of crowds and architecture in lower Manhattan, exemplified this approach by reducing the bustling scene to rhythmic, machine-like patterns of suits and shadows.^[33] Strand's collaboration with Charles Sheeler on the 1920 experimental film Manhatta further bridged photography and Precisionism, documenting New York City's skyscrapers and harbors in a detached, rhythmic style that inspired painters to hybridize rural and industrial motifs.^[1] Charles Sheeler, primarily known as a painter, also played a pivotal role as a photographer whose work directly informed Precisionist aesthetics by translating industrial subjects into sharply focused, geometric compositions that blurred the lines between media. In 1927, commissioned by an advertising agency, Sheeler produced a series of photographs of the Ford Motor Company's River Rouge plant near Detroit, including Criss-Crossed Conveyors, which highlighted the plant's vast machinery and conveyor belts in a clean, abstract manner devoid of human figures to emphasize mechanical harmony.^[22] These images, with their luminous precision and elimination of extraneous detail, served as source material for Sheeler's own paintings like River Rouge Plant (1932) and influenced the movement's visual language across disciplines.^[34] Photographers like Lewis Hine contributed indirectly to Precisionism by documenting America's industrial landscape, providing visual references that painters adapted into stylized forms. Hine's early 20th-century images of factory workers and machinery, such as Power House Mechanic (1920), captured the scale and grit of industrial labor, offering compositional ideas of symmetry and structure that Precisionists refined into idealized, geometric celebrations of modernity.^[35] Among peripheral contributors, Joseph Stella infused Precisionism with Futurist dynamism in works like The Brooklyn Bridge: Variation on an Old Theme (1939), an oil painting that rendered the bridge's cables and towers as interlocking geometric planes with vibrant, angular energy borrowed from Italian Futurism.^[36] Edward Hopper exhibited realist overlaps with Precisionism through his precise renderings of urban architecture and isolation, as in House by the Railroad (1925), but maintained a more narrative, moody detachment without fully embracing the movement's abstract geometry or industrial optimism. Gerald Murphy, a marginal figure, brought a decorative flair to industrial scenes in paintings like Watch (1925), where he depicted mechanical objects with immaculate, flattened forms and jewel-like colors, innovating within Precisionism's framework during his brief but impactful career in the 1920s.^[37] Internationally, echoes appeared in later interpretations, such as those by Anna Held Audette (1938–2013), an American precisionist who, in the post-1950s era, painted monumental industrial ruins like scrapped machinery and factories with sharp edges and scaled forms, extending the movement's focus on obsolescence and structure.^[38]

Legacy and Influence

Impact on Later Art Movements

Precisionism's emphasis on geometric clarity, industrial subjects, and machine aesthetics left a lasting imprint on subsequent 20th-century art movements, extending its visual language into diverse practices that celebrated modernity and form.^[3] The movement's celebration of mechanical precision and commercial imagery resonated in Pop Art of the 1960s, where artists like Andy Warhol adopted clean graphics and a reverence for machine-produced objects, echoing Precisionism's fusion of abstract form with everyday icons. For instance, Charles Demuth's typographic compositions, such as I Saw the Figure 5 in Gold (1928), prefigured Pop's integration of advertising motifs and serial repetition, influencing Warhol's soup can series through their shared graphic boldness and critique of consumer culture.^[39]^[3] This stylistic continuity highlighted Precisionism's role as a bridge to Pop's ironic embrace of mass production.^[40] Precisionism's hyper-detailed rendering of urban and industrial scenes found echoes in the Photorealism of the 1970s, particularly in Richard Estes's meticulous depictions of cityscapes that prioritized optical accuracy and reflective surfaces. Estes's technique has been described as precisionist for its uncanny clarity in capturing modern environments, extending the earlier movement's focus on structural precision to photographic realism without overt abstraction.^[41] This connection underscored how Precisionism paved the way for Photorealism's emphasis on perceptual fidelity in representing technological landscapes.^[3] In Magic Realism of the 1940s and 1950s, Precisionism contributed its crystalline clarity to works that blended everyday realism with surreal undertones, as seen in Ivan Albright's hyper-detailed portraits that mortified the flesh through meticulous, almost mechanical rendering. Albright's style merged Precisionist sharpness with gothic elements, creating a sense of eerie precision that amplified the uncanny in ordinary subjects.^[42] This synthesis helped define Magic Realism's tension between the tangible and the fantastical, drawing on Precisionism's disciplined visual order.^[40] Beyond fine art, Precisionism shaped advertising and graphic design, particularly in the 1950s, where corporate imagery embraced its geometric simplicity and streamlined forms to convey efficiency and modernity. Artists like Louis Lozowick, a key Precisionist, directly engaged with commercial graphics, influencing the era's posters and branding that reduced industrial motifs to bold, unadorned shapes for visual impact.^[43] This legacy persisted in mid-century design's clean lines, mirroring Precisionism's aesthetic of order in promotional materials.^[3]^[44]

Exhibitions and Modern Recognition

One of the pivotal historical exhibitions dedicated to Precisionism was "Precisionism in America, 1915–1941: Reordering Reality," organized by the Montclair Art Museum in 1994, which featured over 60 works by leading artists and emphasized the movement's role in reinterpreting industrial modernity through geometric abstraction.^[45] This retrospective, accompanied by a catalog edited by Gail Stavitsky, highlighted the stylistic precision and thematic focus on American industry, drawing from private and public collections to underscore the movement's underappreciated contributions to modernism.^[1] In 2007, The Metropolitan Museum of Art published a scholarly essay on Precisionism, further solidifying its curatorial recognition by analyzing key works and their geometric underpinnings, which helped integrate the style into broader narratives of 20th-century American art.^[1] Major modern collections preserve significant Precisionist holdings, with the Museum of Modern Art (MoMA) owning iconic pieces such as Charles Sheeler's American Landscape (1930), exemplifying the movement's crisp industrial depictions. The Whitney Museum of American Art maintains a robust ensemble, including works by Charles Demuth and Georgia O'Keeffe, reflecting Precisionism's centrality to American modernism in its permanent collection of over 21,000 artworks. The Smithsonian American Art Museum also holds notable examples, such as Ralston Crawford's Buffalo Grain Elevators (1937), supporting ongoing research into the movement's urban and mechanical themes.^[46] Recent acquisitions in the 2010s have enriched these holdings; for instance, Crystal Bridges Museum of American Art purchased Elsie Driggs's Blast Furnaces (1927) in 2017, bringing renewed attention to female Precisionists.^[47] In the 21st century, revivals have connected Precisionism to contemporary issues like industrial legacy and environmental critique, as seen in the 2018 exhibition "Cult of the Machine: Precisionism and American Art" at the Fine Arts Museums of San Francisco's de Young Museum and the Dallas Museum of Art, which displayed over 100 works and explored the movement's fascination with technology amid modern sustainability discussions.^[16] Scholarly recognition has deepened through publications like Ashley Lazevnick's Fantasies of Precision: American Modern Art, 1908–1947 (2023), which reexamines the movement's cultural implications, and digital archives such as the Smithsonian's Archives of American Art, which provide accessible oral histories and documents enhancing public engagement.^[48] Post-2010 analyses have addressed historical gaps by emphasizing women artists, including O'Keeffe's Precisionist-leaning landscapes and Driggs's industrial scenes, within feminist art history frameworks that highlight gender dynamics in early modernism.^[2]

References

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[PDF] American realists and magic realists - MoMA
In the fictitious realism of Peter Blume's drawing we can find a suggestion of Rodolphe Bresdin or Diirer ; in his paintings, of the van Eycks. In Paul ...Missing: evolution | Show results with:evolution
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[PDF] Gallery Guide American Perspectives: 1907-1992 - Hofstra University
Dec 14, 2007 · Lozowick is identified with. Precisionism, a movement in which objects are rendered ... advertising and graphic design, and the attempt to make ...
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Getting to Know Milton Glaser, the Godfather of Modern Design
Apr 2, 2014 · Precisionism had long been the reigning style among designers since World War I, with a defined, geometric simplicity that mirrored the ...
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Precisionism | explore the art movement that emerged in USA
Precisionism was an early 20th-century American art movement characterized by a focus on industrialization and modernization.
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Precisionism in America 1915-1941: Reordering Reality
30-day returnsPrecisionism in America 1915-1941: Reordering Reality [Murphy, Diana] on Amazon ... Published on the occasion of the exhibition from The Montclair Art ...
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New Acquisition: Elsie Driggs's Blast Furnace
Jul 14, 2017 · New on view in Crystal Bridges' Early Twentieth-Century Art Gallery is Elsie Drigg's Precisionist painting, Blast Furnaces, created in 1927.
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Fantasies of Precision - University of Minnesota Press
14-day returnsFantasies of Precision, American Modern Art, 1908-1947. Ashley Lazevnick. Redefining the artistic movement that helped shape American modernism.