William James Glackens

William Glackens prints bring the bustle and color of early 1900s America into your home. Glackens began as a newspaper illustrator, joined the group of New York realists known as The Eight, and later turned to a bright, feathery style that earned him the nickname "the American Renoir." This collection gathers more than 100 of his works, from snowy Central Park and crowded beaches to cafés, portraits and flower still lifes.

About William James Glackens

William James Glackens was born in Philadelphia on March 13, 1870. At Central High School his classmates included John Sloan and Albert C. Barnes, both of whom would matter to his career. He studied at the Pennsylvania Academy of the Fine Arts, taking evening classes under Thomas Anshutz, and worked as an artist-reporter for Philadelphia newspapers, first the Record and then the Press.

Through Sloan he met Robert Henri, and the two traveled to Europe together, where Glackens first saw Impressionist painting in Paris. He then settled in New York and drew for newspapers and magazines. McClure's Magazine sent him to Cuba to cover the Spanish–American War. In 1904 he married the artist Edith Dimock, and the couple raised two children in Greenwich Village.

In 1908 Glackens showed with Henri, Sloan and others at the Macbeth Gallery in New York. The press called them "The Eight," and the show became a landmark of the Ashcan School. He helped organize the American section of the 1913 Armory Show, and in 1916 he became the first president of the Society of Independent Artists, which aimed to give lesser-known artists more chances to exhibit.

His old classmate Barnes sent him to Paris to buy modern paintings. Glackens came back with works by Renoir, Cézanne, Manet and Matisse, among others, and they became the core of the Barnes Foundation collection. He spent much of 1925 to 1935 in France, and died in Westport, Connecticut, on May 22, 1938.

Style and Subjects

Glackens' early paintings use dark, dramatic color and quick, slashing brushwork, the look of an illustrator recording city life as it happened. Unlike many Ashcan painters, he was drawn less to slum streets and more to people enjoying themselves: restaurants, roof gardens, shops, parks and parades.

Around 1910 his palette brightened sharply. Soft, overlapping strokes and warm pinks, greens and blues took over, and critics began comparing him to Renoir, a comparison he welcomed. Summer beach scenes on Long Island became one of his favorite subjects, alongside portraits of women in hats and furs, nudes, and, late in life, flower still lifes.

Famous Works

• Hammerstein's Roof Garden (1901), Whitney Museum of American Art, New York. A New York entertainment scene painted in his darker, early manner.
• Chez Mouquin (1905), Art Institute of Chicago. A night out at a fashionable New York restaurant, one of the leisure scenes he loved to paint.
• Central Park, Winter (about 1905), The Metropolitan Museum of Art, New York. New Yorkers of all ages sledding and playing in the snow.
• The Shoppers (1908), Chrysler Museum of Art, Norfolk, Virginia. Well-dressed women at a department store counter, a scene of the new consumer city.
• Nude with Apple (1910), Brooklyn Museum, New York. A reclining nude that shows his turn toward Renoir's warm color.
• Bathers at Bellport (about 1912), The Phillips Collection, Washington, D.C. Swimmers and strollers on a sunny Long Island shore.
• Beach Umbrellas at Blue Point (1916), Smithsonian American Art Museum, Washington, D.C. Bright umbrellas and summer crowds by the water.

Decorating with Glackens Prints

The beach paintings, such as Bathers at Bellport and Beach Umbrellas at Blue Point, are full of sunlight, sand tones and sea blues, so they suit living rooms, sunrooms, beach houses and bathrooms. His flower still lifes, like Bouquet on Red Tablecloth and Red Basket of Zinnias, have warm reds and greens that work well in kitchens, dining rooms and entryways.

For a home office, hallway or a room with a city feel, try his New York scenes: Central Park, Winter makes a cheerful seasonal piece, and café pictures like At Mouquin's or Café Lafayette add a touch of old New York nightlife. Portraits of women in hats and furs pair well with vintage furniture in a bedroom or dressing area.

FAQ

What art movement was William Glackens part of?

Glackens was a member of The Eight, whose 1908 New York exhibition is closely tied to the Ashcan School of American realism. After about 1910 his work moved toward French Impressionism, especially the style of Renoir.

What is William Glackens' most famous painting?

Chez Mouquin (1905), at the Art Institute of Chicago, is among his best known, along with Hammerstein's Roof Garden (1901) at the Whitney and Nude with Apple (1910) at the Brooklyn Museum.

Where can I see original Glackens paintings?

The NSU Art Museum Fort Lauderdale in Florida holds the largest collection of his work, with a whole wing devoted to him. Major paintings are also at the Met, the Whitney, the Brooklyn Museum, the Art Institute of Chicago, the Phillips Collection and the Smithsonian American Art Museum.

Why is Glackens called "the American Renoir"?

Critics gave him the name because his later paintings use Renoir's bright color, soft feathery brushwork and warm skin tones. Glackens took it as a compliment and openly admired Renoir.

What was Glackens' connection to the Barnes Foundation?

Albert C. Barnes was his high school classmate. Barnes sent Glackens to Paris to buy modern art, and the paintings he brought back, including works by Renoir, Cézanne and Matisse, formed the core of the Barnes collection.

Related Artists

• Robert Henri: leader of The Eight and Glackens' travel companion to Europe
• John Sloan: high school classmate, fellow Philadelphia illustrator and member of The Eight
• Everett Shinn: fellow newspaper artist and member of The Eight, who painted New York theater life
• Maurice Prendergast: member of The Eight who also painted bright beach and park crowds
• Pierre-Auguste Renoir: the French Impressionist whose color shaped Glackens' later work