THEY CAME TO AMERICA
(“Immigrant Art” in the USA)
(“Immigrant Art” in the USA)
- de Saint-Mémin: Mrs. Cummings
- Moran: The Rapids
- van Beest: Two Fishermen
- Moran: The Passaic
- van Elten: The Deserted Mill
- Mielatz: Out of Commission
- Yeats: Rye, July 4, 1908
- Botke: Beside a Valley
- Nakamizo: Heron Lifting Off
- Charlot: Woman Lifting Rebozo
- Constant: Still Life with Pears
- Bormann: New York Aquarium
- Castellon: Waiting Women
- Takal: Man with a Cigar
- Lozowick: The White Spider
- Sangster: Niagara Falls
- Lovet-Lorski: Winged Man
- Sterner: The Penitent
- Hamilton: Feeding the Sparrows
- Sandzén: Mountain Lake
- Lucioni: Barn in the Hills
- Binder: Moses
- Eby: Goin’ Home
- Farrer: Sunset, Gowanus Bay
- Geritz: Mae Murray
- Grossman: Rain on the Square
- Sherman: Quadrille Band
- Brockhurst: Una
- Gottlieb: Low Tide
- Hoffbauer: Studies
- Oppenheimer: New York at Night
- Robinson: Horse Auction
- Bluemner: Winfield, Long Island
- Mora: Mother and Child
- Drewes: Rotterdam
- Fiene: Barns
- Marsh, Coney Island Beach
- Moser: Sunrise
- Eichenberg: Seven Deadly Sins
- Hayter, Greeting Card for 1945
- Kuniyoshi: Taxco, Mexico
- Roth: Street in Siena
- Winkler: Chow Seller
- Ruzicka: East River, Evening
- Reinhardt: Intermission
- Kadar: The Nativity
- Weber: Mountain Scene
- Schultheiss: The Flight into Egypt
- Walkowitz: Two Figures
- MacLaughlan: The Great Oak
- Auerbach-Levy: Cabby
- Neufeldt: Rhode Island
- Dolice: Off Asbury Park
- Friedlander: Brooklyn Bridge
- Hankins: Arrangement
Rotterdam (Industrial Harbor)
Woodcut in colors, 1957, 285 x 557 mm., Rose 188. A fine, strong impression in black, red and mauve with the white of the paper used as in a chiaroscuro, on japan paper with full, large margins, titled signed and dated in pencil and numbered from the edition of 30. Drewes was born in Eastern Germany, the son of a Lutheran minister, and served in the German army in World War I. He first studied architecture and then, at the Bauhaus, art under Klee and Itten, traveled the world for several years and was again at the Bauhaus in 1927, under Kandinsky for painting and Moholy-Nagy for graphics. It was the Bauhaus aesthetic, which was something new to America, that he brought with him when he immigrated in 1930, teaching at, among other places, the Brooklyn Museum, Columbia University and Washington University of St. Louis. Drewes began as an Expressionist artist and became more and more abstractionist as he matured. The very effective image here is a structured abstraction of nautical and industrial forms, in a realistic relationship to one another, but in no way a realistic view.