The first solo museum show of T.C. Steele's paintings in Indianapolis since his death in 1926 asserts the artist's devotion to his native surroundings.
Indiana landscape painter William Forsyth’s latent modernism may have secured his place in history—Thomas Hart Benton’s version at least.
Everyday life in the 1930s wasn’t a day at the beach, as these paintings bear out. We see train wrecks, shotgun shacks, and alleys draped with telephone wire.
The tradition of painting outdoors on this particular hilltop dates back to 1907, when a well-known American Impressionist purchased the abandoned farmstead.
For T.C. Steele, lifestyle prevailed over stuff. “It has seemed to me,” wrote the Indiana Impressionist, “that the greatest of all arts is the art of living.”
“Brown County was the great leveler," says Kathy McKimmie, whose new book unearths the story of and the connections among three Nashville potteries.
Cutting-edge in its time, turn-of-the-century mid-western Impressionist painting laid the groundwork for the American art establishment in the heartland.