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.
At a time when most museums were purchasing European art, the Swope's first director was acquiring the new American paintings that would define the field.
The process of stabilizing an aging masterpiece provides the opportunity to consider something that’s larger-than-life, from an intimate vantage point.