<i>Thomas Hart Benton's</i>Boomtown:<i>Regionalism Redefined</i>

Marling, Karal Ann

doi:10.1017/s0361233300003367

Prosp.

1981

DOI: 10.1017/s0361233300003367

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Thomas Hart Benton'sBoomtown:Regionalism Redefined

Karal Ann Marling¹

Abstract: In february 1927, Thomas Hart Benton visited Borger, Texas. In 1928 Benton paintedBoomtoum(oil on canvas, 45 by 54 inches. Memorial Art Gallery of the University of Rochester; Marion Stratton Gould Fund) from sketches made in Borger.Boomtownwas, by the artist's retrospective admission, a milestone in his career; he called it “one of my best paintings” and “one of my best-known ‘Regionalist’ pictures.”

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1992

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Cited by 2 publications

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New Deal Politics and Regionalist Art: Thomas Hart Benton's A Social History of the State of Indiana

Doss¹

1992

Prosp.

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The past two decades have seen a plethora of new information on American artist Thomas Hart Benton (1889–1975). Matthew Baigell pioneered Benton studies with his monograph on the artist in 1974, and Karal Ann Marling enhanced the subject with her survey of the artist's drawings in 1985. The Nelson-Atkins Museum of Art in Kansas City developed and traveled an extensive show of Benton's paintings in the late 1980s and produced an extensive biography by curator Henry Adams. The centennial of Benton's birth generated even more material: exhibits of his prints and drawings, volumes of essays on his art and character, and a considerable number of magazine and journal articles assessing his importance in 20thcentury American culture. Even Prospects has done its part for Bentonia with essays by Marling (1981) and Barbara Ladner (1990).

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New Deal Politics and Regionalist Art: Thomas Hart Benton's A Social History of the State of Indiana

Doss¹

1992

Prosp.

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Thomas Hart Benton's Jealous Lover and the Ballad of Middle-Brow Culture

Ladner¹

1990

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This article is about who or what art is for and what, if anything, art J. can do. It begins with the assumption that art can indeed function beyond itself and the specifically aesthetic premises that conditioned its production and that it is acceptable for the audience to consider such broader, cultural functions for it. In particular this article examines Thomas Hart Benton's The Ballad of the Jealous Lover of Lone Green Valley with an eye toward the ways in which uninitiated viewers might respond to that painting and how it can be read as responding to certain cultural conditions in which contemporary viewers would have found themselves. By offering viewers several levels on which to respond, as well as by responding itself to viewers' lives, the painting provides one example of Benton's desire, not to undermine high art in this country – as is often implied by accusations that his art is little more than kitsch – but rather to build the sophistication of the viewing public.

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Thomas Hart Benton'sBoomtown:Regionalism Redefined

Cited by 2 publications

References 6 publications

New Deal Politics and Regionalist Art: Thomas Hart Benton's A Social History of the State of Indiana

New Deal Politics and Regionalist Art: Thomas Hart Benton's A Social History of the State of Indiana

Thomas Hart Benton's Jealous Lover and the Ballad of Middle-Brow Culture

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