The Open Window and the Empty Chair: Charles Sheeler's "View of New York"

Troyen, Carol

doi:10.2307/1594448

American Art Journal

1986

DOI: 10.2307/1594448

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The Open Window and the Empty Chair: Charles Sheeler's "View of New York"

Carol Troyen¹

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1995

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On the Threshold: Charles Sheeler's Early Photographs

Lucic¹

1995

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Charles Sheeler, like most American modernists of his generation, avoided the human subject. Instead his paintings and photographs focus upon inanimate objects that range from the Shaker furniture seen in Home Sweet Home (Figure 1) to the Ford factory buildings depicted in Rouge River Plant (Figure 2). These depopulated subjects have established Sheeler's reputation as an impersonal celebrant of the functionalist tradition in American design. But on close examination, the images also reveal understated longings and fears; they function as metaphors for a psychological confrontation with the external world.

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On the Threshold: Charles Sheeler's Early Photographs

Lucic¹

1995

Prosp.

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The Open Window and the Empty Chair: Charles Sheeler's "View of New York"

Cited by 1 publication

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On the Threshold: Charles Sheeler's Early Photographs

On the Threshold: Charles Sheeler's Early Photographs

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