Art Representation of Social Class Photography Representation of Poor and Wealth

Fine art showing conditions of the working class

Social realism is the term used for work produced by painters, printmakers, photographers, writers and filmmakers that aims to depict attention to the real socio-political conditions of the working class as a ways to critique the power structures behind these conditions. While the movement'southward characteristics vary from nation to nation, information technology almost e'er utilizes a course of descriptive or critical realism.^[1]

The term is sometimes more than narrowly used for an art motility that flourished between the ii World Wars as a reaction to the hardships and problems suffered by common people later the Great Crash. In order to make their fine art more accessible to a wider audience, artists turned to realist portrayals of anonymous workers as well as celebrities as heroic symbols of strength in the confront of adversity. The goal of the artists in doing so was political as they wished to betrayal the deteriorating weather condition of the poor and working classes and hold the existing governmental and social systems accountable.^[2]

Social realism should not be confused with socialist realism, the official Soviet art form that was institutionalized past Joseph Stalin in 1934 and was after adopted past allied Communist parties worldwide. It is also different from realism as information technology non but presents conditions of the poor, merely does so by conveying the tensions between 2 opposing forces, such as between farmers and their feudal lord.^[i] Withal, sometimes the terms social realism and socialist realism are used interchangeably.^[iii]

Origins [edit]

Social realism, as an art motion that became prominent in the U.s.a. between the two world wars, as a reaction to the increasing hardship for ordinary people, was influenced by the social realist tradition in French republic which had existed for decades.^[4]

Social realism traces back to 19th-century European Realism, including the art of Honoré Daumier, Gustave Courbet and Jean-François Millet. Britain's Industrial Revolution angry concern for the poor, and in the 1870s the piece of work of artists such as Luke Fildes, Hubert von Herkomer, Frank Holl, and William Small were widely reproduced in The Graphic.

In Russia, Peredvizhniki or "Social Realism" was critical of the social environment that acquired the conditions pictured, and denounced the "evil" Tsarist flow. Ilya Repin said that his fine art piece of work was aimed "To criticize all the monstrosities of our vile gild" of the Tsarist menstruum. Similar concerns were addressed in 20th-century Britain by the Artists' International Association, Mass Observation and the Kitchen sink school.^[1]

Social realist photography draws from the documentary traditions of the late 19th century, such every bit the work of Jacob A. Riis, and Maksim Dmitriyev.^[ane]

Ashcan school [edit]

In about 1900, a group of Realist artists led by Robert Henri challenged the American Impressionism and academics, in what would get known every bit the Ashcan school. The term was suggested past a drawing by George Bellows, captioned Disappointments of the Ash Can, which appeared in the Philadelphia Record in April 1915.^[5]

In paintings, illustrations, etchings, and lithographs, Ashcan artists concentrated on portraying New York's vitality, with a keen eye on current events and the era's social and political rhetoric. H. Barbara Weinberg of The Metropolitan Museum of Fine art has described the artists as documenting "an unsettling, transitional time that was marked by confidence and uncertainty, excitement and trepidation. Ignoring or registering only gently harsh new realities such as the issues of immigration and urban poverty, they shone a positive lite on their era."^[five]

Notable Ashcan works include George Luks' Breaker Boy and John Sloan'south 6th Avenue Elevated at Third Street. The Ashcan school influenced the art of the Low era, including Thomas Hart Benton's mural City Action with Subway.^[1]

Fine art motility [edit]

The term dates on a broader scale to the Realist motion in French art during the mid-19th century. Social realism in the 20th century refers to the works of the French artist Gustave Courbet and in item to the implications of his 19th-century paintings A Burial At Ornans and The Rock Breakers, which scandalized French Salon–goers of 1850,^[half-dozen] and is seen as an international phenomenon too traced back to European realism and the works of Honoré Daumier and Jean-François Millet.^[seven] The social realist style fell out of style in the 1960s but is still influential in thinking and the art of today.

In the more than limited meaning of the term, Social Realism with roots in European Realism became an important art movement during the Peachy Low in the United States in the 1930s. As an American artistic motility information technology is closely related to American scene painting and to Regionalism. American Social Realism includes the works of such artists every bit those from the Ashcan School including Edward Hopper, and Thomas Hart Benton, Volition Barnet, Ben Shahn, Jacob Lawrence, Paul Meltsner, Romare Bearden, Rafael Soyer, Isaac Soyer, Moses Soyer, Reginald Marsh, John Steuart Curry, Arnold Blanch, Aaron Douglas, Grant Wood, Horace Pippin, Walt Kuhn, Isabel Bishop, Paul Cadmus, Doris Lee, Philip Evergood, Mitchell Siporin, Robert Gwathmey, Adolf Dehn, Harry Sternberg, Gregorio Prestopino, Louis Lozowick, William Gropper, Philip Guston, Jack Levine, Ralph Ward Stackpole, John Augustus Walker and others. It too extends to the art of photography as exemplified by the works of Walker Evans, Dorothea Lange, Margaret Bourke-White, Lewis Hine, Edward Steichen, Gordon Parks, Arthur Rothstein, Marion Post Wolcott, Doris Ulmann, Berenice Abbott, Aaron Siskind, and Russell Lee amidst several others.

In United mexican states, the painter Frida Kahlo is associated with the social realism motion. Likewise in Mexico was the Mexican muralist movement that took place primarily in the 1920s and 1930s; and was an inspiration to many artists north of the edge and an of import component of the social realism movement. The Mexican muralist movement is characterized by its political undertones, the majority of which are of a Marxist nature, and the social and political situation of postal service-revolutionary United mexican states. Diego Rivera, David Alfaro Siqueiros, José Clemente Orozco, and Rufino Tamayo are the all-time known proponents of the motion. Santiago Martínez Delgado, Jorge González Camarena, Roberto Montenegro, Federico Cantú Garza, and Jean Charlot, as well every bit several other artists participated in the movement.

Many artists who subscribed to social realism were painters with socialist (but not necessarily Marxist) political views. The movement therefore has some commonalities with the socialist realism used in the Soviet Union and the Eastern Bloc, but the 2 are not identical – social realism is not an official art, and allows infinite for subjectivity. In certain contexts, socialist realism has been described equally a specific co-operative of social realism.

Social realism has been summarized equally follows:

Social Realism developed every bit a reaction against idealism and the exaggerated ego encouraged by Romanticism. Consequences of the Industrial Revolution became apparent; urban centers grew, slums proliferated on a new scale contrasting with the brandish of wealth of the upper classes. With a new sense of social consciousness, the Social Realists pledged to "fight the cute art", any style which appealed to the eye or emotions. They focused on the ugly realities of contemporary life and sympathized with working-class people, peculiarly the poor. They recorded what they saw ("as information technology existed") in a dispassionate way. The public was outraged by Social Realism, in office, because they didn't know how to look at it or what to practice with it.^[8]

In the United States [edit]

Social realism in the United states was inspired by the muralists agile in Mexico after the Mexican Revolution of 1910.

Farm Security Administration project [edit]

Social realist photography reached a culmination in the work of Dorothea Lange, Walker Evans, Ben Shahn, and others for the Farm Security Administration (FSA) project, from 1935 to 1943.^[1]

After Earth War I, the booming U.S. farm economy collapsed from overproduction, falling prices, unfavorable weather, and increased mechanization. Many subcontract laborers were out of work and many pocket-size farming operations were forced into debt. Debt-ridden farms were foreclosed past the thousands, and sharecroppers and tenant farmers were turned from the country. When Franklin D. Roosevelt entered role in 1932, almost ii million farm families lived in poverty, and millions of acres of farm land had been ruined from soil erosion and poor farming practices.^[9]

The FSA was a New Deal agency designed to combat rural poverty during this menstruation. The agency hired photographers to provide visual evidence that at that place was a need, and that FSA programs were coming together that need. Ultimately this mission accounted for over 80,000 black and white images, and is now considered one of the about famous documentary photography projects e'er.^[10]

WPA and Treasury art projects [edit]

The Public Works of Art Project was a plan to use artists during the Great Depression. Information technology was the first such program, running from December 1933 to June 1934. It was headed by Edward Bruce, under the United states Treasury Department and funded by the Civil Works Administration.^[11]

Created in 1935, the Works Progress Administration was the largest and most ambitious New Bargain agency, employing millions of unemployed people (mostly unskilled men) to carry out public works projects,^[12] including the structure of public buildings and roads. In much smaller just more famous projects the WPA employed musicians, artists, writers, actors and directors in big arts, drama, media, and literacy projects.^[12] Many of the artists employed under the WPA are associated with social realism. Social realism became an important fine art movement during the Great Low in the United States in the 1930s. As an American artistic movement encouraged by New Deal art, social realism is closely related to American scene painting and to Regionalism.^[13]

In Mexico, the painter Frida Kahlo is associated with the social realism movement. The Mexican muralist movement that took identify primarily in the 1920s and 1930s was an inspiration to many artists due north of the border and an of import component of the social realism motility. The Mexican muralist motility is characterized by its political undertones, the majority of which are of a Marxist nature, and the social and political state of affairs of mail-revolutionary Mexico. Diego Rivera, David Alfaro Siqueiros, José Clemente Orozco, and Rufino Tamayo are the best known proponents of the movement. Santiago Martínez Delgado, Jorge González Camarena, Roberto Montenegro, Federico Cantú Garza, and Jean Charlot, also as several other artists participated in the motility.^[fourteen]

Many artists who subscribed to social realism were painters with socialist (simply not necessarily Marxist) political views. The movement therefore has some commonalities with the Socialist Realism used in the Soviet Union and the Eastern Bloc, merely the two are not identical – Social Realism is not an official art, and allows space for subjectivity. In sure contexts, socialist realism has been described as a specific branch of social realism.^[xiv]

World-War Two to present [edit]

With the onset of abstract expressionism in the 1940s, social realism had gone out of manner.^[fifteen] Several WPA artists found work with the United States Office of State of war Data during WWII, making posters and other visual materials for the war try.^[sixteen] After the state of war, although lacking attention in the fine art market, many social realist artists continued their careers into the 1950s, 1960s, 1970s, 1980s, 1990s and into the 2000s; throughout which, artists such every bit Jacob Lawrence, Ben Shahn, Bernarda Bryson Shahn, Raphael Soyer, Robert Gwathmey, Antonio Frasconi, Philip Evergood, Sidney Goodman, and Aaron Berkman continued to piece of work with social realist modalities and themes.^[17]

Whether in and out of fashion, social realism and socially witting art-making continues today inside the contemporary art globe, including artists Sue Coe, Mike Alewitz, Kara Walker, Celeste Dupuy Spencer, Allan Sekula, Fred Lonidier, and others.^[17]

Gallery [edit]

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In Latin America [edit]

Muralists active in Mexico after the Mexican Revolution of 1910 created largely propagandizing murals which emphasized a revolutionary spirit and a pride in the traditions of the indigenous peoples of Mexico, and included Diego Rivera'south History of United mexican states from the Conquest to the Future, José Clemente Orozco's Catharsis, and David Alfaro Siqueiros's The Strike. These murals also encouraged social realism in other Latin American countries, from Ecuador (Oswaldo Guayasamín's The Strike) to Brazil (Cândido Portinari's Java).^[1]

In Europe [edit]

In Belgium, early representatives of social realism are plant in the piece of work of 19th century artists such as Constantin Meunier and Charles de Groux.^{[eighteen] [nineteen]} In Britain, artists such equally the American James Abbott McNeill Whistler, besides as English language artists Hubert von Herkomer and Luke Fildes had great success with realist paintings dealing with social issues and depictions of the "real" world. Artists in Western Europe also embraced social realism in the early 20th century, including Italian painter and illustrator Bruno Caruso, German artists Käthe Kollwitz (Raped Adult female), George Grosz (Teutonic 24-hour interval), Otto Dix, and Max Beckmann; Swedish artist Torsten Billman; Dutch artists Charley Toorop (The Friends' Repast) and Pyke Koch; French artists Maurice de Vlaminck, Roger de La Fresnaye, Jean Fautrier, and Francis Gruber and Belgian artists Eugène Laermans and Abiding Permeke.^{[1] [20] [21]}

The political polarization of the menstruation resulted in social realism's distinction from socialist realism becoming less obvious in public opinion, and by the mid-20th century abstract art had replaced it every bit the dominant motion in both Western Europe and the U.s..^[1]

French republic [edit]

Realism, a style of painting that depicts the authenticity of what the eyes can run into, was a very pop art form in France effectually the mid- to late-19th century. It came well-nigh with the introduction of photography – a new visual source that created a desire for people to produce things that look "considerately real". Realism was heavily confronting romanticism, a genre dominating French literature and artwork in the mid-19th century. Undistorted past personal bias, Realism believed in the ideology of external reality and revolted against exaggerated emotionalism. Truth and accuracy became the goals of many realists as Gustave Courbet.^[22]

Russian federation and the Soviet Spousal relationship [edit]

The French Realist movement had equivalents in all other Western countries, developing somewhat later. In particular, the Peredvizhniki or Wanderers grouping in Russian federation who formed in the 1860s and organized exhibitions from 1871 included many realists such as Ilya Repin and had a great influence on Russian art.

From that important trend came the evolution of socialist realism, which was to dominate Soviet civilisation and artistic expression for over 60 years. Socialist realism, representing socialist ideologies, was an art motility that represented social and political gimmicky life in the 1930s, from a left-wing standpoint. It depicted subjects of social concern; the proletariat struggle – hardships of everyday life that the working class had to put up with, and heroically emphasized the values of the loyal communist workers.

The ideology behind social realism, communicated past depicting the heroism of the working class, was to promote and spark revolutionary actions and to spread the image of optimism and the importance of productiveness. Keeping people optimistic meant creating a sense of patriotism, which would prove very important in the struggle to produce a successful socialist nation. The Unions Newspaper, the Literaturnaya Gazeta, described social realism every bit "the representation of the proletarian revolution". During Joseph Stalin's reign, it was considered nigh important to utilize socialist realism as a form of propaganda in posters, as information technology kept people optimistic and encouraged greater productive effort, a necessity in his aim of developing Russia into an industrialized nation.

Vladimir Lenin believed that fine art should belong to the people and should stand on the side of the proletariat. "Fine art should be based on their feelings, thoughts, and demands, and should grow forth with them",^[23] said Lenin. He as well believed that literature must exist part of the proletariat'southward mutual cause.^[23] After the revolution of 1917, leaders of the newly formed communist political party were encouraging experimentation of different art types. Lenin believed that the way of art the USSR should endorse would have to be easy to understand (ruling out abstract fine art such equally suprematism and constructivism) for the masses of illiterate people in Russia.^{[24] [25] [26]}

A broad-ranging argue on art took identify;^{[ when? ]} the principal disagreement was betwixt those who believed in "Proletarian Art" which should have no connections with past art coming out of bourgeois guild, and those (most vociferously Leon Trotsky) who believed that art in a society dominated by working-course values had to blot all the lessons of bourgeois art earlier it could movement frontward at all.

The taking of power past Joseph Stalin's faction had its corollary in the establishment of an official art: on 23 Apr 1932, headed by Stalin, an organization formed by the central committee of the Communist Party developed the Spousal relationship of Soviet Writers. This organization endorsed the newly designated ideology of social realism.

By 1934, all other independent art groups were abolished, making it nearly impossible for someone not involved in the Union of Soviet Writers to get work published. Any literary piece or painting that did not endorse the ideology of social realism was censored or banned. This new fine art motion, introduced under Joseph Stalin, was one of the nigh practical and durable artistic approaches of the 20th century. With the communist revolution came likewise a cultural revolution. It also gave Stalin and his Communist Party greater command over Soviet culture and restricted people from expressing alternative geopolitical ideologies that differed to those represented in socialist realism. The turn down of social realism came with the dissolution of the Soviet Union in 1991.

In movie [edit]

Social realism in cinema establish its roots in Italian neorealism, especially the films of Roberto Rossellini, Vittorio De Sica, and to some extent Federico Fellini.^[27]

In British cinema [edit]

Early British movie house used the mutual social interaction institute in the literary works of Charles Dickens and Thomas Hardy.^[28] One of the first British films to emphasize realism'south value equally a social protest was James Williamson's A Reservist Before the War, and Afterward the War in 1902. The motion-picture show memorialized Boer War serviceman coming dorsum home to unemployment. Repressive censorship during 1945–54 prevented British films from displaying more radical social positions.^[28]

After World War I, the British center-class generally responded to realism and restraint in movie theater, while the working-class generally favored Hollywood genre movies. Thus realism carried connotations of didactics and loftier seriousness. These social and aesthetic distinctions would shortly become running themes as social realism is now associated with the arthouse auteur, while mainstream Hollywood films are shown at the multiplex.^[28]

Producer Michael Balcon revived this stardom in the 1940s, referring to the British industry'southward rivalry with Hollywood in terms of "realism and tinsel". Balcon, the head of Ealing Studios, became a key figure in the emergence of a national picture palace characterized by stoicism and verisimilitude. "Combining the objective atmosphere and aesthetics of the documentary motion with the stars and resources of studio filmmaking, 1940s British cinema made a stirring appeal to a mass audition", noted critic Richard Armstrong.^[28]

Social realism in cinema was reflecting Britain'southward transforming wartime society. Women were working alongside men in the war machine and its munitions factories, challenging pre-assigned gender roles. Rationing, air raids and unprecedented state intervention in the life of the private encouraged a more than social philosophy and worldview. Social realist films of the era include Target for This evening (1941), In Which We Serve (1942), Millions Like United states of america (1943), and This Happy Breed (1944). Historian Roger Manvell wrote, "As the cinemas [closed initially because of the fear of air raids] reopened, the public flooded in, searching for relief from hard piece of work, companionship, release from tension, emotional indulgence and, where they could find them, some reaffirmation of the values of humanity."^[28]

In the postwar period, films like Passport to Pimlico (1949), The Blue Lamp (1949), and The Titfield Thunderbolt (1952) reiterated gentle patrician values, creating a tension between the camaraderie of the war years and the burgeoning consumer society.^[28]

Sydney Box's arrival equally head of Gainsborough pictures in 1946 saw a transition from the Gainsborough melodramas, which had been successful during the war years, to social realism. Issues such equally brusk-term sexual relationships, adultery, and illegitimate births flourished during the Second World War^[29] and Box, who favoured realism over what he termed equally "flamboyance fantasy",^[thirty] brought these and other social issues, such as kid adoption, juvenile delinquency, and displaced persons to the fore with films such as When the Bough Breaks (1947), Practiced-Time Girl (1948), Portrait from Life (1948), The Lost People (1949), and Boys in Chocolate-brown (1949). Films of new rapidly expanding forms of leisure by working class families in postwar United kingdom of great britain and northern ireland were likewise represented past Box in Vacation Military camp (1947), Like shooting fish in a barrel Money (1948), and A Boy, a Girl and a Bike (1949).^[31] Box remained adamant on making social realism films, even after Gainsborough airtight in 1951, when he said in 1952 "No moving-picture show has yet been made of the Tolpuddle Martyrs, the Suffragette Movement, the National Health Service equally information technology is today, or the scandals of the patent medicines, oil control in the World, or armaments manufactured for profit."^[32] However, he would not go on to make these types of stories into films, instead focusing on issues related to abortion, teenage prostitution, bigamy, child fail, shoplifting, and drug trafficking in films such as Street Corner (1953), Besides Immature to Love (1959), and Subway in the Sky (1959).^[33]

A British New Moving ridge movement emerged in the 1950s and 1960s. British auteurs like Karel Reisz, Tony Richardson, and John Schlesinger brought broad shots and evidently speaking to stories of ordinary Britons negotiating postwar social structures. Relaxation of censorship enabled motion-picture show makers to portray issues such as prostitution, ballgame, homosexuality, and breach. Characters included mill workers, function underlings, dissatisfied wives, pregnant girlfriends, runaways, the marginalized, the poor, and the depressed. The New Wave protagonist was usually a working-grade male without bearings in a society in which traditional industries and the cultures that went with them were in decline.^[28]

Mike Leigh and Ken Loach likewise make gimmicky social realist films.^[34]

List of British New Wave films [edit]

• Room at the Height (1958)
• Saturday Dark and Lord's day Morning (1960)
• The Loneliness of the Long Altitude Runner (1962)
• A Kind of Loving (1962)

^{[35] [36]}

In Indian cinema [edit]

Social realism was also adopted by Hindi films of the 1940s and 1950s, including Chetan Anand's Neecha Nagar (1946), which won the Palme d'Or at the offset Cannes Film Festival, and Bimal Roy's Two Acres of Country (1953), which won the International Prize at the 1954 Cannes Film Festival. The success of these films gave rise to the Indian New Moving ridge, with early Bengali art films such as Ritwik Ghatak's Nagarik (1952) and Satyajit Ray's The Apu Trilogy (1955–59). Realism in Indian movie house dates back to the 1920s and 1930s, with early on examples including V. Shantaram's films Indian Shylock (1925) and The Unaccpected (1937).^[37]

List of neorealist films in American cinema [edit]

• Body and Soul (1947)
• Thieves' Highway (1949)
• Little Fugitive (1953)
• Salt of the World (1954)
• On the Bowery (1957)
• Shadows (1959)
• The Exiles (1961)
• The Cool Globe (1963)
• Nothing But a Homo (1964)
• Wanda (1970)
• Dusty and Sweets McGee (1971)
• Killer of Sheep (1978)
• Bush-league Mama (1979)
• El Norte (1983)
• Bless Their Little Hearts (1984)
• Stranger Than Paradise (1984)
• Down By Law (1986)
• American Me (1992)
• Clerks (1994)
• Friday (1995)
• 8 Mile (2002)
• Half Nelson (2006)
• The Visitor (2007)
• Frozen River (2008)
• Sugar (2008)
• Wendy and Lucy (2008)
• Meek'south Cutoff (2010)
• Winter's Bone (2010)
• Nebraska (2013)
• Tangerine (2015)
• American Honey (2016)
• Patti Block$ (2017)
• The Florida Project (2017)
• Go out No Trace (2018)
• Roma (2018)

Filmmakers associated with American neorealism [edit]

• Ramin Bahrani
• Sean Baker
• Charles Burnett
• John Cassavetes
• Shirley Clarke
• Coleman Francis
• Jim Jarmusch
• Barbara Loden
• Kent Mackenzie
• Kelly Reichardt

Sources:^{[38] [39] [twoscore] [41] [42] [43] [44] [45] [46] [47] [48] [49] [50] [51] [52] [53] [54] [55]}

List of artists [edit]

The following incomplete list of artists have been associated with social realism:

Creative person	Nationality	Field(s)	Years agile
Abbot, Berenice	American	photography	1923–1991
Anand, Chetan	Indian	film	1944–1997
Barnet, Will	American	painting, analogy, printmaking	1930–2012
Bearden, Romare	American	painting	1936–1988
Beckmann, Max	German	painting, printmaking, sculpture	unknown–1950
Bellows, George	American	painting, illustration	1906–1925
Benton, Thomas Hart	American	painting	1907–1975
Billman, Torsten	Swedish	printmaking, illustration, painting	1930–1988
Bishop, Isabel	American	painting, graphic design	1918–1988
Blanch, Arnold	American	painting, etching, analogy, printmaking	1923–1968
Bogen, Alexander	Polish/ Israeli	painting, carving, illustration, printmaking	1916–2010
Bourke-White, Margaret	American	photography	1920s–1971
Brocka, Lino	Filipino	Film	1970–1991
Cadmus, Paul	American	painting, illustration	1934–1999
Camarena, Jorge González	Mexican	painting, sculpture	1929–1980
Caruso, Bruno	Italian	painting, illustration, printmaking	1943–2012
Castejón, Joan	Spanish	painting, sculpture, illustration	1945–present
Charlot, Jean	French	painting, illustration	1921–1979
Counihan, Noel	Australian	painting, printmaking	1930s–1986
Curry, John Steuart	American	painting	1921–1946
Dehn, Adolf	American	lithography, painting, printmaking	1920s–1968
Delgado, Santiago Martínez	Colombian	painting, sculpture, illustration	1925–1954
de la Fresnaye, Roger	French	painting	1912–1925
de Vlaminck, Maurice	French	painting	1893–1958
Dix, Otto	German	painting, printmaking	1910–1969
Douglas, Aaron	American	painting	1925–1979
Evans, Walker	American	photography	1928–1975
Evergood, Philip	American	painting, sculpture, printmaking	1926–1973
Fautrier, Jean	French	painting, sculpture	1922–1964
Garza, Federico Cantú	Mexican	painting, engraving, sculpture	1929–1989
Ghatak, Ritwik	Indian	picture, theatre	1948–1976
Gropper, William	American	lithography, painting, analogy	1915–1977
Grosz, George	German	painting, analogy	1909–1959
Gruber, Francis	French	painting	1930–1948
Guayasamín, Oswaldo	Ecuadorian	painting, sculpture	1942–1999
Guston, Philip	American	painting, printmaking	1927–1980
Gwathmey, Robert	American	painting	unknown–1988
Henri, Robert	American	painting	1883–1929
Hine, Lewis	American	photography	1904–1940
Hirsch, Joseph	American	painting, illustration, printmaking	1933-1981
Hopper, Edward	American	painting, printmaking	1895–1967
Kahlo, Frida	Mexican	painting	1925–1954
Koch, Pyke	Dutch	painting	1927–1991
Kollwitz, Käthe	German	painting, sculpture, printmaking	1890–1945
Kuhn, Walt	American	painting, illustration	1892–1939
Lamangan, Joel	Filipino	Film, Telly, Theater	1991–present
Lange, Dorothea	American	photography	1918–1965
Lawrence, Jacob	American	painting	1931–2000
Lee, Doris	American	painting, printmaking	1935–1983
Lee, Russell	American	photography	1936–1986
Levine, Jack	American	painting, printmaking	1932–2010
Lozowick, Louis	American	painting, printmaking	1926–1973
Luks, George	American	painting, analogy	1893–1933
Marsh, Reginald	American	painting	1922–1954
Meltsner, Paul	American	painting	1913–1966
Mia Tee, Chua	Singaporean	painting	1956-1976
Montenegro, Roberto	Mexican	painting, illustration	1906–1968
Myers, Jerome	American	painting, cartoon, carving, analogy	1867–1940
Orozco, José Clemente	Mexican	painting	1922–1949
O'Hara Mario	Filipino	Picture	1976–2012
Parks, Gordon	American	photography, picture	1937–2006
Pippin, Horace	American	painting	1930–1946
Portinari, Candido	Brazilian	painting	1928–1962
Prestopino, Gregorio	American	painting	1930s–1984
Ray, Satyajit	Indian	film	1947–1992
Reisz, Karel	British	motion picture	1955–1990
Richardson, Tony	British	moving picture	1955–1991
Rivera, Diego	Mexican	painting	1922–1957
Rothstein, Arthur	American	photography	1934–1985
Roy, Bimal	Indian	movie	1935–1966
Schlesinger, John	British	motion picture	1956–1991
Shahn, Ben	American	painting, analogy, graphic art, photography	1932–1969
Siporin, Mitchell	American	painting	unknown–1976
Siqueiros, David Alfaro	Mexican	painting	1932–1974
Siskind, Aaron	American	photography	1930s–1991
Sloan, John French	American	painting	1890–1951
Soyer, Isaac	American	painting	1930s–1981
Soyer, Moses	American	painting	1926–1974
Soyer, Raphael	American	painting, illustration, printmaking	1930–1987
Stackpole, Ralph	American	sculpture, painting	1910–1973
Steichen, Edward	American	photography, painting	1894–1973
Sternberg, Harry	American	painting, printmaking	1926–2001
Tamayo, Rufino	Mexican	painting, illustration	1917–1991
Toorop, Charley	Dutch	painting, lithography	1916–1955
Ulmann, Doris	American	photography	1918–1934
Walker, John Augustus	American	painting	1926–1967
Williamson, James	British	film	1901–1933
Wilson, John Woodrow	American	lithography, sculpture	1945-2001
Wolcott, Marion Mail service	American	photography	1930s–1944
Wong, Martin	American	painting	1946–1999
Wood, Grant	American	painting	1913–1942
İlhan, Attilâ[56]	Turkish	poesy	1942-2005

See also [edit]

• American realism
• British New Wave
• Gabriel Bracho, exponent of the social realism creative movement in Venezuela
• Italian neorealism
• Kitchen sink realism
• Naturalism
• Realism
• Film
  • B picture show
  • Minimalist film
  • Modernist film
  • Art motion picture
  • Film noir

References [edit]

1. ^ ^{a b c d e f g h i} James Yard. Todd Jr, Social realism in: Grove Art Online
2. ^ Social Realism defined at the MOMA
3. ^ Max Rieser, The Aesthetic Theory of Social Realism, in: The Journal of Aesthetics and Art Criticism, Vol. 16, No. two (December 1957), pp. 237-248
4. ^ "SOCIALIST REALISM". Tate . Retrieved 3 January 2021.
5. ^ ^{a b} Weinberg, H. Barbara. "The Ashcan School". Heilbrunn Timeline of Art History. The Metropolitan Museum of Art. Retrieved seven February 2013.
6. ^ 1850; Dresden, destroyed 1945
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