At the Dawn of a New Age: Early Twentieth-Century American Modernism

May 7, 2022–Feb 26, 2023

A figure with a walking stick makes their way up a mountainside filled with vibrant greens, blues, yellows, and reds.
A figure with a walking stick makes their way up a mountainside filled with vibrant greens, blues, yellows, and reds.

Albert Bloch, Mountain, 1916. Oil on cardboard, 25 1/8 × 31 3/4 in. (63.8 × 80.6 cm) overall. Whitney Museum of American Art, New York; Blanche A. Haberman Bequest 69.40

At the Dawn of a New Age: Early Twentieth-Century American Modernism showcases art produced between 1900 and 1930 by well-known American modernists and their now largely forgotten, but equally groundbreaking peers. Drawn primarily from the Whitney’s permanent collection, it provides new perspectives on the myriad ways American artists used nonrepresentational styles developed in Europe to express their subjective responses to the realities of the modern age.

America’s early modernists came of age during a time when the country’s predominant mood was one of youthful confidence. Racial violence and social and economic injustices existed, but so too did insurgency and social reform. American technological and engineering ingenuity had made the country the world’s largest industrial power at the same time that political Progressivism and cultural shifts such as women’s suffrage had upended bourgeois codes of respectability. The combination gave rise to an excitement about an era that critic Walter Lippmann characterized as “bursting with new ideas, new plans, and new hopes.”

Against this backdrop, large numbers of American artists embraced the new over the traditional and fixed by rejecting realistic depictions of the world in favor of art that prioritized emotional experience and harmonious design. The results were largely ignored by the Whitney Museum, whose loyalty was to the urban realists who formed the core of the Whitney Studio Club, out of which the Museum had grown. A handful of non-representational works were acquired when the museum was founded in 1930 and more were added in subsequent decades, but it was not until the mid-1970s that the museum vigorously began to acquire vanguard art made between 1900 and 1930. While extensive, these acquisitions largely excluded work by women and artists of color. The Whitney had already begun rectifying these biases, but in anticipation of the opening of At the Dawn, it added more works by these artists to the collection. The result is an exhibition that recasts the story of American art by celebrating the mood of optimistic excitement with which American artists embraced modern styles and illuminates the complexity and diversity that are at the heart of the American experience.

This exhibition is organized by Barbara Haskell, Curator.

Generous support for At the Dawn of a New Age: Early Twentieth-Century American Modernism is provided by the Barbara Haskell American Fellows Legacy Fund.

Significant support is provided by Amy and David Abrams; Laurie M. Tisch; and public funds from the New York City Department of Cultural Affairs, in partnership with the City Council.

Additional support is provided by Alturas Foundation, Cheryl and Blair Effron, Bernard Goldberg, the Judy and Stanley Katz Family Foundation, Michele Mirman, Garrett Moran and Mary Penniman Moran, Ted and Mary Jo Shen, Marica and Jan Vilcek, and Robin and Marc Wolpow.

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Carl Newman

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Born 1858 in Philadelphia, PA
Died 1932 in Abington, PA

Carl Newman was a fifty-two-year-old Pennsylvania Academy–trained figure painter when he spent the summer of 1910 in Paris with his close friend Henry Lyman Sayen, a fellow Philadelphia artist who had adopted Fauvism during his seven years living in France. Working alongside Sayen over the summer, Newman loosened his brushwork and brightened his palette. After Sayen returned to Philadelphia in 1914, the two artists began spending almost every weekend together at Newman’s large house and studio in the suburbs. In 1915, Newman commissioned Sayen to decorate the studio’s eighteen-foot-high ceiling. Painting beneath Sayen’s Fauvist kaleidoscope, Newman inaugurated a series of brightly colored Arcadian landscapes that recall Henri Matisse’s 1905 Joy of Life (which he would have seen in Paris in 1910 while attending Gertrude Stein’s salon). As his work evolved during the next decade, it came to be dominated by large-scale nude female figures. Unabashedly fleshy and voluptuous, they shocked American audiences to such an extent that one was once removed from an exhibition because of complaints. In a misguided effort to salvage her husband’s reputation, Newman’s wife destroyed many of these later figure paintings after his death.

Untitled (Bathers), c. 1917

A vibrant expressionist painting depicting a group of nude figures in various poses by a lakeside, with a colorful landscape of mountains and a rainbow in the background, and a sailboat on the water. The brushwork is loose and the colors are bold, with an emphasis on reds, blues, and greens.
A vibrant expressionist painting depicting a group of nude figures in various poses by a lakeside, with a colorful landscape of mountains and a rainbow in the background, and a sailboat on the water. The brushwork is loose and the colors are bold, with an emphasis on reds, blues, and greens.

Carl Newman, Untitled (Bathers), c. 1917. Oil on linen, overall: 32 × 28 1/8 in. (81.3 × 71.4 cm). Whitney Museum of American Art, New York; gift of Milton and Gertrude Luria 77.2

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Abstract painting with blue background, greenish shapes resembling hills, and a glowing white balloon-like form.
Abstract painting with blue background, greenish shapes resembling hills, and a glowing white balloon-like form.

Agnes Pelton, Sea Change, 1931. Oil on canvas, overall: 20 1/8 × 28 3/8 in. (51.1 × 72.1 cm). Whitney Museum of American Art, New York; gift of Lois and Irvin Cohen 99.64

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In the News

"We gain insight into the trailblazing careers of artists such as Henrietta Shore, Charles Duncan, Yun Gee, Manierre Dawson, Blanche Lazzell, Ben Benn, Isami Doi, and Albert Bloch, who have been left out of the leading narrative."—Forbes

"…una exposición que reformula la historia del arte estadounidense al recordar y celebrar el entusiasmo con el que los artistas de aquella época indagaron y adoptaron estilos modernos."—National Geographic Español

"…the show is a riot of colors, moods and styles, giving a sense of the heady experimentation at work as artists hewed out a distinctively American modernism."—The Guardian

"…Pamela Colman Smith has been included in a new exhibition at the Whitney Museum of American Art in New York highlighting many underappreciated artists of early 20th-century American modernism in addition to famous names like Georgia O'Keeffe and Louise Nevelson."—CNN Style

"You are there, immersed in peaks and valleys of an effervescent day and age."—New Yorker

"…this show looks at some of the artistic roots of the contemporary moment through more than 60 works made from 1900 to 1930."—New York Times

-…the exhibition is an opportunity to reassess and expand not only the Whitney’s collection but its take on a pivotal era of American art."—Wall Street Journal

"Dominating the show as we round out our tour is the realization of the innovative spirit and ingenuity that pervaded America."—Art & Antiques Magazine

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Maya Man, A Realistic Day In My Life Living In New York City

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