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Everett Shinn
American, 1876–1953
“Girl on Runway–Winter Garden, New York”, is typical of Shinn’s work in medium, subject and composition. He was consistently engaged by such theatrical subjects and produced them throughout his career. These images of performers on stage first appeared in 1899, and his interest was fuelled by trips to Paris and London where he saw the café-concerts and theatre subjects of Edgar Degas and Edouard Manet. These subjects became even more dominant later in his career. Depictions of female dancers, as seen from unconventional vantage points, were of particular interest, and, after 1910, he began cropping the compositions to focus on the figures onstage as opposed to the spectators.
As depictions of dancers such as “Girl on a Runway…” were produced by Shinn over a large portion of his career, the dating of these works (when they are not dated by the artist) is based largely upon analysis of their composition and the figure style.
American, 1876–1953
Girl on Runway—Winter Garden, New York
about 1920–1925
Object Type:
Drawing
Creation Place:
North America, American, New York
Dimensions:
16 in. x 10 3/4 in. (40.64 cm x 27.31 cm)
Medium and Support:
Pastel on paper
Accession Number:
1977.0536
Credit Line:
Montgomery Museum of Fine Arts Association Purchase
“Girl on Runway–Winter Garden, New York”, is typical of Shinn’s work in medium, subject and composition. He was consistently engaged by such theatrical subjects and produced them throughout his career. These images of performers on stage first appeared in 1899, and his interest was fuelled by trips to Paris and London where he saw the café-concerts and theatre subjects of Edgar Degas and Edouard Manet. These subjects became even more dominant later in his career. Depictions of female dancers, as seen from unconventional vantage points, were of particular interest, and, after 1910, he began cropping the compositions to focus on the figures onstage as opposed to the spectators.
As depictions of dancers such as “Girl on a Runway…” were produced by Shinn over a large portion of his career, the dating of these works (when they are not dated by the artist) is based largely upon analysis of their composition and the figure style.
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