Eugene O'Neill and the Ashcan Artists: The Influence of the New Y

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eBay item number:365631020347
Last updated on Nov 26, 2025 23:04:03 MYTView all revisionsView all revisions

Item specifics

Condition
Brand New: A new, unread, unused book in perfect condition with no missing or damaged pages. See all condition definitionsopens in a new window or tab
Binding
paperback
Book Title
Eugene O'Neill and the Ashcan Artists: The Influence of the New Y
ISBN
9781476694672
Category

About this product

Product Identifiers

Publisher
Mcfarland & Company, Incorporated Publishers
ISBN-10
1476694672
ISBN-13
9781476694672
eBay Product ID (ePID)
23066173725

Product Key Features

Number of Pages
227 Pages
Publication Name
Eugene O'neill and the Ashcan Artists : the Influence of the New York Art Movement on the Plays
Language
English
Subject
American / General
Publication Year
2025
Type
Textbook
Author
Zander Brietzke
Subject Area
Drama
Format
Trade Paperback

Dimensions

Item Height
0.5 in
Item Weight
11.1 Oz
Item Length
9 in
Item Width
6 in

Additional Product Features

Intended Audience
Scholarly & Professional
LCCN
2024-444447
Reviews
"Not only does Brietzke make a profound contribution to Eugene O'Neill studies, but he also offers a methodological model that employs iconography as a critical lens for script analysis."--Anne Fletcher, professor emerita, School of Theatre & Dance, Southern Illinois University, "The book is meticulously researched and full of boldly conceived and dazzlingly synthesized analyses of O'Neill's drama and the contemporaneous painting of his friend George Bellows and other associates of the Ashcan School. And it's a delight to read, which matters. Hats off to the good folks at McFarland, who have again demonstrated their commitment to O'Neill scholarship. They have produced a handsome book..."--The Eugene O'Neill Society, " Eugene O'Neill and the Ashcan Artists is a unique--and compelling--investigation of the ashcan artists' influence on playwright Eugene O'Neill. Packed with research and close readings of visual and literary materials, the manuscript is a fascinating study that takes us through key sites of cultural production, from the infamous Hell Hole bar to Penn Station. Brietzke places us in the scene by carefully describing a vibrant collective of writers, painters, anarchists, architects, and philosophers that constituted the Progressive Era. The manuscript is beautifully written, with compelling prose and intriguing details. The close readings of paintings are riveting, as is the dramatic analysis, making us see things anew. This is a book you will want on your shelf."--Katie N. Johnson, PhD, Professor of English, Miami University
Number of Volumes
1 vol.
Illustrated
Yes
Table Of Content
Table of Contents Illustrations Acknowledgments Abbreviations Preface Introduction: Urban Landscapes Chapter 1. Terminal Excavation Chapter 2. Lincoln Arcade Chapter 3. Hell Holes Chapter 4. Tenement Squalor Chapter 5. Village Radicals Chapter 6. Vanderbilt Alley Chapter 7. Tenderloin Vice Between pages 178 and 179 are 6 color plates containing 12 photographs Conclusion: Plein Air Appendix: Geographic Chronology of Plays and New York City Chapter Notes Bibliography Index
Synopsis
Eugene O'Neill lived with the artist George Bellows in the early twentieth century; met Robert Henri, the leader of the future Ashcan School; and knew John Sloan, who etched O'Neill at the Lincoln Arcade studio on Upper Broadway. These visual artists made a profound impression on the future playwright, and when O'Neill began writing plays in 1913, he drew upon the images he had first seen on canvas or paper. This book presents the centrality of New York City on Eugene O'Neill's imagination--the notorious Tenderloin section, Greenwich Village, the Lower East Side, Fifth Avenue, and Gramercy Park--and it does so through the brushes, pens, plates, and stones of the Ashcan artists. The sixty images herein reveal the shared aesthetic sensibilities between all the respective artists and foreground the honest, unflinching, and simple beauty that O'Neill sought to portray in all of his dramatic works: from the early one-acts with the Provincetown Players, to the Broadway blockbusters in the 1920s, and culminating with the posthumously-produced plays he wrote in near seclusion to conclude his career., Eugene O'Neill lived with the artist George Bellows in the early twentieth century; met Robert Henri, the leader of the Ashcan School, at the Lincoln Arcade; and knew John Sloan, who etched O'Neill at the Golden Swan Café (aka Hell Hole). This book presents the centrality of New York City on O'Neill's imagination-the notorious Tenderloin section, Greenwich Village, the Lower East Side, Fifth Avenue, and Gramercy Park-through the brushes, pens, plates, and stones of the Ashcan artists. Revealed here are the shared aesthetic sensibilities between the artists and the honest, unflinching, and simple beauty that O'Neill sought to portray in his dramatic works: from the early one-acts with the Provincetown Players to the Broadway blockbusters of the 1920s, culminating in the posthumously produced plays he wrote in near seclusion.
LC Classification Number
PS3529.N5Z574526

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