1980.30

Using the Amon Carter’s collection of American art and the National Endowment for the Humanities’ Picturing America project, explore masterworks of American art and the artists who made them while discussing how these works connect American culture and history.

This project is supported by a grant from the National Endowment for the Humanities.

National Endowment for the Humanities Picturing America Program Participant
1980.30

Artist Biography

Joseph Stella (1877–1946) claimed that beyond his classical education as a youth in his hometown of Muro Lucano, Italy, his real artistic study took place on the streets of New York City, where he lived after 1896. He drew relentlessly, sketching people in parks, on elevated trains, and in the public library. He dismissed as irrelevant his three years of study with William Merritt Chase (1849–1916), though Chase reinforced Stella’s strongest inclinations: his respect for the Italian Renaissance artists and his love of drawing.

In drawing fellow immigrants, Stella produced vivid images of their suffering; his first published work appeared in social-reform weeklies. Illustrations for The Pittsburgh Survey, which he made in 1908 with the photographer Lewis Hine, include depictions of men in Pittsburgh’s steel mills. These works are timeless comments on human endurance and exploitation. Revisiting Europe in 1909, Stella was introduced to Italian Futurism. Futurists created works of art based on modern life and technology, using artistic conventions to connote speed and machine-like configurations. Today Stella is known as the movement’s first great exponent in America. He found New York’s kaleidoscopic scene perfectly suited to his new interest in color and dynamic composition. Yet by 1920 his modernist impulse gave way to a mystical absorption in nature. Silverpoint became his favorite medium as he focused on the delicate beauty of plants and birds. Silverpoint is the technique of drawing a pointed rod of silver across paper that has been specially coated with white pigment. It leaves minute particles of the metal embedded in the paper surface, producing a grayish line that darkens as the silver tarnishes.

Throughout his career he explored themes from the symbolic to the commonplace. Stella suffered a heart attack and died a year after surviving a near fatal injury sustained from falling down an open elevator shaft while serving as a judge for the 1945 exhibition Portrait of America held at Rockefeller Center in New York City, New York.