The Virtue of Vice: The Art of Social Commentary
Drawn from the Museum’s vaults, rarely seen works will highlight the satirical and often harsh criticisms of artists who used social commentary as a means of expression. Whether poverty and sexual exploitation or drinking and gambling, no topic — no vice — was off limits. Artists sought to draw attention to the shortcomings of society, shining a light on subjects often kept in the shadows. Whether addressing the polarization of the classes or poking fun at the art world in which they worked, artists used equal parts skill and wit in their creations — compelling us to face realities we would sooner disregard.
Percy Albee (American, 1883 – 1959), Street Accident, circa 1931 – 1932
Peggy Bacon (American, 1895 – 1987), Fat, 1926
Francisco de Goya (Spanish, 1746 – 1828), Que sacrificio! (What a Sacrifice!), from the series Los Caprichos (The Caprices), 1799
George Grosz (American, born Germany, 1893 – 1959), Eaten and to Be Eaten, 1929
George Grosz (American, born Germany, 1893 – 1959), Third Class Funeral, circa 1930 – 1932
George (Pop) Hart (American, 1868 – 1933), The Jury, 1927
Clement Haupers (American, 1900 – 1982), Metro 1st Class, 1928
Clement Haupers (American, 1900 – 1982), Metro 2nd Class, 1928
Robert Henri (American, 1865 – 1929), Jury Judging Art, circa 1908
Alexander King (American, born Austria, 1900 – 1965), Old Couple (Fulfillment), circa 1936 – 1942
Lloyd Wulf (American, 1913 – 1965), The Bar, circa 1938
Organized by the Norton Museum of Art.
Major support for this exhibition was provided by the Priscilla and John Richman Endowment for American Art and the Lunder Family Endowment.