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About This Artwork
...And the Home of the Brave, 1931
Oil and graphite on fiber board
74.8 x 59.7 cm (29 1/2 x 23 1/2 in.)
Alfred Stieglitz Collection, gift of Georgia O'Keeffe, 1948.650
In the last years of his life, Charles Demuth depicted the industrial landscape of his hometown of Lancaster, Pennsylvania, in increasingly monumental and heroic terms. In this work, he portrayed a quintessentially modern American subject—the factory—using a hard-edged style inspired by streamlined machinery. The painting’s title is the last line of “The Star-Spangled Banner,” which was adopted as the national anthem in 1931. Demuth thus emphasized his painting’s native modernity as he sought to create a specifically American modern art. He shared this goal with his supporter and dealer, Alfred Stieglitz, who exhibited this painting at his gallery An American Place.
— Permanent collection label
New York City, Whitney Museum of American Art, Charles Demuth Memorial Exhibition, Dec. 15, 1937-Jan. 16, 1938, cat. 37.
New York, Museum of Modern Art, Charles Demuth, 1950, cat. 153.
Philadelphia, Pennsylvania Academy of the Fine Arts, One Hundred-Fiftieth Anniversary Exhibition, Jan. 15-Mar. 13, 1955, cat. 236.
Paris, Musse National d’Art Moderne / Centre Georges Pompidou, Realismes entre Revolution et ReaConnon, Dec. 17, 1980-Apr. 20, 1981, p. 253; traveled to Berlin, Staatliche Kunsthalle, May 10-June 30, 1981.
San Francisco Museum of Modern Art, Precisionist Painting and American Photography, Sept. 9, 1982-Nov. 7, 1982, cat. 40; traveled to St. Louis Art Museum, Dec. 6, 1982-Jan. 30, 1983, Baltimore Museum of Art, Feb. 28-?, 1983, Des Moines Art Center, May 2-July 17, 1983, Cleveland Museum of Art, Aug. 15-Oct. 9, 1983.
New York, Whitney Museum of American Art, Charles Demuth, Oct. 14, 1987-Jan. 16, 1988; traveled to Los Angeles County Museum of Art, Feb. 25-Apr. 24, 1988.
LeHavre, France, Musee des Beaux Arts, Transparence 1920-1980, Sept. 14-Nov. 26, 1995.
Tokyo, ASAHI Shimbun, Masterworks of Modern Art from The Art Institute of Chicago; traveled to Nagaoka, Niigata Prefectural Museum of Modern Art, Apr. 20-May 29, 1994, Nagoya, Aichi Prefectural Museum of Art, June 10-July 24, 1994, Yokohama Museum of Art Aug. 6-Sept. 25, 1994.
Washington, D.C., National Gallery of Art, Alfred Stieglitz and Modern Art in America, Jan. 28-Apr. 22, 2001.
Fort Worth, Texas, Amon Carter Museum of American Art, Chimneys and Water Towers: Charles Demuth's Late Paintings of Lancaster, August 18-October 14, 2007; traveled to West Palm Beach, Florida, Norton Museum of Art, November 17, 2007-January 20, 2008; Whitney Museum of American Art, February 23-April 27, 2008.
Art Institute of Chicago, "America After the Fall: Painting in the 1930s," June 5-September 18, 2016; travels to Paris, Musee de l'Orangerie, October 15, 2016-January 30, 2017; London, Royal Academy, February 25-June 4, 2017, cat. 12.
The Bulletin of The Art Institute of Chicago, 43 (Nov. 1949), p. 65 (ill.).
Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), p. 124.
James M. Dennis, Renegade Regionalists: The Modern Independence of Grant Wood, Thomas Hart Benton, and John Steuart Curry (University of Wisconsin Press, 1998), pp. 212-14 (ill.).
Judith A. Barter et al., "American Modernism at the Art Institute of Chicago, From World War I to 1955," (Art Institute of Chicago/Yale University Press, 2009), cat. 72.
"Paintings at the Art Institute of Chicago, Highlights of the Collection," (Art Institute of Chicago/Yale University Press, 2017) p. 118.
The artist; bequeathed to Georgia O'Keeffe, Abiquiu, New Mexico, and New York, N.Y., 1935; given by Georgia O'Keeffe to the Art Institute of Chicago, 1948.